This document provides an overview of optimization techniques for developing stereoscopic 3D games on the PlayStation 3. It discusses how stereoscopic 3D works, including setting up dual cameras and managing parallax. Implementation details for the PS3 are covered, such as frame packing and APIs for enabling 3D. Technical considerations like performance overhead from rendering scenes twice are addressed. Optimization strategies like using lower resolutions, state caching, and view-independent rendering are presented.
PlayStation®3 Leads Stereoscopic 3D Entertainment World Slide_N
PlayStation 3 leads the stereoscopic 3D entertainment world as every PS3 supports S3D. Games are ideal for S3D as they are immersive and don't mind wearing glasses. While 2.5D/3D chips could improve rendering performance for better S3D, challenges include cost, testing, reliability, and supporting multiple suppliers. Future S3D technologies may include personal 3D displays, head mounted displays, motion tracking, and interactive 3D experiences.
Sony Computer Entertainment Europe Research & Development DivisionSlide_N
This document discusses using SPURS tasks on the Cell Broadband Engine to offload work from the PowerPC Processor Element (PPE) to the Synergistic Processor Elements (SPEs). It provides an example of using a SPURS task to parallelize an object update method across SPEs. By DMA transferring the object data to SPE local stores, executing the update method on each SPE, and transferring the data back, a 5x speedup was achieved over executing the method on the PPE alone. Further optimization could be gained by overlapping the DMA transfers with computation.
3D Television & 3D Broadcasting System by RahulRahul Middha
This document discusses 3D television technology. It describes 3D TV as using techniques like stereoscopic display to project a 3D image. It outlines various 3D TV features and technologies including 2D to 3D conversion, comfortable 3D glasses, and brilliant 3D pictures. The document discusses stereoscopy as the most widely used 3D video method, involving capturing stereo pairs with two cameras and 3D display techniques like anaglyph, polarization, lenticular lens, and parallax barrier. It also covers 3D-ready and full 3D TV sets, 3D broadcasting standards, advantages and disadvantages of 3D TV, and concludes that 3D TV tricks the brain into seeing real 3D objects using mainly active shutter displays.
Three key technologies for 3D TV displays include glasses-based methods like anaglyph glasses using red-blue lenses or polarized glasses, autostereoscopic displays without glasses using lenticular lenses or a parallax barrier to direct images to each eye, and active shutter glasses that alternate frames. The architecture of a 3D TV involves transmitting left and right eye views through technologies like gigabit Ethernet and displaying them using one of these 3D presentation methods. Applications include video games, TV and other media while advantages are a richer experience over 2D TV and disadvantages include the need for special glasses with some methods.
This document discusses 3D technology and how 3D is achieved. It explains that 3D works by providing slightly different images to the left and right eyes, enabling depth perception. The fundamental requirements for 3D vision are two eyes viewing from different perspectives and a brain that can integrate the two views into a 3D image. Different types of 3D technology are described, including anaglyph, polarized, active shutter, and parallax barrier methods. The advantages and disadvantages of each approach are also reviewed.
The document discusses various technologies used for graphics rendering, including pixels, resolution, frame rate, GPUs, rendering, anti-aliasing, ambient occlusion, high dynamic range rendering, anisotropic filtering, PhysX, motion blur, depth of field, vertical sync, bloom, bump mapping, particle systems, and crepuscular rays. It provides examples of these techniques and how they are used to produce more realistic computer graphics images, especially in video games. Future areas that may improve graphics are also mentioned like parallel processing, virtual reality headsets, and higher resolution displays.
This document discusses 3D television technology. It begins with a brief history of 3D content and then covers various depth cues and how binocular vision allows the brain to perceive 3D images. Key aspects of 3D technology discussed include parallax, stereopsis, and the need to direct different images to each eye to create the perception of depth. Challenges for developing 3D include reducing the need for glasses and creating natural depth cues without visual fatigue.
The document discusses the history and technology of 3D television. It begins with the basics of how 3D TV provides separate images to each eye to create depth perception. It then explains several technologies currently used for 3D TV displays like anaglyph, polarization, and parallax barriers. Potential applications of 3D TV include medicine, education, entertainment and gaming. However, health issues and the need for glasses are disadvantages that need further research.
PlayStation®3 Leads Stereoscopic 3D Entertainment World Slide_N
PlayStation 3 leads the stereoscopic 3D entertainment world as every PS3 supports S3D. Games are ideal for S3D as they are immersive and don't mind wearing glasses. While 2.5D/3D chips could improve rendering performance for better S3D, challenges include cost, testing, reliability, and supporting multiple suppliers. Future S3D technologies may include personal 3D displays, head mounted displays, motion tracking, and interactive 3D experiences.
Sony Computer Entertainment Europe Research & Development DivisionSlide_N
This document discusses using SPURS tasks on the Cell Broadband Engine to offload work from the PowerPC Processor Element (PPE) to the Synergistic Processor Elements (SPEs). It provides an example of using a SPURS task to parallelize an object update method across SPEs. By DMA transferring the object data to SPE local stores, executing the update method on each SPE, and transferring the data back, a 5x speedup was achieved over executing the method on the PPE alone. Further optimization could be gained by overlapping the DMA transfers with computation.
3D Television & 3D Broadcasting System by RahulRahul Middha
This document discusses 3D television technology. It describes 3D TV as using techniques like stereoscopic display to project a 3D image. It outlines various 3D TV features and technologies including 2D to 3D conversion, comfortable 3D glasses, and brilliant 3D pictures. The document discusses stereoscopy as the most widely used 3D video method, involving capturing stereo pairs with two cameras and 3D display techniques like anaglyph, polarization, lenticular lens, and parallax barrier. It also covers 3D-ready and full 3D TV sets, 3D broadcasting standards, advantages and disadvantages of 3D TV, and concludes that 3D TV tricks the brain into seeing real 3D objects using mainly active shutter displays.
Three key technologies for 3D TV displays include glasses-based methods like anaglyph glasses using red-blue lenses or polarized glasses, autostereoscopic displays without glasses using lenticular lenses or a parallax barrier to direct images to each eye, and active shutter glasses that alternate frames. The architecture of a 3D TV involves transmitting left and right eye views through technologies like gigabit Ethernet and displaying them using one of these 3D presentation methods. Applications include video games, TV and other media while advantages are a richer experience over 2D TV and disadvantages include the need for special glasses with some methods.
This document discusses 3D technology and how 3D is achieved. It explains that 3D works by providing slightly different images to the left and right eyes, enabling depth perception. The fundamental requirements for 3D vision are two eyes viewing from different perspectives and a brain that can integrate the two views into a 3D image. Different types of 3D technology are described, including anaglyph, polarized, active shutter, and parallax barrier methods. The advantages and disadvantages of each approach are also reviewed.
The document discusses various technologies used for graphics rendering, including pixels, resolution, frame rate, GPUs, rendering, anti-aliasing, ambient occlusion, high dynamic range rendering, anisotropic filtering, PhysX, motion blur, depth of field, vertical sync, bloom, bump mapping, particle systems, and crepuscular rays. It provides examples of these techniques and how they are used to produce more realistic computer graphics images, especially in video games. Future areas that may improve graphics are also mentioned like parallel processing, virtual reality headsets, and higher resolution displays.
This document discusses 3D television technology. It begins with a brief history of 3D content and then covers various depth cues and how binocular vision allows the brain to perceive 3D images. Key aspects of 3D technology discussed include parallax, stereopsis, and the need to direct different images to each eye to create the perception of depth. Challenges for developing 3D include reducing the need for glasses and creating natural depth cues without visual fatigue.
The document discusses the history and technology of 3D television. It begins with the basics of how 3D TV provides separate images to each eye to create depth perception. It then explains several technologies currently used for 3D TV displays like anaglyph, polarization, and parallax barriers. Potential applications of 3D TV include medicine, education, entertainment and gaming. However, health issues and the need for glasses are disadvantages that need further research.
3D television uses various technologies to display stereoscopic 3D images that create the illusion of depth. The document discusses the history of 3D, including early stereoscopic photography in the 1830s. It describes several technologies used for 3D television such as anaglyph 3D with colored glasses, polarized 3D with polarized glasses that allow separate images for each eye, and active shutter 3D which alternates images rapidly synchronized with shutter glasses. Both advantages and disadvantages are provided for different 3D display methods. Autostereoscopic technologies are also mentioned which allow 3D viewing without glasses.
