Presentation by Andrew Hamilton and Ken Brown from DICE at GDC 2016.
Photogrammetry has started to gain steam within the Games Industry in recent years. At DICE, this technique was first used on Battlefield and they fully embraced the technology and workflow for Star Wars: Battlefront. This talk will cover their research and development, planning and production, techniques, key takeaways and plans for the future. The speakers will cover photogrammetry as a technology, but more than that, show that it's not a magic bullet but instead a tool like any other that can be used to help achieve your artistic vision and craft.
Takeaway
Come and learn how (and why) photogrammetry was used to create the world of Star Wars. This talk will cover Battlefront's use of of the technology from pre-production to launch as well as some of their philosophies around photogrammetry as a tool. Many visuals will be included!
Intended Audience
A content creator friendly talk intended for pretty much any developer, especially those involved in 3D content creation. It is not a technical talk focused on the code or engineering of photogrammetry. The speakers will quickly cover all basics, so absolutely no prerequisite knowledge required.
A Certain Slant of Light - Past, Present and Future Challenges of Global Illu...Electronic Arts / DICE
Global illumination (GI) has been an ongoing quest in games. The perpetual tug-of-war between visual quality and performance often forces developers to take the latest and greatest from academia and tailor it to push the boundaries of what has been realized in a game product. Many elements need to align for success, including image quality, performance, scalability, interactivity, ease of use, as well as game-specific and production challenges.
First we will paint a picture of the current state of global illumination in games, addressing how the state of the union compares to the latest and greatest research. We will then explore various GI challenges that game teams face from the art, engineering, pipelines and production perspective. The games industry lacks an ideal solution, so the goal here is to raise awareness by being transparent about the real problems in the field. Finally, we will talk about the future. This will be a call to arms, with the objective of uniting game developers and researchers on the same quest to evolve global illumination in games from being mostly static, or sometimes perceptually real-time, to fully real-time.
This presentation was given at SIGGRAPH 2017 by Colin Barré-Brisebois (EA SEED) as part of the Open Problems in Real-Time Rendering course.
Taking Killzone Shadow Fall Image Quality Into The Next GenerationGuerrilla
This talk focuses on the technical side of Killzone Shadow Fall, the platform exclusive launch title for PlayStation 4.
We present the details of several new techniques that were developed in the quest for next generation image quality, and the talk uses key locations from the game as examples. We discuss interesting aspects of the new content pipeline, next-gen lighting engine, usage of indirect lighting and various shadow rendering optimizations. We also describe the details of volumetric lighting, the real-time reflections system, and the new anti-aliasing solution, and include some details about the image-quality driven streaming system. A common, very important, theme of the talk is the temporal coherency and how it was utilized to reduce aliasing, and improve the rendering quality and image stability above the baseline 1080p resolution seen in other games.
The presentation describes Physically Based Lighting Pipeline of Killzone : Shadow Fall - Playstation 4 launch title. The talk covers studio transition to a new asset creation pipeline, based on physical properties. Moreover it describes light rendering systems used in new 3D engine built from grounds up for upcoming Playstation 4 hardware. A novel real time lighting model, simulating physically accurate Area Lights, will be introduced, as well as hybrid - ray-traced / image based reflection system.
We believe that physically based rendering is a viable way to optimize asset creation pipeline efficiency and quality. It also enables the rendering quality to reach a new level that is highly flexible depending on art direction requirements.
Graphics Gems from CryENGINE 3 (Siggraph 2013)Tiago Sousa
This lecture covers rendering topics related to Crytek’s latest engine iteration, the technology which powers titles such as Ryse, Warface, and Crysis 3. Among covered topics, Sousa presented SMAA 1TX: an update featuring a robust and simple temporal antialising component; performant and physically-plausible camera related post-processing techniques such as motion blur and depth of field were also covered.
Rendering Technologies from Crysis 3 (GDC 2013)Tiago Sousa
This talk covers changes in CryENGINE 3 technology during 2012, with DX11 related topics such as moving to deferred rendering while maintaining backward compatibility on a multiplatform engine, massive vegetation rendering, MSAA support and how to deal with its common visual artifacts, among other topics.
A Certain Slant of Light - Past, Present and Future Challenges of Global Illu...Electronic Arts / DICE
Global illumination (GI) has been an ongoing quest in games. The perpetual tug-of-war between visual quality and performance often forces developers to take the latest and greatest from academia and tailor it to push the boundaries of what has been realized in a game product. Many elements need to align for success, including image quality, performance, scalability, interactivity, ease of use, as well as game-specific and production challenges.
First we will paint a picture of the current state of global illumination in games, addressing how the state of the union compares to the latest and greatest research. We will then explore various GI challenges that game teams face from the art, engineering, pipelines and production perspective. The games industry lacks an ideal solution, so the goal here is to raise awareness by being transparent about the real problems in the field. Finally, we will talk about the future. This will be a call to arms, with the objective of uniting game developers and researchers on the same quest to evolve global illumination in games from being mostly static, or sometimes perceptually real-time, to fully real-time.
This presentation was given at SIGGRAPH 2017 by Colin Barré-Brisebois (EA SEED) as part of the Open Problems in Real-Time Rendering course.
Taking Killzone Shadow Fall Image Quality Into The Next GenerationGuerrilla
This talk focuses on the technical side of Killzone Shadow Fall, the platform exclusive launch title for PlayStation 4.
We present the details of several new techniques that were developed in the quest for next generation image quality, and the talk uses key locations from the game as examples. We discuss interesting aspects of the new content pipeline, next-gen lighting engine, usage of indirect lighting and various shadow rendering optimizations. We also describe the details of volumetric lighting, the real-time reflections system, and the new anti-aliasing solution, and include some details about the image-quality driven streaming system. A common, very important, theme of the talk is the temporal coherency and how it was utilized to reduce aliasing, and improve the rendering quality and image stability above the baseline 1080p resolution seen in other games.
