This document describes a real-time radiosity architecture called Enlighten that was integrated into the Frostbite game engine. Enlighten uses a separate lighting pipeline that precomputes light transport with a single bounce and feedback to generate lightmaps and lightprobes. At runtime, it asynchronously generates radiosity on the CPU and combines direct and indirect lighting on the GPU. This allows Frostbite to have dynamic global illumination while maintaining visual quality and performance on consoles and PCs.
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)
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.
Past, Present and Future Challenges of Global Illumination in GamesColin Barré-Brisebois
Global illumination (GI) has been an ongoing quest in games. The perpetual tug-of-war between visual quality and performance often forces developers to take the latest and greatest from academia and tailor it to push the boundaries of what has been realized in a game product. Many elements need to align for success, including image quality, performance, scalability, interactivity, ease of use, as well as game-specific and production challenges.
First we will paint a picture of the current state of global illumination in games, addressing how the state of the union compares to the latest and greatest research. We will then explore various GI challenges that game teams face from the art, engineering, pipelines and production perspective. The games industry lacks an ideal solution, so the goal here is to raise awareness by being transparent about the real problems in the field. Finally, we will talk about the future. This will be a call to arms, with the objective of uniting game developers and researchers on the same quest to evolve global illumination in games from being mostly static, or sometimes perceptually real-time, to fully real-time.
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.
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.
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.
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)
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.
Past, Present and Future Challenges of Global Illumination in GamesColin Barré-Brisebois
Global illumination (GI) has been an ongoing quest in games. The perpetual tug-of-war between visual quality and performance often forces developers to take the latest and greatest from academia and tailor it to push the boundaries of what has been realized in a game product. Many elements need to align for success, including image quality, performance, scalability, interactivity, ease of use, as well as game-specific and production challenges.
First we will paint a picture of the current state of global illumination in games, addressing how the state of the union compares to the latest and greatest research. We will then explore various GI challenges that game teams face from the art, engineering, pipelines and production perspective. The games industry lacks an ideal solution, so the goal here is to raise awareness by being transparent about the real problems in the field. Finally, we will talk about the future. This will be a call to arms, with the objective of uniting game developers and researchers on the same quest to evolve global illumination in games from being mostly static, or sometimes perceptually real-time, to fully real-time.
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.
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.
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.
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.
Optimizing the Graphics Pipeline with Compute, GDC 2016Graham Wihlidal
With further advancement in the current console cycle, new tricks are being learned to squeeze the maximum performance out of the hardware. This talk will present how the compute power of the console and PC GPUs can be used to improve the triangle throughput beyond the limits of the fixed function hardware. The discussed method shows a way to perform efficient "just-in-time" optimization of geometry, and opens the way for per-primitive filtering kernels and procedural geometry processing.
Takeaway:
Attendees will learn how to preprocess geometry on-the-fly per frame to improve rendering performance and efficiency.
Intended Audience:
This presentation is targeting seasoned graphics developers. Experience with DirectX 12 and GCN is recommended, but not required.
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.
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.
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.
A technical deep dive into the DX11 rendering in Battlefield 3, the first title to use the new Frostbite 2 Engine. Topics covered include DX11 optimization techniques, efficient deferred shading, high-quality rendering and resource streaming for creating large and highly-detailed dynamic environments on modern PCs.
For Battlefield 3, DICE took on its most difficult challenge so far. To raise the bar for character quality in games we developed our own deformation rig, combined it with the powerful ANT animation system (used in FIFA) and extensive motion capture usage. To create a believable experience we built and managed enormous amount of assets and ways of keeping these organized. The rigging process was one of the most challenging aspects of production, with the smallest change requiring an update for almost every single asset. With a modular rigging system and a flexible animation pipeline the production team could deliver on time and quality.
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.
Siggraph2016 - The Devil is in the Details: idTech 666Tiago Sousa
A behind-the-scenes look into the latest renderer technology powering the critically acclaimed DOOM. The lecture will cover how technology was designed for balancing a good visual quality and performance ratio. Numerous topics will be covered, among them details about the lighting solution, techniques for decoupling costs frequency and GCN specific approaches.