The presentation avails a brief journey through the presently booming area of 3 dimensional television. It gives a brief introduction, peeps into the history, discusses the production technology involved and incorporates the basic architecture. The presentation will also be informative in case of 3D channels and the health effects. The presentation also accompanies some cool transitions, which makes it attractive as well, beyond its informative status. A presentation which was prepared for my college seminar, i can assure you that it is ideal for similar purposes.
Digital graphics can refer to images, text, or graphics created or scanned into a computer. There are several types of digital graphics including bitmaps, vectors, metafiles, and animated graphics. Graphic styles allow for consistent formatting and appearance attributes to be applied across objects, groups, and layers. Cel-shading and exaggeration are styles used in video games to make 3D graphics appear flatter or more animated, similar to comics and cartoons. Cel-shading quantizes shadows and highlights into blocks of color. Exaggeration is used to amplify features of characters like large weapons or facial expressions.
This document discusses graphics hardware components. It describes various graphics input devices like the mouse, joystick, light pen etc. and how they are either analog or digital. It then covers commonly used graphics output devices like CRT displays, plasma displays, LCDs and 3D viewing systems. It provides details on the internal components and working of CRT displays. It also discusses graphics storage formats and the architecture of raster and random graphics systems.
Creating the Game Output Design discusses creating the visual design and deciding the output parameters for a game. It covers selecting 2D or 3D graphics and design components like bitmaps, sprites, textures and lighting. The document also discusses user interface layout, including diegetic/nondiegetic and spatial/meta components as well as common UI elements like menus, heads-up displays, and buttons. It emphasizes choosing output parameters based on the rendering engine, resolutions, and compression techniques used.
This document discusses 3D television technology. It begins with an overview of different 3D techniques like stereoscopy and holography. It then covers aspects of 3D television systems like capture methods, coding standards for transmission like MPEG and H.264, and display standards. Coding approaches include simulcast, depth maps, and multiview coding. Transmission can be over satellite, internet, or disc. Display standards include 3D-ready or full 3D for TVs as well as autostereoscopic without glasses for portable devices. The document provides information on the technical components and standards that enable 3D television.
3D TV presents scenes in three dimensions using techniques like stereoscopy to create slightly different images that are presented to each eye, tricking the brain into perceiving depth. It works by acquiring video streams from multiple cameras, transmitting the compressed streams over networks, and displaying offset images filtered separately to each eye either through glasses or autostereoscopically without glasses. 3D TV is expected to revolutionize the TV industry and has applications in education, medicine, entertainment, and more. Further development is still needed to improve image quality and achieve truly immersive 3D experiences.
This document presents a system for 3D TV broadcasting and distribution that is compatible with existing 2D TV systems. The aim is to develop a system that can deliver stereoscopic image pairs to mobile and home users based on digital multimedia broadcasting (DMB) and digital video broadcasting - handheld (DVB-H) standards. It discusses encoding and transmitting left and right views of 3D video using these standards in a way that maintains backward compatibility with 2D receivers. The system is designed to support 3D content on mobile devices and televisions in both broadcast and high definition formats.
3D films and TVs provide depth perception by showing two slightly different perspectives that are interpreted by the brain as a 3D image. There are several technologies for producing and displaying 3D content, including anaglyph, polarization, and interference filtering systems. 3D TVs use technologies like eclipse filtering glasses or lenticular displays to show different images to each eye and create the 3D effect without glasses in some cases. Broadcasting 3D content involves generating, compressing, transmitting, and displaying the left and right perspectives in an alternating sequence.
The document discusses 3D television production using Grass Valley equipment. It describes how 3D works by presenting slightly different views to each eye to create the perception of depth. Key challenges for 3D TV production include setting camera lenses the correct distance apart, dealing with reduced light levels, and ensuring the left and right views remain synchronized. Grass Valley cameras can be mounted side-by-side or use a mirror rig to position the lenses properly. Additional processing may be required to adjust the views for mirror rig setups.
The e-ball is a sphere shaped computer concept which is the smallest design among all the laptops and desktops have ever made.
This ball predicts the future of computing.
You might have seen many things like this but the unique feature of this ball is that when it is closed, no one can guess that whole computer is hidden inside this ball.
This technical document outlines the design and requirements for a squad-based multiplayer game. It describes the game's levels, user interface, squad units, enemies, camera and movement systems. It also details the general requirements such as supporting a 3D environment, reward/punishment systems, difficulty progression, and audio. Additional graphics requirements are outlined that involve using particles for explosions and custom shaders for animated models and lighting effects. The artificial intelligence requirements involve controlling individual characters, squad groups, and pathfinding algorithms.
Basic Optimization and Unity Tips & Tricks by Yogie AdityagamelanYK
This document provides tips and tricks for basic optimization in Unity. It discusses optimization at various stages of development from creation through polishing. It emphasizes the roles of different team members like programmers, artists, and designers. Technical optimization strategies covered include reducing draw calls, batching, culling, using object pools, avoiding Find, baking, and optimizing textures, audio, and code. The document also provides tips for using Unity tools like the profiler and execution order system to optimize games.
This document discusses the history and architecture of 3D game engines. It covers engines from id Software like RAGE and id Tech, as well as Unreal Engine. It describes the core components of a 3D game engine including scene management, rendering modules, and material systems. It also discusses cross-platform solutions, techniques for minimizing draw calls, and specific technologies like parallel-split shadow maps and deferred rendering. The presentation concludes with a discussion of Unity and questions from the audience.
The document provides an overview of an introductory computer graphics course. It outlines the course objectives of understanding fundamental graphical operations, recent advances in computer graphics, and user interface issues. It then lists and briefly describes the main topics that will be covered in the course, including basic raster graphics, 2D transformations, clipping, filling techniques, 3D graphics, visibility, and advanced topics like rendering, raytracing, antialiasing and fractals.
The document discusses the Oculus Rift virtual reality headset. It provides details on the technology used in the Rift such as its resolution, refresh rate, and head tracking capabilities. The document outlines the hardware components of the Rift including the headset, sensors, controllers. It also discusses the software features like Oculus Home and the development kit. Finally, it summarizes that the Rift enhances gameplay by allowing users to experience games in 3D and shares a quote from Mark Zuckerberg about his experience using the Rift.
This document discusses the speaker's background working on various mobile and VR games. It then outlines plans to convert the Rooms2 mobile game into a VR version for the HTC Vive called Rooms2 VR. Key points discussed include the speaker's experience with Defense Technica, Rooms2, and Kuno Interactive, issues with converting from Unity 4 to Unity 5, and high-level plans for the Rooms2 VR user interface, trophies, themes, and Oculus Store launch. It concludes by mentioning potential downloadable content and the speaker's contact information.
Gamebryo LightSpeed provides improved runtime performance, a modular game framework, entity modeling tools, Lua scripting and debugging, and rapid iteration capabilities. New features include deferred lighting for improved rendering, a decoration system for terrain customization, terrain streaming for unlimited map sizes, and an enhanced water editor. It offers an integrated development environment with tools in Visual Studio, 3DS Max, and the Toolbench plugin suite.
The HP Envy 27 display is a 4K monitor with a micro-edge IPS panel that provides high resolution, accurate colors, and versatile USB-C connectivity. It features 3840x2160 resolution, 100% sRGB color accuracy, and AMD FreeSync technology to eliminate tearing. The USB-C port allows charging of devices and powers the PC with up to 60 watts while viewing content on the large 27-inch, borderless screen.
Polarized 3D glasses allow viewers to see 3D images by restricting the light that reaches each eye. They work by projecting two slightly different images that are polarized differently. The glasses contain polarized filters for each eye that allow only the corresponding image to pass through to the proper eye. This technique was developed in the 1930s and was widely used for 3D movies in the 1950s. It provides full color 3D images using inexpensive glasses but has limitations such as reduced resolution from sharing the screen between the two images.
This document summarizes techniques for creating immersive experiences for dome theaters, including 360 degree fulldome video, VR, and stereoscopic 3D. It discusses challenges like high resolution requirements, camera movements, editing, and peripheral issues. It also provides an overview of software tools for 3D modeling, rendering, compositing and audio mixing for dome projects. Resources for live capture techniques, photogrammetry, and timelapse are also mentioned.
3D television uses various technologies to display stereoscopic 3D images that create the illusion of depth. The document discusses the history of 3D, including early stereoscopic photography in the 1830s. It describes several technologies used for 3D television such as anaglyph 3D with colored glasses, polarized 3D with polarized glasses that allow separate images for each eye, and active shutter 3D which alternates images rapidly synchronized with shutter glasses. Both advantages and disadvantages are provided for different 3D display methods. Autostereoscopic technologies are also mentioned which allow 3D viewing without glasses.