The presentation describes Physically Based Lighting Pipeline of Killzone : Shadow Fall - Playstation 4 launch title. The talk covers studio transition to a new asset creation pipeline, based on physical properties. Moreover it describes light rendering systems used in new 3D engine built from grounds up for upcoming Playstation 4 hardware. A novel real time lighting model, simulating physically accurate Area Lights, will be introduced, as well as hybrid - ray-traced / image based reflection system.
We believe that physically based rendering is a viable way to optimize asset creation pipeline efficiency and quality. It also enables the rendering quality to reach a new level that is highly flexible depending on art direction requirements.
Graphics Gems from CryENGINE 3 (Siggraph 2013)Tiago Sousa
This lecture covers rendering topics related to Crytek’s latest engine iteration, the technology which powers titles such as Ryse, Warface, and Crysis 3. Among covered topics, Sousa presented SMAA 1TX: an update featuring a robust and simple temporal antialising component; performant and physically-plausible camera related post-processing techniques such as motion blur and depth of field were also covered.
Rendering Technologies from Crysis 3 (GDC 2013)Tiago Sousa
This talk covers changes in CryENGINE 3 technology during 2012, with DX11 related topics such as moving to deferred rendering while maintaining backward compatibility on a multiplatform engine, massive vegetation rendering, MSAA support and how to deal with its common visual artifacts, among other topics.
Course presentation at SIGGRAPH 2014 by Charles de Rousiers and Sébastian Lagarde at Electronic Arts about transitioning the Frostbite game engine to physically-based rendering.
Make sure to check out the 118 page course notes on: http://www.frostbite.com/2014/11/moving-frostbite-to-pbr/
During the last few months, we have revisited the concept of image quality in Frostbite. The core of our approach was to be as close as possible to a cinematic look. We used the concept of reference to evaluate the accuracy of produced images. Physically based rendering (PBR) was the natural way to achieve this. This talk covers all the different steps needed to switch a production engine to PBR, including the small details often bypass in the literature.
The state of the art of real-time PBR techniques allowed us to achieve good overall results but not without production issues. We present some techniques for improving convolution time for image based reflection, proper ambient occlusion handling, and coherent lighting units which are mandatory for level editing.
Moreover, we have managed to reduce the quality gap, highlighted by our systematic reference comparison, in particular related to rough material handling, glossy screen space reflection, and area lighting.
The technical part of PBR is crucial for achieving good results, but represents only the top of the iceberg. Frostbite has become the de facto high-end game engine within Electronic Arts and is now used by a large amount of game teams. Moving all these game teams from “old fashion” lighting to PBR has required a lot of education, which have been done in parallel of the technical development. We have provided editing and validation tools to help the transition of art production. In addition, we have built a flexible material parametrisation framework to adapt to the various authoring tools and game teams’ requirements.
This talk provides additional details around the hybrid real-time rendering pipeline we developed at SEED for Project PICA PICA.
At Digital Dragons 2018, we presented how leveraging Microsoft's DirectX Raytracing enables intuitive implementations of advanced lighting effects, including soft shadows, reflections, refractions, and global illumination. We also dove into the unique challenges posed by each of those domains, discussed the tradeoffs, and evaluated where raytracing fits in the spectrum of solutions.
Talk by Graham Wihlidal (Frostbite Labs) at GDC 2017.
Checkerboard rendering is a relatively new technique, popularized recently by the introduction of the PlayStation 4 Pro. Many modern game engines are adding support for it right now, and in this talk, Graham will present an in-depth look at the new implementation in Frostbite, which is used in shipping titles like 'Battlefield 1' and 'Mass Effect Andromeda'. Despite being conceptually simple, checkerboard rendering requires a deep integration into the post-processing chain, in particular temporal anti-aliasing, dynamic resolution scaling, and poses various challenges to existing effects. This presentation will cover the basics of checkerboard rendering, explain the impact on a game engine that powers a wide range of titles, and provide a detailed look at how the current implementation in Frostbite works, including topics like object id, alpha unrolling, gradient adjust, and a highly efficient depth resolve.
Talk by Fabien Christin from DICE at GDC 2016.
Designing a big city that players can explore by day and by night while improving on the unique visual from the first Mirror's Edge game isn't an easy task.
In this talk, the tools and technology used to render Mirror's Edge: Catalyst will be discussed. From the physical sky to the reflection tech, the speakers will show how they tamed the new Frostbite 3 PBR engine to deliver realistic images with stylized visuals.
They will talk about the artistic and technical challenges they faced and how they tried to overcome them, from the simple light settings and Enlighten workflow to character shading and color grading.
Takeaway
Attendees will get an insight of technical and artistic techniques used to create a dynamic time of day system with updating radiosity and reflections.
Intended Audience
This session is targeted to game artists, technical artists and graphics programmers who want to know more about Mirror's Edge: Catalyst rendering technology, lighting tools and shading tricks.
Volumetric Lighting for Many Lights in Lords of the FallenBenjamin Glatzel
In this session I’m going to give you an in-depth insight into the design and the implementation of the volumetric lighting system we’ve developed for ‘Lords of the Fallen’. The system allows the simulation of countless volumetric lighting effects in parallel while still being a feasible solution on next-gen consoles.
This presentation was held at the Digital Dragons 2014 conference.
Videos shown during the talk are available here: http://bglatzel.movingblocks.net/publications
We present the technology and ideas behind the unique lighting in MIRRORS EDGE from DICE. Covering how DICE adopted Global illumination into their lighting process and Illuminate Labs current toolbox of state of the art lighting technology.