This keynote explores the development of the AI in Battlefield: Bad Company and Battlefield: Bad Company 2 and what caused the difference in quality between the games. It describes challenges in the development of the games and the design philosophies we used to overcome them.
See http://publications.dice.se for the .ppt file and extra movies.
Presentation from DICE Coder's Day (2010 November) by Andreas Fredriksson in the Frostbite team.
Goes into detail about Scope Stacks, which are a systems programming tool for memory layout that provides
• Deterministic memory map behavior
• Single-cycle allocation speed
• Regular C++ object life cycle for objects that need it
This makes it very suitable for 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.
Optimizing the Graphics Pipeline with Compute, GDC 2016Graham Wihlidal
With further advancement in the current console cycle, new tricks are being learned to squeeze the maximum performance out of the hardware. This talk will present how the compute power of the console and PC GPUs can be used to improve the triangle throughput beyond the limits of the fixed function hardware. The discussed method shows a way to perform efficient "just-in-time" optimization of geometry, and opens the way for per-primitive filtering kernels and procedural geometry processing.
Takeaway:
Attendees will learn how to preprocess geometry on-the-fly per frame to improve rendering performance and efficiency.
Intended Audience:
This presentation is targeting seasoned graphics developers. Experience with DirectX 12 and GCN is recommended, but not required.
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.
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.
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.
A technical deep dive into the DX11 rendering in Battlefield 3, the first title to use the new Frostbite 2 Engine. Topics covered include DX11 optimization techniques, efficient deferred shading, high-quality rendering and resource streaming for creating large and highly-detailed dynamic environments on modern PCs.
For Battlefield 3, DICE took on its most difficult challenge so far. To raise the bar for character quality in games we developed our own deformation rig, combined it with the powerful ANT animation system (used in FIFA) and extensive motion capture usage. To create a believable experience we built and managed enormous amount of assets and ways of keeping these organized. The rigging process was one of the most challenging aspects of production, with the smallest change requiring an update for almost every single asset. With a modular rigging system and a flexible animation pipeline the production team could deliver on time and quality.
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.
Siggraph2016 - The Devil is in the Details: idTech 666Tiago Sousa
A behind-the-scenes look into the latest renderer technology powering the critically acclaimed DOOM. The lecture will cover how technology was designed for balancing a good visual quality and performance ratio. Numerous topics will be covered, among them details about the lighting solution, techniques for decoupling costs frequency and GCN specific approaches.
This keynote explores the development of the AI in Battlefield: Bad Company and Battlefield: Bad Company 2 and what caused the difference in quality between the games. It describes challenges in the development of the games and the design philosophies we used to overcome them.
See http://publications.dice.se for the .ppt file and extra movies.
Presentation from DICE Coder's Day (2010 November) by Andreas Fredriksson in the Frostbite team.
Goes into detail about Scope Stacks, which are a systems programming tool for memory layout that provides
• Deterministic memory map behavior
• Single-cycle allocation speed
• Regular C++ object life cycle for objects that need it
This makes it very suitable for games.
Talk from SIGGRAPH 2010 and the <a />Beyond Programmable Shading course</a>
Also see <a />publications.dice.se</a> for more material and other DICE talks.
By Kristoffer Benjaminsson, CTO, Easy.
This talk presents the telemetry system used in Battlefield Heroes and how it helps the team make technical decisions in order to provide the best service possible. We will show real life examples of how telemetry helped improve matchmaking, reduce latency for players and help find false alarms from the cheat detection system. We will also discuss how telemetry can be used in development for catching bugs and support game designers in their work.
This session presents a detailed programmer oriented overview of our SPU based shading system implemented in DICE's Frostbite 2 engine and how it enables more visually rich environments in BATTLEFIELD 3 and better performance over traditional GPU-only based renderers. We explain in detail how our SPU Tile-based deferred shading system is implemented, and how it supports rich material variety, High Dynamic Range Lighting, and large amounts of light sources of different types through an extensive set of culling, occlusion and optimization techniques.
Presentation from DICE Coder's Day (2010 November) by Johan Torp:
This talk is about making object-oriented code more cache-friendly and how we can incrementally move towards parallelizable data-oriented designs. Filled with production code examples from Frostbite’s pathfinding implementation.