The presentation avails a brief journey through the presently booming area of 3 dimensional television. It gives a brief introduction, peeps into the history, discusses the production technology involved and incorporates the basic architecture. The presentation will also be informative in case of 3D channels and the health effects. The presentation also accompanies some cool transitions, which makes it attractive as well, beyond its informative status. A presentation which was prepared for my college seminar, i can assure you that it is ideal for similar purposes.
Digital graphics can refer to images, text, or graphics created or scanned into a computer. There are several types of digital graphics including bitmaps, vectors, metafiles, and animated graphics. Graphic styles allow for consistent formatting and appearance attributes to be applied across objects, groups, and layers. Cel-shading and exaggeration are styles used in video games to make 3D graphics appear flatter or more animated, similar to comics and cartoons. Cel-shading quantizes shadows and highlights into blocks of color. Exaggeration is used to amplify features of characters like large weapons or facial expressions.
This document discusses graphics hardware components. It describes various graphics input devices like the mouse, joystick, light pen etc. and how they are either analog or digital. It then covers commonly used graphics output devices like CRT displays, plasma displays, LCDs and 3D viewing systems. It provides details on the internal components and working of CRT displays. It also discusses graphics storage formats and the architecture of raster and random graphics systems.
Creating the Game Output Design discusses creating the visual design and deciding the output parameters for a game. It covers selecting 2D or 3D graphics and design components like bitmaps, sprites, textures and lighting. The document also discusses user interface layout, including diegetic/nondiegetic and spatial/meta components as well as common UI elements like menus, heads-up displays, and buttons. It emphasizes choosing output parameters based on the rendering engine, resolutions, and compression techniques used.
This document discusses 3D television technology. It begins with an overview of different 3D techniques like stereoscopy and holography. It then covers aspects of 3D television systems like capture methods, coding standards for transmission like MPEG and H.264, and display standards. Coding approaches include simulcast, depth maps, and multiview coding. Transmission can be over satellite, internet, or disc. Display standards include 3D-ready or full 3D for TVs as well as autostereoscopic without glasses for portable devices. The document provides information on the technical components and standards that enable 3D television.
3D TV presents scenes in three dimensions using techniques like stereoscopy to create slightly different images that are presented to each eye, tricking the brain into perceiving depth. It works by acquiring video streams from multiple cameras, transmitting the compressed streams over networks, and displaying offset images filtered separately to each eye either through glasses or autostereoscopically without glasses. 3D TV is expected to revolutionize the TV industry and has applications in education, medicine, entertainment, and more. Further development is still needed to improve image quality and achieve truly immersive 3D experiences.
This document presents a system for 3D TV broadcasting and distribution that is compatible with existing 2D TV systems. The aim is to develop a system that can deliver stereoscopic image pairs to mobile and home users based on digital multimedia broadcasting (DMB) and digital video broadcasting - handheld (DVB-H) standards. It discusses encoding and transmitting left and right views of 3D video using these standards in a way that maintains backward compatibility with 2D receivers. The system is designed to support 3D content on mobile devices and televisions in both broadcast and high definition formats.
3D films and TVs provide depth perception by showing two slightly different perspectives that are interpreted by the brain as a 3D image. There are several technologies for producing and displaying 3D content, including anaglyph, polarization, and interference filtering systems. 3D TVs use technologies like eclipse filtering glasses or lenticular displays to show different images to each eye and create the 3D effect without glasses in some cases. Broadcasting 3D content involves generating, compressing, transmitting, and displaying the left and right perspectives in an alternating sequence.
The document discusses 3D television production using Grass Valley equipment. It describes how 3D works by presenting slightly different views to each eye to create the perception of depth. Key challenges for 3D TV production include setting camera lenses the correct distance apart, dealing with reduced light levels, and ensuring the left and right views remain synchronized. Grass Valley cameras can be mounted side-by-side or use a mirror rig to position the lenses properly. Additional processing may be required to adjust the views for mirror rig setups.
The e-ball is a sphere shaped computer concept which is the smallest design among all the laptops and desktops have ever made.
This ball predicts the future of computing.
You might have seen many things like this but the unique feature of this ball is that when it is closed, no one can guess that whole computer is hidden inside this ball.
This technical document outlines the design and requirements for a squad-based multiplayer game. It describes the game's levels, user interface, squad units, enemies, camera and movement systems. It also details the general requirements such as supporting a 3D environment, reward/punishment systems, difficulty progression, and audio. Additional graphics requirements are outlined that involve using particles for explosions and custom shaders for animated models and lighting effects. The artificial intelligence requirements involve controlling individual characters, squad groups, and pathfinding algorithms.
Basic Optimization and Unity Tips & Tricks by Yogie AdityagamelanYK
This document provides tips and tricks for basic optimization in Unity. It discusses optimization at various stages of development from creation through polishing. It emphasizes the roles of different team members like programmers, artists, and designers. Technical optimization strategies covered include reducing draw calls, batching, culling, using object pools, avoiding Find, baking, and optimizing textures, audio, and code. The document also provides tips for using Unity tools like the profiler and execution order system to optimize games.
This document discusses the history and architecture of 3D game engines. It covers engines from id Software like RAGE and id Tech, as well as Unreal Engine. It describes the core components of a 3D game engine including scene management, rendering modules, and material systems. It also discusses cross-platform solutions, techniques for minimizing draw calls, and specific technologies like parallel-split shadow maps and deferred rendering. The presentation concludes with a discussion of Unity and questions from the audience.
The document provides an overview of an introductory computer graphics course. It outlines the course objectives of understanding fundamental graphical operations, recent advances in computer graphics, and user interface issues. It then lists and briefly describes the main topics that will be covered in the course, including basic raster graphics, 2D transformations, clipping, filling techniques, 3D graphics, visibility, and advanced topics like rendering, raytracing, antialiasing and fractals.
The document discusses the Oculus Rift virtual reality headset. It provides details on the technology used in the Rift such as its resolution, refresh rate, and head tracking capabilities. The document outlines the hardware components of the Rift including the headset, sensors, controllers. It also discusses the software features like Oculus Home and the development kit. Finally, it summarizes that the Rift enhances gameplay by allowing users to experience games in 3D and shares a quote from Mark Zuckerberg about his experience using the Rift.
This document discusses the speaker's background working on various mobile and VR games. It then outlines plans to convert the Rooms2 mobile game into a VR version for the HTC Vive called Rooms2 VR. Key points discussed include the speaker's experience with Defense Technica, Rooms2, and Kuno Interactive, issues with converting from Unity 4 to Unity 5, and high-level plans for the Rooms2 VR user interface, trophies, themes, and Oculus Store launch. It concludes by mentioning potential downloadable content and the speaker's contact information.
Gamebryo LightSpeed provides improved runtime performance, a modular game framework, entity modeling tools, Lua scripting and debugging, and rapid iteration capabilities. New features include deferred lighting for improved rendering, a decoration system for terrain customization, terrain streaming for unlimited map sizes, and an enhanced water editor. It offers an integrated development environment with tools in Visual Studio, 3DS Max, and the Toolbench plugin suite.
The HP Envy 27 display is a 4K monitor with a micro-edge IPS panel that provides high resolution, accurate colors, and versatile USB-C connectivity. It features 3840x2160 resolution, 100% sRGB color accuracy, and AMD FreeSync technology to eliminate tearing. The USB-C port allows charging of devices and powers the PC with up to 60 watts while viewing content on the large 27-inch, borderless screen.
Polarized 3D glasses allow viewers to see 3D images by restricting the light that reaches each eye. They work by projecting two slightly different images that are polarized differently. The glasses contain polarized filters for each eye that allow only the corresponding image to pass through to the proper eye. This technique was developed in the 1930s and was widely used for 3D movies in the 1950s. It provides full color 3D images using inexpensive glasses but has limitations such as reduced resolution from sharing the screen between the two images.
This document summarizes techniques for creating immersive experiences for dome theaters, including 360 degree fulldome video, VR, and stereoscopic 3D. It discusses challenges like high resolution requirements, camera movements, editing, and peripheral issues. It also provides an overview of software tools for 3D modeling, rendering, compositing and audio mixing for dome projects. Resources for live capture techniques, photogrammetry, and timelapse are also mentioned.