Screen Space Decals in Warhammer 40,000: Space MarinePope Kim
My Siggraph 2012 presentation slides on Screen Space Decals in Warhammer 40,000: Space Marine.
SSD is similar to Deferred Decals, so I focused more on the problems we had and how we solved(or avoided) them
Physically Based Lighting in Unreal Engine 4Lukas Lang
Talk held at Unreal Meetup Munich on 15th May 2019.
I talked about some of the theoretical background of physically based lighting, demonstrated a workflow + containing value tables needed to be able to easily use the workflow.
Secrets of CryENGINE 3 Graphics TechnologyTiago Sousa
In this talk, the authors will describe an overview of a different method for deferred lighting approach used in CryENGINE 3, along with an in-depth description of the many techniques used. Original file and videos at http://crytek.com/cryengine/presentations
Course presentation at SIGGRAPH 2014 by Charles de Rousiers and Sébastian Lagarde at Electronic Arts about transitioning the Frostbite game engine to physically-based rendering.
Make sure to check out the 118 page course notes on: http://www.frostbite.com/2014/11/moving-frostbite-to-pbr/
During the last few months, we have revisited the concept of image quality in Frostbite. The core of our approach was to be as close as possible to a cinematic look. We used the concept of reference to evaluate the accuracy of produced images. Physically based rendering (PBR) was the natural way to achieve this. This talk covers all the different steps needed to switch a production engine to PBR, including the small details often bypass in the literature.
The state of the art of real-time PBR techniques allowed us to achieve good overall results but not without production issues. We present some techniques for improving convolution time for image based reflection, proper ambient occlusion handling, and coherent lighting units which are mandatory for level editing.
Moreover, we have managed to reduce the quality gap, highlighted by our systematic reference comparison, in particular related to rough material handling, glossy screen space reflection, and area lighting.
The technical part of PBR is crucial for achieving good results, but represents only the top of the iceberg. Frostbite has become the de facto high-end game engine within Electronic Arts and is now used by a large amount of game teams. Moving all these game teams from “old fashion” lighting to PBR has required a lot of education, which have been done in parallel of the technical development. We have provided editing and validation tools to help the transition of art production. In addition, we have built a flexible material parametrisation framework to adapt to the various authoring tools and game teams’ requirements.
This talk provides additional details around the hybrid real-time rendering pipeline we developed at SEED for Project PICA PICA.
At Digital Dragons 2018, we presented how leveraging Microsoft's DirectX Raytracing enables intuitive implementations of advanced lighting effects, including soft shadows, reflections, refractions, and global illumination. We also dove into the unique challenges posed by each of those domains, discussed the tradeoffs, and evaluated where raytracing fits in the spectrum of solutions.
Talk by Graham Wihlidal (Frostbite Labs) at GDC 2017.
Checkerboard rendering is a relatively new technique, popularized recently by the introduction of the PlayStation 4 Pro. Many modern game engines are adding support for it right now, and in this talk, Graham will present an in-depth look at the new implementation in Frostbite, which is used in shipping titles like 'Battlefield 1' and 'Mass Effect Andromeda'. Despite being conceptually simple, checkerboard rendering requires a deep integration into the post-processing chain, in particular temporal anti-aliasing, dynamic resolution scaling, and poses various challenges to existing effects. This presentation will cover the basics of checkerboard rendering, explain the impact on a game engine that powers a wide range of titles, and provide a detailed look at how the current implementation in Frostbite works, including topics like object id, alpha unrolling, gradient adjust, and a highly efficient depth resolve.
Talk by Fabien Christin from DICE at GDC 2016.
Designing a big city that players can explore by day and by night while improving on the unique visual from the first Mirror's Edge game isn't an easy task.
In this talk, the tools and technology used to render Mirror's Edge: Catalyst will be discussed. From the physical sky to the reflection tech, the speakers will show how they tamed the new Frostbite 3 PBR engine to deliver realistic images with stylized visuals.
They will talk about the artistic and technical challenges they faced and how they tried to overcome them, from the simple light settings and Enlighten workflow to character shading and color grading.
Takeaway
Attendees will get an insight of technical and artistic techniques used to create a dynamic time of day system with updating radiosity and reflections.
Intended Audience
This session is targeted to game artists, technical artists and graphics programmers who want to know more about Mirror's Edge: Catalyst rendering technology, lighting tools and shading tricks.
Volumetric Lighting for Many Lights in Lords of the FallenBenjamin Glatzel
In this session I’m going to give you an in-depth insight into the design and the implementation of the volumetric lighting system we’ve developed for ‘Lords of the Fallen’. The system allows the simulation of countless volumetric lighting effects in parallel while still being a feasible solution on next-gen consoles.
This presentation was held at the Digital Dragons 2014 conference.
Videos shown during the talk are available here: http://bglatzel.movingblocks.net/publications
We present the technology and ideas behind the unique lighting in MIRRORS EDGE from DICE. Covering how DICE adopted Global illumination into their lighting process and Illuminate Labs current toolbox of state of the art lighting technology.
Screen Space Decals in Warhammer 40,000: Space MarinePope Kim
My Siggraph 2012 presentation slides on Screen Space Decals in Warhammer 40,000: Space Marine.
SSD is similar to Deferred Decals, so I focused more on the problems we had and how we solved(or avoided) them
Physically Based Lighting in Unreal Engine 4Lukas Lang
Talk held at Unreal Meetup Munich on 15th May 2019.
I talked about some of the theoretical background of physically based lighting, demonstrated a workflow + containing value tables needed to be able to easily use the workflow.