With the highest-quality video options, Battlefield 3 renders its Screen-Space Ambient Occlusion (SSAO) using the Horizon-Based Ambient Occlusion (HBAO) algorithm. For performance reasons, the HBAO is rendered in half resolution using half-resolution input depths. The HBAO is then blurred in full resolution using a depth-aware blur. The main issue with such low-resolution SSAO rendering is that it produces objectionable flickering for thin objects (such as alpha-tested foliage) when the camera and/or the geometry are moving. After a brief recap of the original HBAO pipeline, this talk describes a novel temporal filtering algorithm that fixed the HBAO flickering problem in Battlefield 3 with a 1-2% performance hit in 1920x1200 on PC (DX10 or DX11). The talk includes algorithm and implementation details on the temporal filtering part, as well as generic optimizations for SSAO blur pixel shaders. This is a joint work between Louis Bavoil (NVIDIA) and Johan Andersson (DICE).
Slides from Elisabetta Silli's talk in the GDC Europe 2010 panel about level design.
Movie content can be found on:
http://publications.dice.se
Part designer, part producer, programmer and artist, what is it that makes a level designer effective? The short answer: knowing how to balance all of these roles to maximum effect! This session will examine situations from three AAA games, and the specific challenges they brought about and the solutions required to surmount them. Are level design approaches for radically different games inherently similar, or do accepted methods need to be drastically altered to fit the unique nature of the project? An examination of Alan Wake, Mirror's Edge, and Brink will help answer this question, and many others.
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.
"Computing systems for AI workloads have evolved towards data-center clusters of GPUs and TPUs, with architectures optimized for performing linear algebra and tunable for variable precision. As new AI paradigms emerge, more distinct divergence between hardware architectures for powering AI and other workloads are observed. GPU manufacturers are developing different architectures and chipsets for the HPC/supercomputing, cloud, edge computing, and robotics domains. FPGA vendors are also joining this ecosystem (e.g., Intel FPGAs deployed within Microsoft Azure). Moving forward, many industries and services ranging from cloud computing to consumer electronics are making hardware-accelerated AI a prominent component in their portfolio.
In this talk, some examples of AI hardware architectures and available silicon technologies will be presented. The concept of co-design will be discussed. This makes the unique needs of an application domain transparent to the hardware design process. Finally, an overview of design automation tool flows will be presented to gain an understanding of how to support a high productivity framework for domain experts to design and deploy AI hardware."
Many emerging applications require methods tailored towards high-speed data acquisition and filtering of streaming data followed by offline event reconstruction and analysis. In this case, the main objective is to relieve the immense pressure on the storage and communication resources within the experimental infrastructure. In other applications, ultra low latency real time analysis is required for autonomous experimental systems and anomaly detection in acquired scientific data in the absence of any prior data model for unknown events. At these data rates, traditional computing approaches cannot carry out even cursory analyses in a time frame necessary to guide experimentation. In this talk, Prof. Ogrenci will present some examples of AI hardware architectures. She will discuss the concept of co-design, which makes the unique needs of an application domain transparent to the hardware design process and present examples from three applications: (1) An in-pixel AI chip built using the HLS methodology; (2) A radiation hardened ASIC chip for quantum systems; (3) An FPGA-based edge computing controller for real-time control of a High Energy Physics experiment.
Design and Performance Analysis of Grid Connected Solar PV system using PV-sy...BILAL ALAM
PV syst software is one of the oldest software, developed by the university of Geneva, in 1992
In 1992, he started to develop the PV syst software for case study and simulation of the photovoltaic system . he develops a tool for the 3D shading constructions, the simulation of stand alone and Grid connected PV system
How to create innovative architecture using VisualSim?Deepak Shankar
In this presentation, we will get you started on using VisualSim Architect to conduct performance analysis, power measurement and functional validation. You will learn advanced concepts of system modeling and how to apply VisualSim Architect for a variety of applications.
Highlights include the application for both System-on-Chip and Large Systems including Designing memory interfaces using DDR3 and LPDDR3.
VisualSim Architect is used by systems and semiconductor companies to validate and analyze the specification of the product. The environment offers an easy-to-use methodology, huge library of technology components, extremely fast simulator and a huge reports list.