3D technology has been around for over 150 years, with the first 3D images created in 1838. While 3D movies and TV may seem futuristic, the basic concept is to provide different images to each eye to create the illusion of depth. There are different methods for achieving this, such as using anaglyph glasses with red and blue lenses or polarized glasses. Many companies are now developing 3D TVs and movies, but some disadvantages remain, such as the need for glasses, potential eye strain, and loss of brightness.
3D technology has been around for over 180 years, originating with stereoscopic photography invented in 1838. It creates the illusion of depth by providing a slightly different image to each eye to mimic human binocular vision. While 3D films may seem like a modern development, the underlying technology is actually much older. Common 3D viewing methods include anaglyph glasses using red/blue lenses, and polarized glasses used in most movie theaters. Both allow each eye to see only one of two projected images, tricking the brain into perceiving 3D depth.
There is a lot of interest in Virtual Reality, but many people confuse it with 3D or AR (Augmented Reality). This presentation looks at the differences and surveys what's available in the market now.
Stereoscopy, also known as 3D imaging, refers to a technique that creates the illusion of depth by presenting two offset images separately to the left and right eyes. The brain then combines these 2D images into a perception of 3D depth. Modern 3D technology uses different methods like lenses, polarization, or head-mounted displays to show each eye a different image. Stereoscopic cameras also use two lenses to capture separate images for each eye, mimicking human binocular vision. While 3D continues to be applied to movies, TV shows, games and videos, its value is debated as rushed 3D conversions may undermine adoption of the technology by providing an inferior product.
This document summarizes a presentation on 3D technology. It discusses the history of 3D, how 3D works through the use of glasses, and different types of 3D glasses. Companies involved in 3D and various 3D devices are outlined. Potential applications and advantages of 3D technology are presented, along with some disadvantages and health effects. The document concludes with a brief summary of 3D technology as an emerging field with benefits and limitations.
3D technology creates the illusion of depth by providing separate images to each eye that the brain interprets as three-dimensional. While 3D may seem like new technology, stereoscopic photography was invented in 1838. There are different methods for delivering separate images to each eye for 3D movies and TV, including anaglyph glasses with red/blue lenses, polarized lenses, and Pulfrich glasses with one dark and one clear lens. Some disadvantages of current 3D include loss of brightness, discomfort from wearing glasses, high costs, and potential for eye strain.
This document provides information on practical cinematography techniques. It discusses different shooting formats including standard definition DV and high definition HDV. It covers cinematography essentials like white balance, exposure, and focus, as well as aesthetic elements like composition, depth of field, and movement. It provides guidance on using tools like zebra lines to properly expose footage and technical details of lenses, focus, and techniques to manipulate depth of field and focus for creative effects.
3D Display Technology is a presentation done during the Second year of my Engineering.
t explains about the basic of 3D Display Technology and its working mechanism.
I use to explore the animation section during those hence you'll find a lot of animations.
NB: You may need to download to view the animations.
This document discusses lessons learned from developing games for virtual reality (VR). It covers core challenges like creating engaging VR experiences while avoiding motion sickness, adapting games to 360 degree spaces, and displaying information in 3D. It also discusses handling platform fragmentation across different VR hardware and software with varying performance, features, and input methods. The document provides tips for easing users into VR, pacing experiences, integrating user interfaces into 3D worlds, and designing for minimal common denominators to reach wider audiences.
The document discusses stereoscopic 3D production. It covers the differences between 3D and S3D, natural depth cues, depth perception, the business case for 3D, 3D storytelling techniques, stereoscopic technology formats, live 3D engineering challenges, Sky 3D broadcast models, S3D cinematography theory, S3D pre-production including depth budget and script, stereoscopic editing, and summarizes stereoscopic 3D tools.
This document discusses 3D technology and 3D television. It begins with an acknowledgement and introduction. It then covers the history of 3D, how humans see 3D, and how to create 3D images using two cameras. Common 3D display techniques are described, including viewing through glasses like anaglyph, polarization, and active glasses. Auto-stereoscopic displays without glasses using lenticular lenses or parallax barriers are also discussed. The document concludes with sections on the architecture and transmission of 3D TV, applications, and advantages and disadvantages.
This document discusses stereoscopic 3D (S3D) display technologies used for virtual reality, film, and video games. It covers the basics of stereoscopic vision and imaging, and describes different types of stereoscopic displays including active stereo, passive stereo using polarized or color filters, and autostereoscopic displays. Application of these technologies for virtual reality, film, and video games are also summarized.
This document discusses 3D television, including its basics, architecture, technologies used, advantages, and disadvantages. It also lists some major manufacturers of 3D TVs. Specifically, it explains that 3D TV uses binocular parallax and motion parallax for depth perception. The architecture involves 3D camera arrays, transmission to a 3D processor and encoder, and display on a 3D HD TV using shutter or polarization glasses. Advantages include a better viewing experience at home, while disadvantages include potential health issues and higher costs compared to traditional TVs.
This document discusses projection systems and their interfacing. It describes the key components and specifications of three main projection technologies: CRT, LCD, and DLP. CRT projectors use a cathode ray tube to generate images while LCD uses liquid crystal displays and DLP (digital light processing) uses a digital micromirror device chip. The document outlines specifications for each like brightness, resolution, throw ratio and inputs/outputs including VGA and HDMI interfaces.
3-D TV uses several technologies to create three-dimensional images by presenting slightly different images to each eye to mimic human binocular vision. The document discusses technologies like anaglyph, polarization, and shutter systems that are currently used in 3-D TVs produced by companies like Sony, LG, and Samsung. While 3-D TV provides an immersive experience, it also faces challenges like the need for glasses and lack of industry standards.
Similar to Optimization for Making Stereoscopic 3D Games on PlayStation® (PS3™) (20)
Lee Barnes - Path to Becoming an Effective Test Automation Engineer.pdfleebarnesutopia
So… you want to become a Test Automation Engineer (or hire and develop one)? While there’s quite a bit of information available about important technical and tool skills to master, there’s not enough discussion around the path to becoming an effective Test Automation Engineer that knows how to add VALUE. In my experience this had led to a proliferation of engineers who are proficient with tools and building frameworks but have skill and knowledge gaps, especially in software testing, that reduce the value they deliver with test automation.
In this talk, Lee will share his lessons learned from over 30 years of working with, and mentoring, hundreds of Test Automation Engineers. Whether you’re looking to get started in test automation or just want to improve your trade, this talk will give you a solid foundation and roadmap for ensuring your test automation efforts continuously add value. This talk is equally valuable for both aspiring Test Automation Engineers and those managing them! All attendees will take away a set of key foundational knowledge and a high-level learning path for leveling up test automation skills and ensuring they add value to their organizations.
"Frontline Battles with DDoS: Best practices and Lessons Learned", Igor IvaniukFwdays
At this talk we will discuss DDoS protection tools and best practices, discuss network architectures and what AWS has to offer. Also, we will look into one of the largest DDoS attacks on Ukrainian infrastructure that happened in February 2022. We'll see, what techniques helped to keep the web resources available for Ukrainians and how AWS improved DDoS protection for all customers based on Ukraine experience
Conversational agents, or chatbots, are increasingly used to access all sorts of services using natural language. While open-domain chatbots - like ChatGPT - can converse on any topic, task-oriented chatbots - the focus of this paper - are designed for specific tasks, like booking a flight, obtaining customer support, or setting an appointment. Like any other software, task-oriented chatbots need to be properly tested, usually by defining and executing test scenarios (i.e., sequences of user-chatbot interactions). However, there is currently a lack of methods to quantify the completeness and strength of such test scenarios, which can lead to low-quality tests, and hence to buggy chatbots.
To fill this gap, we propose adapting mutation testing (MuT) for task-oriented chatbots. To this end, we introduce a set of mutation operators that emulate faults in chatbot designs, an architecture that enables MuT on chatbots built using heterogeneous technologies, and a practical realisation as an Eclipse plugin. Moreover, we evaluate the applicability, effectiveness and efficiency of our approach on open-source chatbots, with promising results.
From Natural Language to Structured Solr Queries using LLMsSease
This talk draws on experimentation to enable AI applications with Solr. One important use case is to use AI for better accessibility and discoverability of the data: while User eXperience techniques, lexical search improvements, and data harmonization can take organizations to a good level of accessibility, a structural (or “cognitive” gap) remains between the data user needs and the data producer constraints.
That is where AI – and most importantly, Natural Language Processing and Large Language Model techniques – could make a difference. This natural language, conversational engine could facilitate access and usage of the data leveraging the semantics of any data source.