Secrets of CryENGINE 3 Graphics TechnologyTiago Sousa
In this talk, the authors will describe an overview of a different method for deferred lighting approach used in CryENGINE 3, along with an in-depth description of the many techniques used. Original file and videos at http://crytek.com/cryengine/presentations
Creating 3D neuron reconstructions from image stacks and virtual slidesMBF Bioscience
This presentation was given at a workshop that focused on reconstructing neurons from image stacks to study neuron morphology. It covers strategies for capturing image stacks optimized for neuron reconstruction with Neurolucida 360, a new software product that makes it much easier to trace neurons from image stacks.
Progressive Lightmapper: An Introduction to Lightmapping in UnityUnity Technologies
In 2018.1 we removed the preview label from the Progressive Lightmapper – we’ve made memory improvements, optimizations, and have had customers battle test it. We are now also working on a GPU accelerated version of the lightmapper. In this session, Tobias and Kuba will provide an intro to the basics of lightmapping and address of the most common issues that users struggle with and how to solve them. They will also provide an update on the future roadmap for lightmapping in Unity.
Tobias Alexander Franke & Kuba Cupisz (Unity Technologies)
발표자: 고영준 (고려대 박사과정)
발표일: 2017.6.
개요:
Algorithms to segment objects in a video sequence will be presented.
First, I will introduce a primary object segmentation algorithm based on region augmentation and reduction. Second, collaborative detection, tracking, and segmentation for online multiple object segmentation will be presented.
Book of the Dead: Environmental Design, Tools, and Techniques for Photo-Real ...Unity Technologies
From asset creation and placement to lighting and rendering, this talk explores how Unity's demo team used techniques like photogrammetry and post-processing volumes to accomplish a major feat: Building a realistic forest setting with a high level of detail that supports crucial story beats.
My lecture during a Faculty Development Program on the discipline of Computer Vision. Covers a breadth of topics in the field of Computer Vision using both classical image processing algorithms and techniques to new approaches of deep learning etc.
GDC2019 - SEED - Towards Deep Generative Models in Game DevelopmentElectronic Arts / DICE
Deep learning is becoming ubiquitous in Machine Learning (ML) research, and it's also finding its place in industry-related applications. Specifically, deep generative models have proven incredibly useful at generating and remixing realistic content from scratch, making themselves a very appealing technology in the field of AI-enhanced content authoring. As part of this year's Machine Learning Tutorial at the Game Developers Conference 2019 (GDC), Jorge Del Val from SEED will cover in an accessible manner the fundamentals of deep generative modeling, including some common algorithms and architectures. He will also discuss applications to game development and explore some recent advances in the field.
The attendee will gain basic understanding of the fundamentals of generative models and how to implement them. Also, attendees will grasp potential applications in the field of game development to inspire their work and companies. This talk does not require a mathematical or machine learning background, although previous knowledge on either of those is beneficial.
Henrik Halén (Lead Rendering Programmer) at Electronic Arts presented "Style and Gameplay in the Mirror's Edge" at SIGGRAPH 2010's Stylized Rendering in Games. https://www.cs.williams.edu/~morgan/SRG10/
Syysgraph 2018 - Modern Graphics Abstractions & Real-Time Ray TracingElectronic Arts / DICE
Graham Wihlidal and Colin Barré-Brisebois of SEED attended SyysGraph 2018 in Helsinki and presented to the group. The first section described aspects of Halcyon's rendering architecture, including information on explicit heterogeneous and virtual multi-GPU, render graph, and the remote render proxy backend. The second section discussed real-time ray tracing approaches and current open problems. The following day, this presentation was also given as a lecture at Aalto University.
Graham Wihlidal from SEED attended the Munich Khronos Meetup and presented some aspects of Halcyon's rendering architecture, as well as details of the Vulkan implementation. Graham presented components like high-level render command translation, render graph, and shader compilation.
CEDEC 2018 - Towards Effortless Photorealism Through Real-Time RaytracingElectronic Arts / DICE
Real-time raytracing holds the promise of simplifying rendering pipelines, eliminating artist-intensive workflows, and ultimately delivering photorealistic images. This talk by Tomasz Stachowiak provides a glimpse of the future through the lens of SEED's PICA PICA demo: a game made for artificial intelligence agents, with procedural level assembly, and no precomputation. We dive into technical details of several advanced rendering algorithms, and discuss how Microsoft's DirectX Raytracing technology allows for their intuitive implementation. Several challenges remain -- we will take a look at some of them, discuss how real-time raytracing fits in the spectrum of solutions, and start to plot the course towards robust and artist-friendly image synthesis.
CEDEC 2018 - Functional Symbiosis of Art Direction and ProceduralismElectronic Arts / DICE
This talk by SEED's Anastasia Opara covers the approach for procedural layout generation and placement in Project PICA PICA. The project posed a unique challenge as the levels were not created for humans, but for self-learning AI agents. Therefore, the level system had be flexible to meet the agents’ needs and ensure navigability, gameplay elements as well as adhere to the art direction.
We used Houdini from the very early stages to the final release: from co-creating art-direction to exporting final levels into our in-house RnD engine Halcyon. From this talk, you will learn how in a team of only 3 artists we created a functional symbiosis of art direction and procedural system in under 2 months as well as what challenges and solutions we had during our ‘procedural journey’.
At SIGGRAPH 2018, Colin Barré-Brisebois presented PICA PICA running on NVIDIA's new Turing architecture, with performance comparisons with Volta. Developed by Henrik Halén of SEED a technique for real-time raytraced transparent shadows was also presented, as well as an experiment with rough glass.
SIGGRAPH 2018 - Full Rays Ahead! From Raster to Real-Time RaytracingElectronic Arts / DICE
In this presentation part of the "Introduction to DirectX Raytracing" course, Colin Barré-Brisebois of SEED discusses some of the challenges the team had to go through when going from raster to real-time raytracing for Project PICA PICA.