How to create innovative architecture using ViualSim?Deepak Shankar
In this presentation, we will get you started on using VisualSim Architect to conduct performance analysis, power measurement and functional validation. You will learn advanced concepts of system modeling and how to apply VisualSim Architect for a variety of applications.
Highlights include the application for both System-on-Chip and Large Systems including Designing memory interfaces using DDR3 and LPDDR3.
VisualSim Architect is used by systems and semiconductor companies to validate and analyze the specification of the product. The environment offers an easy-to-use methodology, huge library of technology components, extremely fast simulator and a huge reports list.
Please find our webinar video - How to create innovative architecture using ViualSim? at the last slide.
How to create innovative architecture using VisualSim?Deepak Shankar
In this presentation, we will get you started on using VisualSim Architect to conduct performance analysis, power measurement and functional validation. You will learn advanced concepts of system modeling and how to apply VisualSim Architect for a variety of applications.
Highlights include the application for both System-on-Chip and Large Systems including Designing memory interfaces using DDR3 and LPDDR3.
VisualSim Architect is used by systems and semiconductor companies to validate and analyze the specification of the product. The environment offers an easy-to-use methodology, huge library of technology components, extremely fast simulator and a huge reports list.
Deep learning in python by purshottam vermaRohit malav
In this chapter, you'll become familiar with the fundamental concepts and terminology used in deep learning, and understand why deep learning techniques are so powerful today. You'll build simple neural networks and generate predictions with them.
Optimization of Electrical Machines in the Cloud with SyMSpace by LCMcloudSME
Presented at NAFEMS DACH regional conference for numerical simulation methods by LCM and cloudSME in Wiesbaden on the 14th of November 2019.
The Linz Center of Mechatronics GmbH showcased how they easily optimize electrical drive engines in the cloud.
We supported LCM to work out the right cloud-based service solutions for their customers based on their existing software. By respecting the latest developments in the industry and science, including security and privacy compliance and hosting flexibility (free choice of data centre, no vendor lock-in).
Check out their cool System Model Space "SyMSpace" for electrical drive engines and trusted by industrial partners! (https://bit.ly/2CKGphb) #poweredbycloudSME
Yes, Cloud Computing is offering a broad range of actions and can be confusing. You want to dig deeper?
Write us an email or give us a call so that we can work out how to approach the perfect cloud solution for your needs.
Developing and optimizing a procedural game: The Elder Scrolls Blades- Unite ...Unity Technologies
The Elder Scrolls Blades strove to produce high-quality visuals on modern mobile devices. This talk will describe the challenges of achieving that level of quality in procedurally generated 3D environments.
Speakers:
Simon-Pierre Thibault - Bethesda Game Studios
Sergei Savchenko - Bethesda Game Studios
Watch the session here: https://youtu.be/KbxiGH6igBk
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.
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.
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.
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.
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.
Talk by Johan Andersson (DICE/EA) in the Beyond Programmable Shading Course at SIGGRAPH 2012.
The other talks in the course can be found here: http://bps12.idav.ucdavis.edu/
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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.
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."
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.
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
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
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
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/
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
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.
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 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.
1. A Real Time Radiosity Architecture
for Video Games
Sam Martin, Per Einarsson
Geomerics, EA DICE
2. Radiosity Architecture
• Hot topic: real time radiosity
– Research focus on algorithms
– Several popular “categories” of algorithm
• Architecture
– Structure surrounding the algorithm
– Use case: Integration in Frostbite 2
4. Overview: Goals And Trade-offs
• XBox360, PS3, Multi-core PCs
Target current
consoles
• Cost and quality must be scalable
Flexible toolkit, not
fixed solution
• Cannot sacrifice VQ for real time
Maintain visual quality
• Physically based but controllable
“Believability” over
accuracy
5. Four Key Architectural Features
1. Separate lighting pipeline
2. Single bounce with feedback
3. Lightmap output
4. Relighting from target geometry
7. Enlighten Pipeline
Precompute
• Decompose scene into systems
• Project detail geometry to target geometry for relighting
• Distill target shape for real time radiosity
Runtime
• Render direct lighting as usual (GPU)
• Asynchronously generate radiosity (CPU)
• Combine direct and indirect shading on GPU
8. Runtime Lighting Pipeline
On target mesh
On detail mesh
+ indirect specular
Standard lighting
Point-sampled
input to Enlighten
Point
Spot
Directional
Environment
Area
User-specified
+ radiosity from
previous frame
Direct Light
Sources
Final GPU composite
17. Detail Geometry
UVs generated by projection
No additional lighting data
“Off-axis” lighting comes from
directional data in lightmap
Does not interact with radiosity
21. Motivation
• Why real-time radiosity in Frostbite?