The objective of the presentation is to propose a technical approach and a way forward to achieve this goal.
The key concept is to enable users to express their search queries in natural language, which the LLM then enriches, interprets, and translates into structured queries based on the Solr index’s metadata.
This approach leverages the LLM’s ability to understand the nuances of natural language and the structure of documents within Apache Solr.
The LLM acts as an intermediary agent, offering a transparent experience to users automatically and potentially uncovering relevant documents that conventional search methods might overlook. The presentation will include the results of this experimental work, lessons learned, best practices, and the scope of future work that should improve the approach and make it production-ready.
What is an RPA CoE? Session 2 – CoE RolesDianaGray10
In this session, we will review the players involved in the CoE and how each role impacts opportunities.
Topics covered:
• What roles are essential?
• What place in the automation journey does each role play?
Speaker:
Chris Bolin, Senior Intelligent Automation Architect Anika Systems
Northern Engraving | Modern Metal Trim, Nameplates and Appliance PanelsNorthern Engraving
What began over 115 years ago as a supplier of precision gauges to the automotive industry has evolved into being an industry leader in the manufacture of product branding, automotive cockpit trim and decorative appliance trim. Value-added services include in-house Design, Engineering, Program Management, Test Lab and Tool Shops.
In the realm of cybersecurity, offensive security practices act as a critical shield. By simulating real-world attacks in a controlled environment, these techniques expose vulnerabilities before malicious actors can exploit them. This proactive approach allows manufacturers to identify and fix weaknesses, significantly enhancing system security.
This presentation delves into the development of a system designed to mimic Galileo's Open Service signal using software-defined radio (SDR) technology. We'll begin with a foundational overview of both Global Navigation Satellite Systems (GNSS) and the intricacies of digital signal processing.
The presentation culminates in a live demonstration. We'll showcase the manipulation of Galileo's Open Service pilot signal, simulating an attack on various software and hardware systems. This practical demonstration serves to highlight the potential consequences of unaddressed vulnerabilities, emphasizing the importance of offensive security practices in safeguarding critical infrastructure.
The Department of Veteran Affairs (VA) invited Taylor Paschal, Knowledge & Information Management Consultant at Enterprise Knowledge, to speak at a Knowledge Management Lunch and Learn hosted on June 12, 2024. All Office of Administration staff were invited to attend and received professional development credit for participating in the voluntary event.
The objectives of the Lunch and Learn presentation were to:
- Review what KM ‘is’ and ‘isn’t’
- Understand the value of KM and the benefits of engaging
- Define and reflect on your “what’s in it for me?”
- Share actionable ways you can participate in Knowledge - - Capture & Transfer
GlobalLogic Java Community Webinar #18 “How to Improve Web Application Perfor...GlobalLogic Ukraine
Під час доповіді відповімо на питання, навіщо потрібно підвищувати продуктивність аплікації і які є найефективніші способи для цього. А також поговоримо про те, що таке кеш, які його види бувають та, основне — як знайти performance bottleneck?
Відео та деталі заходу: https://bit.ly/45tILxj
LF Energy Webinar: Carbon Data Specifications: Mechanisms to Improve Data Acc...DanBrown980551
This LF Energy webinar took place June 20, 2024. It featured:
-Alex Thornton, LF Energy
-Hallie Cramer, Google
-Daniel Roesler, UtilityAPI
-Henry Richardson, WattTime
In response to the urgency and scale required to effectively address climate change, open source solutions offer significant potential for driving innovation and progress. Currently, there is a growing demand for standardization and interoperability in energy data and modeling. Open source standards and specifications within the energy sector can also alleviate challenges associated with data fragmentation, transparency, and accessibility. At the same time, it is crucial to consider privacy and security concerns throughout the development of open source platforms.
This webinar will delve into the motivations behind establishing LF Energy’s Carbon Data Specification Consortium. It will provide an overview of the draft specifications and the ongoing progress made by the respective working groups.
Three primary specifications will be discussed:
-Discovery and client registration, emphasizing transparent processes and secure and private access
-Customer data, centering around customer tariffs, bills, energy usage, and full consumption disclosure
-Power systems data, focusing on grid data, inclusive of transmission and distribution networks, generation, intergrid power flows, and market settlement data
How information systems are built or acquired puts information, which is what they should be about, in a secondary place. Our language adapted accordingly, and we no longer talk about information systems but applications. Applications evolved in a way to break data into diverse fragments, tightly coupled with applications and expensive to integrate. The result is technical debt, which is re-paid by taking even bigger "loans", resulting in an ever-increasing technical debt. Software engineering and procurement practices work in sync with market forces to maintain this trend. This talk demonstrates how natural this situation is. The question is: can something be done to reverse the trend?
Session 1 - Intro to Robotic Process Automation.pdfUiPathCommunity
👉 Check out our full 'Africa Series - Automation Student Developers (EN)' page to register for the full program:
https://bit.ly/Automation_Student_Kickstart
In this session, we shall introduce you to the world of automation, the UiPath Platform, and guide you on how to install and setup UiPath Studio on your Windows PC.
📕 Detailed agenda:
What is RPA? Benefits of RPA?
RPA Applications
The UiPath End-to-End Automation Platform
UiPath Studio CE Installation and Setup
💻 Extra training through UiPath Academy:
Introduction to Automation
UiPath Business Automation Platform
Explore automation development with UiPath Studio
👉 Register here for our upcoming Session 2 on June 20: Introduction to UiPath Studio Fundamentals: https://community.uipath.com/events/details/uipath-lagos-presents-session-2-introduction-to-uipath-studio-fundamentals/
"$10 thousand per minute of downtime: architecture, queues, streaming and fin...Fwdays
Direct losses from downtime in 1 minute = $5-$10 thousand dollars. Reputation is priceless.
As part of the talk, we will consider the architectural strategies necessary for the development of highly loaded fintech solutions. We will focus on using queues and streaming to efficiently work and manage large amounts of data in real-time and to minimize latency.
We will focus special attention on the architectural patterns used in the design of the fintech system, microservices and event-driven architecture, which ensure scalability, fault tolerance, and consistency of the entire system.
QR Secure: A Hybrid Approach Using Machine Learning and Security Validation F...AlexanderRichford
QR Secure: A Hybrid Approach Using Machine Learning and Security Validation Functions to Prevent Interaction with Malicious QR Codes.
Aim of the Study: The goal of this research was to develop a robust hybrid approach for identifying malicious and insecure URLs derived from QR codes, ensuring safe interactions.
This is achieved through:
Machine Learning Model: Predicts the likelihood of a URL being malicious.
Security Validation Functions: Ensures the derived URL has a valid certificate and proper URL format.
This innovative blend of technology aims to enhance cybersecurity measures and protect users from potential threats hidden within QR codes 🖥 🔒
This study was my first introduction to using ML which has shown me the immense potential of ML in creating more secure digital environments!
2. Slide 2
• Stereoscopic 3D (S3D) Games Overview
• How Stereoscopic 3D Works
• PS3™ Implementation of S3D Games
• Reprojection
• SPU Optimisation
• Case Studies
Outline
4. Slide 4
• Movie
– Digital animation
– Actors
• Broadcast
– VOD
– FIFA World Cup 2010
• Professional
– Digital cinema camera
• Home
– TV and projector
– BD player/recorder
– BD movie
– Digital camera
– Stereoscopic gaming
on PlayStation®3
Sony’s Approach to Stereo 3D
5. Slide 5
• Increased immersion
• Some tasks are easier (driving, batting, ...)
• New types of games may become possible
(first person sports?)
Why is Stereoscopic 3D Important to Games?
6. Slide 6
• 3D TVs now in the home
• 3D works very well in close proximity
• Gamers tend to demand more immersion – never less
• Wide variety of 3D content should sustain momentum
(sports, movies, games, TV, photos, home movies)
3D is here to Stay!
7. Slide 7
• All S3D displays send a different image to the left and
right eye
• There are several different technologies in use
• The main ones are
– Anaglyph (Red Cyan Glasses)
– Passive (Polarized Glasses)
– Active ( Shutter Glasses)
– Auto-Stereo ( No Glasses)
S3D Displays
8. Slide 8
2D = 1 camera generates an
image which is displayed on the
TV screen and is then seen in
both eyes
3D = 2 cameras generate 2
images (one for each eye) which
are displayed on a 3DTV screen,
then separated by special
glasses to the correct eye.