For this year's keynote at High Performance Graphics 2018, Colin Barré-Brisebois from SEED discussed the state of the art in real-time game ray tracing. He explored some of the connections between offline and real-time game ray tracing, and presented some of the open problems. Colin exposed a few potential solutions to those problems, and also proposed a call-to-arms on topics where the ray tracing research community and the games industry should unite in order to solve such open problems.
EPC 2018 - SEED - Exploring The Collaboration Between Proceduralism & Deep Le...Electronic Arts / DICE
Proceduralism is a powerful language of rules, dependencies and patterns that can generate content indistinguishable from a manually produced one. Yet there are new opportunities that hold a great potential to enhance the existing techniques. In this talk, SEED's Anastasia Opara shares some of the early tests of marrying Proceduralism and Deep Learning and discusses how it can contribute to the current workflows.
You can view a recording of the presentation from 2018's Everything Procedural Conference here:
https://www.youtube.com/watch?v=dpYwLny0P8M
Human mechanisms of representing the surrounding world in a form of ‘language’ is an outstanding ability that enables us to store the information as internal compact abstractions. Proceduralism is also a form of language, where we view the world through rules, dependencies and patterns. And though rules are often perceived as something rigid, their engineering is a fluid and creative task, where analyzing our own thought framework often fuels the design process.
In this talk, we present results from the real-time raytracing research done at SEED, a cross-disciplinary team working on cutting-edge, future graphics technologies and creative experiences at Electronic Arts. We explain in detail several techniques from “PICA PICA”, a real-time raytracing experiment featuring a mini-game for self-learning AI agents in a procedurally-assembled world. The approaches presented here are intended to inspire developers and provide a glimpse of a future where real-time raytracing powers the creative experiences of tomorrow.
The past few years have seen a sharp increase in the complexity of rendering algorithms used in modern game engines. Large portions of the rendering work are increasingly written in GPU computing languages, and decoupled from the conventional “one-to-one” pipeline stages for which shading languages were designed. Following Tim Foley’s talk from SIGGRAPH 2016’s Open Problems course on shading language directions, we explore example rendering algorithms that we want to express in a composable, reusable and performance-portable manner. We argue that a few key constraints in GPU computing languages inhibit these goals, some of which are rooted in hardware limitations. We conclude with a call to action detailing specific improvements we would like to see in GPU compute languages, as well as the underlying graphics hardware.
This talk was originally given at SIGGRAPH 2017 by Andrew Lauritzen (EA SEED) for the Open Problems in Real-Time Rendering course.
This talk presents the approach Frostbite took to add support for HDR displays. It will summarize Frostbite's previous post processing pipeline and what the issues were. Attendees will learn the decisions made to fix these issues, improve the color grading workflow and support high quality HDR and SDR output. This session will detail the display mapping used to implement the"grade once, output many" approach to targeting any display and why an ad-hoc approach as opposed to filmic tone mapping was chosen. Frostbite retained 3D LUT-based grading flexibility and the accuracy differences of computing these in decorrelated color spaces will be shown. This session will also include the main issues found on early adopter games, differences between HDR standards, optimizations to achieve performance parity with the legacy path and why supporting HDR can also improve the SDR version.
Takeaway
Attendees will learn how and why Frostbite chose to support High Dynamic Range [HDR] displays. They will understand the issues faced and how these were resolved. This talk will be useful for those still to support HDR and provide discussion points for those who already do.
Intended Audience
The intended audience is primarily rendering engineers, technical artists and artists; specifically those who focus on grading and lighting and those interested in HDR displays. Ideally attendees will be familiar with color grading and tonemapping.
Talk by Yuriy O’Donnell at GDC 2017.
This talk describes how Frostbite handles rendering architecture challenges that come with having to support a wide variety of games on a single engine. Yuriy describes their new rendering abstraction design, which is based on a graph of all render passes and resources. This approach allows implementation of rendering features in a decoupled and modular way, while still maintaining efficiency.
A graph of all rendering operations for the entire frame is a useful abstraction. The industry can move away from “immediate mode” DX11 style APIs to a higher level system that allows simpler code and efficient GPU utilization. Attendees will learn how it worked out for Frostbite.
In this technical presentation Johan Andersson shows how the Frostbite 3 game engine is using the low-level graphics API Mantle to deliver significantly improved performance in Battlefield 4 on PC and future games from Electronic Arts. He will go through the work of bringing over an advanced existing engine to an entirely new graphics API, the benefits and concrete details of doing low-level rendering on PC and how it fits into the architecture and rendering systems of Frostbite. Advanced optimization techniques and topics such as parallel dispatch, GPU memory management, multi-GPU rendering, async compute & async DMA will be covered as well as sharing experiences of working with Mantle in general.
Technical talk from the AMD GPU14 Tech Day by Johan Andersson in the Frostbite team at DICE/EA about Battlefield 4 on PC which is the first title that will use 'Mantle' - a very high-performance low-level graphics API being in close collaboration by AMD and DICE/EA to get the absolute best performance and experience in Frostbite games on PC.
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
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As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
10. A Retrospective
• The beginning: research and development
• Scanning plans and goals
• Capturing the planets
• Mentality and workflows
• Game assets in a “photogrammetry world”
• Terrain
• Level Construction Kits
• Key learnings and takeaways
11. Big Changes
• New console generation
• New franchise
• Very high expectations to deliver after BF4
• A clean slate; we want to do it right!
• PBR on the way but not ready (in the beginning)
12. • Star Wars!
• Learning from the past
• Photogrammetry pushing the boundaries
• A really tight schedule
• If we’re saying 60, we need to be 60
• Keeping it together
Challenges
13. Dev Structure
• 3 month development cycles
• Content development until the end
• Need for 2 week buffer discovered
• Approval lock
• Stabilization
22. Scan everything!..?
• Bridge the gap between scanned characters and their surroundings.