How 3D works 2D 3D
Cameras
Images
TV screen
Glasses
Image seen
9. Slide 9
• Red Cyan Glasses
– Cons
• Only really works for black and white
– Pros
• Easy to make content for
• No special display needed
– Not recommended for commercial
titles
– Useful for research
• Works anywhere
Anaglyph
10. Slide 10
Absorptive Polarizer
• Uses 2 projector lenses, one for each eye
– Lens are polarized differently
– Polarized glasses de-mulitplex signal at your eyes
– Passive cinema projection requires a special "non-depolarising"
screen
• For front projection, this is normally metallic silver.
Passive Glasses (Movie Theatre)
11. Slide 11
• TV Surface is coated with a polarized filter
– Some parts of the TV are seen by the left eye
– Some parts of the TV are seen by the right eye
• Half the resolution of the image is lost
• Viewing angles can be limited
• Cons
– Lose resolution to mask
– Screen filter adds to TVs cost
• Pros
– Glasses are cheap
Passive Glasses (TV)
12. Slide 12
• The TV updates @ N*120Hz
• Alternate left and right images
• Shutter glasses synchronization with TV to mask
the left and right frames
Active Glasses
13. Slide 13
• This is the solution used in most of the new S3D TV shipping now
– Including Sony BRAVIA
• Pros
– Full HD to each eye
– Wide range of viewing angles
• Cons
– Glasses need batteries and are more expensive
Active Glasses
14. Slide 14
• These require no glasses to
operate
– Current solutions use a
parallax barrier or lenticular
technology
• Generally the viewing
angles are limited
Auto-stereo Displays
15. Slide 15
• HDMI 1.4 introduces a standard on both
ends
• PS3™ supports S3D via 3D over HDMI
– It will work on every HDMI 1.4 receiver
(e.g. 3DTV)
Connectivity
16. Slide 16
• The PS3™ outputs the
following formats for S3D
Supported Formats used by PS3™
Use Resolution
(Per Eye)
Hz
BD Playback
3D Photo Browsing
(PlayMemories)
1920*1080p 24
Games 1280*720p 60
17. Slide 17
• Stereoscopic 3D (S3D) Games Overview
• How Stereoscopic 3D Works
• PS3™ Implementation of S3D Games
• Reprojection
• SPU Optimisation
• Case Studies
Outline
19. Slide 19
• Stereoscopic 3D games require to setup
two cameras, one for each eye
• A naïve implementation can deteriorate the
3D experience
Setting up the 3D Cameras
20. Slide 20
Translate the cameras in 3D space
L R
Setting up the cameras
Attempt 1: Simple
Offset
Large portion of each image is only visible
to a single eye resulting in considerable
eye
strain.
Result: Failure
21. Slide 21
Translate the cameras in 3D space
L R
Setting up the cameras
Attempt 2: Toe-in
Convergence is not parallel with the
screen which causes vertical
parallax deviations. These deviations
are unnatural and make the
experience uncomfortable.
Result: Failure
22. Slide 22
Translate the cameras in 3D space
L R
Setting up the cameras
Attempt 3: Parallel Projection
The projection matrix is changed so that
the projection is asymmetric.
No vertical parallax and acceptable
portions of the scene are only visible to a
single eye. Comfortable to view for an
extended period of time.
Result: PASS
−
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fn
nf
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bt
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Moblic
23. Slide 23
Translate the cameras in 3D space
Real World
A B
Screen
Plane
I
θ
S
α
View Space Legend
• I: camera separation
• S: distance to viewing plane
• Z : screen distance
• θ : horizontal field of view
• α : angle of convergence
i
D
Z
d
W
View Space
z
( )
dI
ID
Z
ziW
d
−
×
=
−
=
)2tan(2
)tan(2
θ
α
)tan(2
)tan()2tan(
α
αθ
Si
WIr
=
×=××
( )
zrrS
z
DZ
zSIrd
)1(
1
−+
×=
−××=
Theorem
Variable Definition
Derivation
Real World Legend
• i: eye separation
• D: distance to display
• d: amount of parallax
• W: display width
• Z: Depth of the object
24. Slide 24
• When you look at an object
– Both eyes are aiming directly
at the object
– For a distant object the eyes
are almost parallel
– For a close object the eyes
must toe inward
Convergence
See how the girl’s convergence angle decreases
as the bear gets more distant
25. Slide 25
• When viewing S3D your eyes are focused on
the screen
– But converging at a different depth
• Accommodation and Convergence can be
decoupled
Accommodation and Convergence
Accommodation
Convergence
26. Slide 26
• Perceived depth from separation in images
• Positive Parallax – behind screen
• Zero Parallax – on screen plane – left and right images are same
• Negative Parallax – in front of screen
Perceived Depth
27. Slide 27
• Same image with same
separation in both diagrams
• Perceived depth is affected
by viewer position
• Further back gives more
perceived depth with less
convergence
Where You Sit Matters
28. Slide 28
• Everything moves closer
• Everything decreases in
size
• Objects in the foreground move further
away
• Objects in the foreground increase in
size
• Objects in the distance are unchanged
Placement and Scaling in Stereoscopic 3D
Decrease the convergence
Decrease the interaxial
x
y
x
y
z
29. Slide 29
• Incorporating a 3D strength slider into your title is
recommended
– Slider should go from Max down to 0
• This gives players the chance to reduce the
stereo effect to a comfortable level
– Screen size and distance from screen as well as personal taste
3D Slider
30. Slide 30
• Scaling both the convergence and interaxial by the
same amount
– Stretch or squash the depth but maintain the (2D)
size of objects at point of convergence
– Use in our 3D slider implementation
• If both interaxial and convergence are set to zero, you get a 2D picture
Keeping Object Size
Display
Perceived Depth
2DMax
31. Slide 31
• The TV is a window
– Most content will be inside the
TV
– Content in front of the TV will
be
• Small and Fast Generally
– Avoid Window Violations
• Occurs when an object touches
the stereo window resulting in
cutting off more of an object in one
eye than the other
Stereo Reference
Screen
Space
Audience Space
Image
plane
Stereo
Infinity
Uncomfortable
Stereo
Comfortable Stereo
Comfortable areas for 3D stereo
Red is bad
Blue is good
32. Slide 32
Calculating Frustum Origin
Z = S / ( 1 + W / I )
Legend
• Z : frustum origin
• S: distance to viewing plane
• W : width of viewing plane in
view world
• I: camera separation
L R
Screen
S
W
I
Z
Monoscopic Frustum Culling
33. Slide 33
Calculating Frustum Origin
Z = S / ( 1 + W / I )
Legend
• Z : frustum origin
• S: distance to viewing plane
• W : width of viewing plane in
view world
• I: camera separation
L R
Screen
Steroscopic Frustum Culling
S
W
I
Z
Reduce window violations
36. Slide 36
• Ensure +ve parallax is less than 1
degree
• Work for wide variety of screen size
from mobile to theatre and HDTV
• Typical screen the maximum depth is
approx. the same as viewing distance
• Including a 3D strength slider is useful
Parallax Management – use an arbitrary value
37. Slide 37
• Alternatively using PlayStation®Eye and Face
tracking, it is possible to measure the exact viewer
distance
– Combine with the screen size (HDMI1.4), we could
guarantee the best parallax for each user setup
• Installed base of millions of cameras and growing
– With the introduction of the PlayStation®Move motion
controller
PlayStation®Eye
38. Slide 38
Limiting the positive parallax: how the depth is perceived
Accurate depth but large restrictions on the game design
real world viewed world
max parallax
39. Slide 39
• Cross Talk or Ghosting can become very evident if
there is too much separation between images
– Most of this is inherent to the display technology
• Latency in the panels and glasses
– Some is due to separation in the images
• Left and right images are very different at extremes of negative and
positive parallax
• Eyes and brain start to realize they are being tricked…
Separation: Cross Talk
40. Slide 40
• Major drawback with
current shutter glasses
technology (sync-errors,
inability to block all the
light,...)
– The L/R eye see some residue
of the image dedicated to the
R/L eye
– Large contracts increase this
behaviour
Crosstalk
41. Slide 41
• Stereoscopic 3D (S3D) Games Overview
• How Stereoscopic 3D Works
• PS3™ Implementation of S3D Games
• Reprojection
• SPU Optimisation
• Case Studies
Outline
43. Slide 43
• Frame packing method of 720p at 59.94Hz
• Extended APIs for stereo 3D
– Tells you if the TV supports 3D
– Gives you the screen size
– Choice to switch to 3D is up to the user from within
your game
• Sample code & documents
PS3™: Stereoscopic 3D Support
44. Slide 44
• New Initialization Code for S3D TV modes
• UI to switch to and from S3D including
strength slider
• Extra legal screen
• Cameras with asymmetric view frustums
• New frame buffer scheme containing full
resolution buffers for both eyes
• Render everything twice with exactly the
same state information at target frame rate
Stereoscopic Rendering
45. Slide 45
• Output Mode for
3D Game is
1280x1470
1280 pixels
720 pixels
720 pixels
1470 pixels
Left
Right
30 pixel gap filled with black colour
46. Slide 46
• Need to render most things twice
• Need to use appropriate 3D settings
• Need to separate update and render
• Use a well placed 3D HUD
• Plan from the start
Converting a Game to S3D
47. Slide 47
• Rendering two images from the same
hardware may require compromises or limit the
possibilities
– Performance
• The scene must be rendered twice.
– Video memory (VRAM) usage
• The frame buffer may be larger in some cases
– Resolution limits
• More pixels may be processed
Technical Consideration
48. Slide 48
• Need to traverse the scene for two
cameras
• Graphics Command Buffer will grow as
more data is involved (ModelViewProj
matrix, viewport…)
CPU Overheads
49. Slide 49
• The scene has to be rendered twice
• Double vertex processing
– Large fillrate and memory bandwidth
requirement
GPU Overheads
50. Slide 50
• When fill-rate is an issue:
– Hardware horizontal upscaler can help
• Supported frame buffer resolutions
• Reduces memory and fill requirements
• Or use a different approach such a reprojection
– More on that later
Any help?
Width 1280 1024 960 800 640
51. Slide 51
• Rendering to lower resolution buffers with AA looks
better than high resolution buffers with no AA
• Reduces High frequency noise
– Stair casing, “jaggies” , edge sparkle
– May not match in both eyes
– Can be misinterpreted as depth cue or movement
Resolution Vs. Anti-aliasing
52. Slide 52
Ouch!!
• Monoscopic games
– Wait for the next vertical blank
– Immediate flip
• Might leads to higher FPS but also screen tearing
• Stereoscopic games
– Must wait for next vertical blank
• Else get tearing in one eye only
Swapping the Buffers
53. Slide 53
• If the data is not synchronized artifacts will
be visible
Same Scene, Both Eyes
While(notdead)
{
updateSimulation(time);
render();
vsyncThenFlip();
}
54. Slide 54
• If the data is not synchronized artifacts will
be visible
Same Scene, Both Eyes
While(notdead)
{
updateSimulation(time);
render(LeftEye);
render(RightEye);
vsyncThenFlip();
}
55. Slide 55
• Share Common Objects
– View independent render targets (shadow map...)
• State caching
– Big saving for both CPU and GPU
Optimization
While(notdead)
{
updateSimulation(time);
renderShadows();
renderPlayers();
renderHUD();
vsyncThenFlip();
}
56. Slide 56
• Share Common Objects
– View independent render targets (shadow map...)
• State caching
– Big saving for both CPU and GPU
Optimization
While(notdead)
{
updateSimulation(time);
renderShadows();
renderPlayers(LeftEye,RightEye);
renderHUD(LeftEye,RightEye);
vsyncThenFlip();
}
57. Slide 57
• Shadow maps are independent of view
– Cache shadow depth map for both eyes
• Reflections are view dependent
– May still have to render for each eye depending
on how much detail is present
Shadow Depth and Reflection Maps
58. Slide 58
• Render once for both eyes
– Shadow Map
– Spot light maps projected in the scene
• Render once per eye
– Back Buffer
– Depth Stencil Buffer
– HDR
– Blur
– Bloom
– Mirroring
– Parallax mapping
– Depth of field
– ...
3D Rendering Strategies
59. Slide 59
• Instead of rendering entire scene into the left buffer,
then the right buffer
– Flip flop between render targets to reduce state
changes
• There is a cost associated with swapping render
buffers though
– Pipelines have to clear out
– Choose granularity carefully
– Alternatively, change the viewport / clip planes
Alternating Render Targets
60. Slide 60
• Avoid Billboard
– Distant billboard parallel to screen are
okay
• Avoid scintillating pixels
– Use texture filtering and anti-aliasing
– Avoid film grain effects
• Avoid large untextured areas
– Lack of depth cues (“cardboarding”)
• Sky filled with plenty of clouds >
Blue sky
• Bump mapping
– Flatness will ruin the effect
Visual Quality
problem
areas
61. Slide 61
• View dependant effects
– Reflections
• Difference of contrast for each Eye
– Some Tone Mapping implementation
– Might produce the Pulfrich effect
• Telephoto lenses can cause objects to appear flattened into layers
• Fast action
– When using stereoscopic viewing, the brain needs a small
amount of time to register the effect
Visual Quality
62. Slide 62
• Can be distracting in S3D
• Ideally on or very near the screen plane
– Consider using depth and transparency
– Maybe some elements can be raised slightly
to add visual interest
Stereo Design: HUD
63. Slide 63
• Some HUD elements will not work correctly in S3D
compared to 2D
– Cross hairs are inherently 2D
– You aim a gun with one eye creating a transit between the
target, eye and cross hairs
– Placing the Cross hair in the scene at the correct depth
solves this problem
– Or use a laser targeting system
• Looks great in S3D
Stereo Design: HUD
64. Slide 64
• Some post-processing effects may have to
be tuned for S3D
– For instance prefer motion vectors over
motion blur
– Use depth of field cautiously (more difficult to
focus in 3D)
Stereo Design: Post-Effect
65. Slide 65
• Sudden video cuts to images with their focal points at
different depths can be tiring for viewers
• Try to keep focal point of images at the same depth
between cuts
• Can adjust at run time by moving Zero Parallax Plane
– Convergence blending
Stereo Design: Video Edits
time
Bad Example Better Example
time
66. Slide 66
• Depth budget over time
– Allow some less depth intensive period
– User can rest and enjoy even more climax in
full 3D
Stereo Design: Dynamic Depth Intensity
0
50
100
Depth Intensity
67. Slide 67
• Place a frame in the scene with more negative
parallax than the closest object
– Creates the illusion of moving the surface of the
screen forward
• The window appears to float in front of the screen
Window Violations and Dynamic Floating
Windows
Floating Frame
Window Violation
68. Slide 68
• Avoid that one object becomes more visible
by one eye
Dynamic Floating Windows
Left Image Right Image
Left Image Right Image
Floating
Window
Floating
Window
69. Slide 69
• Static floating windows look obvious
• Dynamic Floating windows are a lot more
subtle
– Use in many movies
Dynamic Floating Windows
70. Slide 70
• Possible to have a lot of
fun with floating
windows in UI design
Window Violations and Floating Windows
71. Slide 71
• Simplify assets and shaders
• More aggressive LOD
• Remove small objects or some post-effects
• Reduce the game video resolution
– The human visual system does not just use the differences
between what each eye sees to judge depth. It also uses
the similarities to improve resolution ☺
Stereoscopic Vs. Monoscopic Version
72. Slide 72
• Write to both left and
right scenes in a single
pass
– Some post-effects
• Colour enhancements
• Crosstalk reduction
• …
– Objects at screen level
• Part of the HUD
Sharing Processing via MRT-2
Input Texture
Fragment
Program
MRT0
MRT1
GPU
Render Target
Right Scene
Left Scene
73. Slide 73
• “Ortho-stereo” viewing/head-
tracked VR
– This can produce a stunningly
realistic, hologram-like effect for
a single viewer as they move
around the room
• PlayStation®Eye
– libFace, libHead
• PlayStation®Move
– Movement in 3D space (Z axis)
Going One Step Furtherviewer
screen
asymmetric
fields of view
dynamic viewing frustum
74. Slide 74
• Can overcome issues arising from depth
perception or divergence
• Improve the 3D effects on areas the user is likely
to focus (character)s
Non Disparity Mapping for S3D
Reference: Lang, M., Hornung, A., Wang, O., Poulakos, S., Smolic, A. & Gross, M.
(2010, July). Nonlinear Disparity Mapping for Stereoscopic 3D
75. Slide 75
• Stereoscopic 3D (S3D) Games Overview
• How Stereoscopic 3D Works
• PS3™ Implementation of S3D Games
• Reprojection
• SPU Optimisation
• Case Studies
Outline
77. Slide 77
• Rendering the entire scene can be prohibitive
– Might lead to difficult trade off
• 60Hz game or split-screen game
– 30Hz in S3D should be doable
• Reduce scene complexity for S3D build
– Lower resolution, less details, disabling effects, etc
Something less depressing?