• Make the best looking Star Wars game ever! ..at 60fps
• We have so little time…
26. • Capture the complete asset libraries of all planets.
• Focus and capture only what is essential, not everything we see.
• Capture meaningful variation and features.
• Visit the real film locations for true inspiration and understanding.
Location capture goals
27. • Simple kit (24mm lens, Canon 6D, tripod, color chart, etc)
• Ideal weather conditions
• On-location breakdown
• Thinking in terms of usable pieces
• Aware of Frostbite strengths/weaknesses
• Focus on quality over quantity of captures
Capturing on location
28. A. Dirt ground
B. Leaves and twigs
C. Clover ground
D. Clover leaves
E. Fern large
F. Fern medium
G. Fern small
H. Log large
I. Log medium
J. Log small
K. Tree large
L. Tree medium
M. Tree small
N. Tree stump
O. Vegetation AC
D
B
E
F
G
H
I J
K
L
M N
O
29. • Overlap!!
• Covering all angles to reduce cleanup.
• Avoid cast shadow - ambient light is easily removed later in the process.
• Most reliable results occurred when full asset was visible in most photos.
• Avoid objects with too intricate details.
• Be sure that all capture methods are consistent and clean.
• Prepare yourself and equipment for various conditions – weather can make
the process sloppy and destroy consistent results.
Best practices
58. Successful location scanning
• A small and manageable group with light equipment is ideal.
• Structured and focused on location.
• Absolutely key to connect and understand how to recreate real locations.
59. Managing the data
• Over 100,000 photos to manually sort
• Over 2000 assets to manually review
• Over 14 hours of video to categorize
• Less than ideal storage solution
• A lot of room for improvement here!
62. High Poly
High Poly
Re-Topo
Re-Topo
UV Layout
UV Layout
Texture
Texture
Setup
Setup
0 2 4 6 8 10 12 14 16
BF4
SW:BF
Days Per Asset
High Poly Re-Topo UV Layout Texture Setup
How long does an asset take?
Is Photogrammetry a savings? (Straw Poll)
63. How long does an asset take?
With Automation
High Poly
High Poly
Re-Topo
Re-Topo
UV Layout
UV Layout
Texture Setup
0 2 4 6 8 10 12 14 16
BF4
SW:BF
Days Per Asset
High Poly Re-Topo UV Layout Texture Setup
64. Photogrammetry workflow
• Remove vignette, keep lens distortion.
• Batch calibration to color chart.
• This entire step should be automated!
PS Camera RAW
65. Photogrammetry workflow
• Most assets need to be masked – very time consuming if not automatic.
• Baking at High gave most useable and manageable results for Objects.
• Baking at Ultra gave best results for Terrain – files are huge though.
Agisoft PhotoScan
66. Photogrammetry workflow
• Mosaic rather than Average blend gives much sharper results.
• Shredded UVs – take to Zbrush and reproject, or bake high res.
Agisoft PhotoScan
67. Photogrammetry workflow
• Some assets completely automated in MeshLab.
• Some needed fine tuning in Topogun – ok if very limited asset library.
Topogun / MeshLab
68. Photogrammetry workflow
• Detail textures applied later means UVs demand very little stretching.
• UV direction important for consistent detail texture alignment, sometimes
may need a second UV just for detail tiling.
Maya / UVLayout
70. Photogrammetry workflow
• Object Space Normals used as a mask to remove ambient lighting.
• AO or cavity map for fine tune lighting removal.
XNormal
71. • 16 bit depth is your friend
• Remove as much as possible from camera raw
• Once removed, move on to ambient
• Object space normal maps ftw
Photogrammetry workflow
Light Removal
72. Light Removal
Object Normal
• In this example, shadows are not
so distinct
• Generate an object normal map
• This gives distinct colors for the
different object normals
75. Texel Density
• Graphical representation of a pixel
• An initial pitfall for us
• The following screenshots are 1080p
• Illustrates texture pixel (texel) to screen
pixel ratio
84. Texel Density
• You’d be surprised what you can get away with
• Detail maps are our friends
• Large textures have a very big streaming overhead
• We have an 800mb texture pool on Gen4
• One 8k texture is almost 90mb
Takeaways
85. Texture Arrays
• The photoscanned asset as a base is generally quite low res.
• All environmental assets use a consistent preset shader.
• Planet-specific Texture Array instance shaders add the detail on top.
Object Preset Shader
86. Texture Arrays
• This texture array instance shader is set up for normal, reflectance, and
color.
Texture Array Instance Shader
87. Texture Arrays
• Brightness is painted in 5 even steps (as there are 5 detail textures).
• The order of these layers must correspond to the order in the Array.
Tree Normals (Texture Array mask in Alpha)
Brightness %
0
25
50
75
100
Detail
Leaves
Bark
Burnt Bark
Rock
Moss
88. Texture Arrays
• Detail textures are fading away towards the end of LOD0 with ‘LodFade’.
• LOD1 has a new simplified shader without detail textures.
Texture Array Instance Shader
89. Texture Arrays
• Like most texture assets in Battlefront, we heavily pack into channels.
• The detail texture uses RG for normals, B for Reflectance, A for Color.
Detail Texture within the Texture Array
90. Texture Arrays
• Unique PhotoScan base is surface blurred,
while keeping important details.
• Drastically reduces texture memory.
91. Texture Arrays
• Texture Array tiling detail on top fill in the
details without overpowering the base.
• Drastically increases texture resolution.