• Perhaps! ☺
Rendering Twice
78. Slide 78
• A screen space algorithm would be
appealing
– Fixed run-time cost, independent of scene
complexity ☺
– Might make S3D possible with fewer
limitations
How to Reduce the Burden?
79. Slide 79
• If we have a frame buffer and a Z buffer
• Possible to generate the other eye view from this
as a post processing step
• No need to re-architect the rendering pipeline for
S3D
• Could be faster than traditional methods
• Don’t have to render everything twice
What About Automated Stereo Conversion?
80. Slide 80
• Parallax from depth map
– Render a single image
– Create the second image using the
depth map and colour separation
– Pro:
• <2ms on RSX™
– Cons:
• Large parallax creates gaps which
need to be backfilled (borders)
• Transparency and reflections won’t
work
• Use proximity
– Raw occlusion queries
Alternative Ways of Creating Stereoscopic 3D
81. Slide 81
• Apply a depth-dependant parallax shift
• Image-space operation creating the right
image from the left image
Reprojection
82. Slide 82
• An image rendered using one view-projection
matrix can be remapped pixel by pixel to a
second view-projection matrix
– In our case, we only need a x-axis depth-
dependant offset
• Offset is based on a linear function using the Z value stored in
the depth buffer and the stereo camera parameters
Reprojection Matrix
83. Slide 83
• Scanline the RGBA colour buffer and depth
buffer
– Each input pixel will write a single output pixel
• Lead to small cracks when depth changes
• A second pass will then back-fill any such gaps
Reprojection
87. Slide 87
• Read intermediate output buffer
• If pixel is invalid, use most recently read
valid pixel value
• Pack and write pixel to output RGBA
scanline
2nd Pass: Back-fill per pixel
90. Slide 90
• Works surprisingly well with sensible stereo
strength
• Great quality with positive parallax
– No major image artefacts for opaque objects
– Transparent objects look acceptable
– Slight stretching at screen edges (easy to
overcome)
– Works with negative parallax (objects coming out)
Screen Space Reprojection
91. Slide 91
• Transparent and reflection are incorrect
• Can create small cracks with depth changes
• Side band
– Black bars on the left and right side of the screen
• Hardly noticeable with TV with black borders
• Or extend the display buffer by x pixels (where x depends on
depth separation)
Limitations
92. Slide 92
• MSAA can lead to artefacts due to the depth discontinuities
– MLAA is less affected
• Objects that lead to large disparity between both views should be
render twice
– View dependent shading is not handled by the reprojection
operation
– Post-Effects
• Normal case is rendered via reprojection
Gotchas
93. Slide 93
Generating two images
• Heavy GPU overheads
– Potential trade-off with game
resolution and scene
complexity
• Results are correct also for
view dependent effects
Reprojection
• Artefacts visible at depth
discontinuity or for view
dependent effects
– Can be minimized but
require change in the
renderer
• Possible cardboarding
• Screen space effect with
reduced impact on the
performance
– Allow to keep higher in-game
resolution
Comparison
95. Slide 95
• Stereoscopic 3D (S3D) Games Overview
• How Stereoscopic 3D Works
• PS3™ Implementation of S3D Games
• Reprojection
• SPU Optimisation
• Case Studies
Outline
97. Slide 97
• SPU can contribute to graphics and offload
RSX™
• Possible to take into account similarities
between both views
– E.g.: conservative occlusion queries
SPU Optimization for S3D
98. Slide 98
• Gross frustum culling is really important on the RSX™
– Anything not sent for rendering is a win
– Doubly important when rendering in stereo
• Frustum culling is fairly easy to move to SPUs
– Testing boxes or spheres against 6 planes
– Helps the performance of the 2D version of your game too
– A lot of bang for your buck
Frustum Culling
99. Slide 99
• Left and Right eyes should be seeing almost the same
scene
• Use single composite frustum for testing
– Extract planes from camera matrices
• Once this render list is created it can be used for both
eyes
– Saves CPU time
Frustum Culling
100. Slide 100
• Very popular via PlayStation®Edge
– Can be customized for S3D
Geometry Culling On SPU
L R
e
L R
N
Vl(Xl,Y,Z) Vr(Xr,Y,Z)
101. Slide 101
• Using Xl = Xr-e, we can potentially early reject or
accept both faces
Backface Culling
ZCYBeXrAXrAMax
CBANZYXrVrCBANZYeXrVl
**))(*,*(
0),,(),,(&&0),,(),,(
−−>−
>•>•−
.
Front-Facing for Left Eye only
Front-Facing for both Eye
Front-Facing for Right Eye only
Back-Facing for both Eyes
103. Slide 103
• Copy tiled color buffer and depth buffer to
linear system memory using RSX™
• Kick SPU jobs
• Sync on SPU results
• Copy the result back to VRAM
Reprojection on SPU
104. Slide 104
Pipeline
Render left eye main Copy
Reproject
Render left eye
problem objects
RSX
Copy RGBA and
depth buffers to
host
Copy Render right eye problem
objects
Left eye render
complete
Right eye render
complete
SPU
Host RAM RGBA +
D24S8
Result
buffers
Sync RSX/SPU Sync RSX/SPU
105. Slide 105
• Buffers transfer Host RAM <> VRAM is linear to buffer
size
• Reprojection on SPUs is fast
• The whole process take around 7.5% (~2.5ms) of a
30hz frame at 720p
– Buffer transfer (color + depth/stencil): ~0.4ms each way for
720p (~1.6ms)
– ~0.7ms for SPU jobs (on all 6 SPUs)
Performance
106. Slide 106
• In many cases, the latency is completely
hidden as RSX™ is rendering the
problematic objects for the left eye
How to Hide Latency for RSX™
107. Slide 107
• Stereoscopic 3D (S3D) Games Overview
• How Stereoscopic 3D Works
• PS3™ Implementation of S3D Games
• Reprojection
• SPU Optimisation
• Case Studies
Outline
110. Slide 110
• Some work on the HUD
– Push cross hairs into scene
• Add S3D elements to Menus
to keep the game feeling S3D
– Else it was very noticeable
when the game was only
displaying 2D graphics in
menus
WipEoutHD
111. Slide 111
• 2D version 720p@30Hz (dynamic framebuffer)
• No scope for cutting frame rate
• Game already had split screen view
– Pushes out LOD and fewer effects
• Bound by fill rate
– Used smaller render targets
• In car view uses fixed interaxial
• Chase came uses varying interaxial
– Quite wide settings to emphasize depth in the scene
Motorstorm: Pacific Rift
112. Slide 112
• Lowered HUD opacity
• Easy for player to filter on depth
– Look at HUD
– Look through HUD
Motorstorm: Pacific Rift
113. Slide 113
SuperStardustHD
• 2D version at 1080p@60hz
• 3D version at 720p@60hz
– No compromise in the game
assets (share for 2D/3D
version)
– Conversion made possible
via optimization
115. Slide 115
• Generating two separate images
– Sometime using half-height screen
buffer and the HW upscaler
– Combine with anti-aliasing produces
excellent results in 3D
– Process is easier if the game support
split screen
• Reprojection
– Good trade-off quality / performance
Different Ways to Convert to S3D
Split screen > L + R
Reprojection
116. Slide 116
Cost of 3D Game Development
3D Conversion Overheads:
• KillZone 3: 2%
• Hustle Kings: 2%
• The Fight: <1%
• MotorStorm Pacific Rift: 2%
• WipeoutHD: 1%
Will still require a few man months,
especially for tweaking the results
Total Cost
Typical 3D
Conversion cost
117. Slide 117
• Stereoscopic 3D (S3D) Games Overview
• How Stereoscopic 3D Works
• PS3™ Implementation of S3D Games
• Reprojection
• SPU Optimisation
• Case Studies
Outline
119. Slide 119
• Stereoscopic 3D games require less than twice the
amount of processing
– Some elements can be rendered once
– Reprojection is a fair technique
• Making Stereoscopic 3D content looks good require
some tuning
• Stereoscopic 3D should be comfortable to experience
– Always visually check on a full sized screen
Conclusion
120. Slide 120
• SCEE R&D
• WWS Stereoscopic 3D Team
• SCE Worldwide Studios (1st & 2nd Party studios)
Acknowledgments