92. How do we ensure all assets fit together consistently?
“Old” Asset Creation
QUALITY
TECHEFFORT
Photogrammetry
TECH+TECHNIQUES
QUALITY
EFFORT
“New” Asset Creation
QUALITY
TECHEFFORT
NEEDED
EFFORTTECH+TECHNIQUES
Photoscan vs. Everything Else
93. • Helps us bridge that gap
• Lessons from Criterion, Guerilla Games, Dontnod etc
• Trying to get everyone to switch together can backfire.
• Some people will adapt instantly. Let them lead!
• For PBR, there isn’t really a middle road.
PBR
Quick Thoughts
94. PBR
• Assets generally fit well but still needed to be balanced against the scene.
• Finding and trusting true PBR values at times was a challenge
• Constant reinforcement helps prevent inconsistencies
104. Vegetation
• Reaching 60fps – lets make a dense forest!
• Integrating hand-built vegetation into a PhotoScanned world was tough
to reach comparable quality!
• Difficult to get good results from scanned vegetation – complex and
noisy, resulting in horrible scans.
• Based on photos of vegetation from location captured on blue board.
105. Vegetation
• All vegetation share the same textures
• There are textures created separately for
close up, mid, and far distances.
• There is a lot of texture packing within
vegetation assets to reduce complexity of
shaders.
• Normals created by broadly modelling
around leaves and branches Maya.
106. Vegetation
• Unique PhotoScanned base blends to tiling
texture that extends upwards.
• Tree base is generally evenly tessellated for
best displacement results.
Tiling trunk texture
Unique base texture
107. Terrain/asset blending
• A lot of work put in to reduce the visible
disconnect between assets and terrain.
• Most assets have terrain radiosity
projected on to them.
• Texture Arrays world projected and details
match.
• Terrain color and normals applied to most
assets.
108. Terrain/asset blending
• A lot of work put in to reduce the visible
disconnect between assets and terrain.
• Most assets have terrain radiosity
projected on to them.
• Texture Arrays world projected and details
match.
• Terrain color and normals applied to most
assets.
109. Mesh Displacement
• Great quality boost for close up detail.
• Object displacement stopped at ~7 meters.
• An ongoing balance between quality and
performance.
112. • Ability to define displacement shape (via mask)
• One of our “Must Have” features
• Critical for ATAT footprints
• Terrain Decal Component
• Combined with detail displacement shader
• (More on this a little later)
Tessellation
Heightfield Displacement
113. • Quality vs. Speed ratio is extremely high
• Feel free to get creative
Tessellation and Photogrammetry
Heightfield Displacement
121. Terrain
• 8x8km with a 1x1km playable space.
• Huge background terrain meshes.
• Terrain textures captured from real world.
• Layers limited to control draw calls.
127. Best practices - Terrain
• We aimed for 3x3 meter patches
• 5x5 photo grid ensures enough overlap
• Capture only 1 defined element at a time
• Low ISO and high F-Stop for sharp image
• Avoid noisy surfaces such as grass
128.
129.
130.
131. Terrain Tessellation
• Great quality boost for close up detail on terrain
• Major upgrade for us. Can never go back!
• Terrain displacement stopped at ~15 meters.
134. Level Construction Kits
• Content and documentation packages.
• Provides fast level iteration.
• Shifts focus to building levels rather than
content during Production.
• Allows us to more quickly understand
performance and keep track of it.
135. Level Construction Kits
• 8x8km highly detailed terrain.
• Ready to paint terrain materials.
• Easily accessible limited library of content.
• Lighting presets based on the films.
161. Key learnings and takeaways
• Solid processes and workflows in place before Production was a big win.
• Well planned and structured Photogrammetry trips results in clean and
manageable assets.
• Photogrammetry is not a silver bullet – it was only one part of achieving
the final results in game.
• It was crucial to have artists own and be responsible for their
locations/planets - Consistency is key when working with scanned assets.
• Working towards PBR was an ongoing process to success.
• Much of our creative process was incredibly repetitive, much of which
can and should be automated.
• There was way too much manual labor, with levels being built by brute
force without the help of workflow-improving tools.
162.
163. Special Thanks
John Troive -
Pontus Ryman -
Petter Sköld -
Tim McLeod -
Simon Barsky -
Darko Pracic -
Daniel Cambrand -
Oscar Carlen -
Madina Chionidi -
Björn Arvidsson -
Robert Kihl -
… and of course, the entire Battlefront team at DICE!
Senior Environment Artist
Senior Environment Artist
Senior Environment Artist
Environment Artist
Environment Artist
Environment Artist
Environment Artist
Senior Lighting Artist
Character Artist
Character Artist
Rendering Engineer
164. Thanks!
Andrew Hamilton – Lead Environment Artist
Andrew.Hamilton@dice.se
Kenneth Brown – Technical Art Director
Kenneth.Brown@dice.se
Editor's Notes
Photogrammetry - the science of making measurements from photographs, especially for recovering the exact positions of surface points. Moreover, it may be used to recover the motion pathways of designated reference points located on any moving object, on its components and in the immediately adjacent environment. Photogrammetry may employ high-speed imaging and remote sensing in order to detect, measure and record complex 2-D and 3-D motion fields (see also sonar, radar, lidar, etc.). Photogrammetry feeds the measurements from remote sensing and the results of imagery analysis into computational models in an attempt to successively estimate, with increasing accuracy, the actual, 3-D relative motions within the researched field. (source: Wikipedia)
Photogrammetry - the science of making measurements from photographs, especially for recovering the exact positions of surface points. Moreover, it may be used to recover the motion pathways of designated reference points located on any moving object, on its components and in the immediately adjacent environment. Photogrammetry may employ high-speed imaging and remote sensing in order to detect, measure and record complex 2-D and 3-D motion fields (see also sonar, radar, lidar, etc.). Photogrammetry feeds the measurements from remote sensing and the results of imagery analysis into computational models in an attempt to successively estimate, with increasing accuracy, the actual, 3-D relative motions within the researched field. (source: Wikipedia)
A detailed breakdown of our step-by-step workflow can be found here.
Align photos.
Generate point cloud.
Generate highpoly mesh.
Generate/project textures.
Opportunity to change the way we think and create content
Available manpower (artists transitioning from BF4)
Photogrammetry can make great high res, largely organic assets
We still need man (alien?) made asset
We need to significantly increase our efficiency
Let’s look at were we are and re-evaluate everything we know. Nothing is off limits.
Today we’ll discuss some of the software we settled on
The beginnings of photogrammetry with Battlefield 4
An example of the range of captured assets from the Lucas archives.
An example of the range of captured assets from the Lucas archives.
Supporting scanned assets with other tools such as Marvellous Designer
Hard-Surface materials created with traditional methods
An example of the level of detail we’re able to get with combining photoscan with new (to us) software.
An example of the level of detail we’re able to get with combining photoscan with new (to us) software.
An example of the ingame assets using the combination of techniques.
A screenshot from Battlefield: Armored Kill that was considered ‘realistic’ during its time…
…to a screenshot from Star Wars: Battlefront, using photogrammetry on a very limited number of selective content to build up a realistic environment
A slideshow of locations we have visited on scanning trips, for a quick glimpse into the range and variety of settings at our disposal.Iceland
Iceland
Death Valley, USA
Utah, USA
Death Valley, USA
National Redwood Forests , USA
National Redwood Forests , USA
Finse, Norway
Finse, Norway
Iceland
Iceland
Iceland
A small selection from our large library of scanned materials that would be used for Sullust terrain surfaces
A small selection from our large library of scanned materials that would be used for Tatooine terrain surfaces
A small selection from our large library of scanned materials that would be used for Endor terrain surfaces
A small selection from our large library of scanned materials that would be used for Hoth terrain surfaces
A small selection from our large library of scanned materials that would be used for Hoth terrain surfaces
Vegetation and ground scattering assets captured on a blue board for easy background extraction
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
An example of a scanned asset, showing how intentionally generic and tilable they are.
Opportunity to change the way we think and create content
Available manpower (artists transitioning from BF4)
Opportunity to change the way we think and create content
Available manpower (artists transitioning from BF4)
Data taken from a cross sampling of content creator disciplines. Straw poll – not necessarily accurate 1:1, but representative of reality.
A basic step by step guide through the Photogrammetry workflow
A basic step by step guide through the Photogrammetry workflow
A basic step by step guide through the Photogrammetry workflow
A basic step by step guide through the Photogrammetry workflow
A basic step by step guide through the Photogrammetry workflow
A basic step by step guide through the Photogrammetry workflow
A basic step by step guide through the Photogrammetry workflow
Shadows
Need to mask out shadows
Super important to have 16 bit depth
Before that, remove as much as possible from the camera raw (shadow slider photoshop camera raw plugin)
Create mask from what’s dark.
Flatten luminance in the colors first
Shadows tend to be colder, so you can use color to grab them.
Once you’ve gotten the shadows removed, you can treat it like something that’s been captured overcast
Get rid of ambient light
Two ways
Use the normal map (baked out in object space) to get the angle.
Use the occlusion, baked from the geometry.
Also need to use the mask to remove the color (bounced light)
Overcast is best
Let’s look at other aspects of the asset creation
Texel refers to the graphical representation of a pixel on a 2d object (eg. a texture). Basically, when you look at a pixel of a texture rendered on a 3d model, you are looking at a“texel”.
In this shot ~25x’s more pixels available than the screen can render.
Mips always try to keep a 1:1 ratio. So detail will get mipped away anyways!
Not only is this extremely close for 1p, it’s an even more extreme distance for 3p. At this resolution, there is certainly an absolute difference in quality, but a trivial relative difference in quality.
To give you a sense of the memory impact (and subsequent streaming impact) that this has.
The quality of these assets are great. This just reinforces what we’ve been saying – focus on the craftsmanship. More resolution isn’t what’s going to make these assets look better – the overall quality of the asset is what’s going to sell it.
In this example, the multiply node is set to a factor of 4, give a range from 0-4 (or 5 distinct integers). Color information (only greyscale though) is stored in the alpha.
- Anything we can do to increase efficiency
PBR is a talk in and of itself, but there a few things worth mentioning.
Render passes that compose the final image
Render passes that compose the final image
Render passes that compose the final image
Render passes that compose the final image
Render passes that compose the final image
Render passes that compose the final image
Render passes that compose the final image
Render passes that compose the final image
Render passes that compose the final image
Battlefield titles extensively used WorldMachine for the terrain, but we needed to support our up-close Photoscanned assets with realistic landscape in the distance
We instead complemented Photoscanned assets with real-world landscape data
The square in the middle represents the 8x8km Frostbite terrain, where mesh extends the backdrop a further 50km in all directions
Example of a scanned surface
Example of a scanned surface
Example of a scanned surface
A Level Construction Kit was created for each planet or biome
LCK video
This scene appears to be comprised of many elements with much variation…
…but it is only comprised of a very limited amount of generic assets that work well to populate a large area without appearing repetitive.
This scene appears to be comprised of many elements with much variation…
…but it is only comprised of a very limited amount of generic assets that work well to populate a large area without appearing repetitive.
This scene appears to be comprised of many elements with much variation…
…but it is only comprised of a very limited amount of generic assets that work well to populate a large area without appearing repetitive.
This scene appears to be comprised of many elements with much variation…
…but it is only comprised of a very limited amount of generic assets that work well to populate a large area without appearing repetitive.
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits
A slideshow showing the variety of locations in Star Wars: Battlefront, created with a limited set of assets using the Level Construction Kits