- Workflows and iteration times
- Dynamic environments
- Flexible architecture
22. Precompute pipeline
1. Classify static and dynamic objects
2. Generate radiosity systems
3. Parametrize static geometry
4. Generate runtime data
23. 1. Static & dynamic geometry
• Static objects receive and bounce light
- Uses dynamic lightmaps
• Dynamic object only receive light
- Samples lighting from lightprobes
Mesh classification Underlying geometry Transferred lighting
Input scene
24. 2. Radiosity systems
• Processed and updated in parallel
• Input dependencies control light transport
• Used for radiosity granularity
Systems Input dependencies
25. 3. Parametrization
Automatic uv projection System atlases
• Static meshes uses target geometry
- Target geometry is used to compute radiosity
- Project detail mesh onto target mesh to get uvs
• Systems packed into separate uv atlases
26. 4. Runtime data generation
Distributed precompute pipeline generates runtime datasets for dynamic radiosity updates
• One dataset per system (streaming friendly)
• Distributed precompute with Incredibuild’s XGI
• Data dependent on geometry only (not light or albedo)
•
27. Rendering
• Separate direct light / radiosity pipeline
- CPU: radiosity
- GPU: direct light & compositing
• Frostbite uses deferred rendering
- All lights can bounce dynamic radiosity
• Separate lightmap / lightprobe rendering
- Lighmaps rendered in forward pass
- Lightprobes added to 3D textures and rendered deferred
28. Runtime pipeline
1) Radiosity pass (CPU)
Update indirect lightmaps & lightprobes
Lift lightprobes into 3D textures
2) Geometry pass (GPU)
Add indirect lightmaps to separate g-buffer
Use stencil buffer to mask out dynamic objects
3) Light pass (GPU)
Render deferred light sources
Add lightmaps from g-buffer
Add lightprobes from 3D textures
36. Bonus Extras! Enlighten Future
• Replace lightmaps?
• Shift more towards data parallel?
• Incremental update vs fixed cost?
• Split lighting integral by distance?
Editor's Notes
Hello various rendering dudes.
“Hello, I’m Per.”
“Hello, I’m Sam.”
Etc.
We (DICE and Geomerics) have been working together to incorporate Enlighten2 into Frostbite engine. The experience shaped the development of both Enlighten and Frostbite, and the resulting architecture and workflows are what we intend to discuss today.
INTRODUCTION (Sam)
Radiosity has always been an exciting topic! There are a massive number of papers on the subject.
In recent years we have seen a focus on fully dynamic “real time” solutions, primarily GPU based ones (e.g. Crytech, LPB2 (Evans), VPL-based, “instant radiosity”, etc)
Probably fair to say most focus has been on finding new novel algorithms.
The sheer number of papers that exist gives a near-continuum of algorithmic options, in which we can see some common categories of algorithms emerging as clusters. (eg. Photon-mapping, VPLs, voxel-grid based methods).
This talk is less about demonstrating an algorithm and more about discussing the surrounding architecture and its use in practice.
What do I even mean by radiosity architecture?
Structure within which the algorithms operate – independent of algorithm to some degree
“Dual” to algorithmic category in some sense.
Enlighten undergoes regular algorithmic changes, but structure static.
Key point for this talk is that the architecture is itself a very power tool, which I will illustrate with examples
Should become clear as I describe it.
DICE and Geomerics have been working together since close to the birth of Enlighten. The integration into Frostbite showcases the use of real time radiosity.
We will describe how our pipeline & runtime have been set up to work with Enlighten. Show the workflows we have created to use dynamic radiosity.
AGENDA
(Quick slide - outline rest of talk.)
Essentially me then Per.
I do an overview and talk about Enlighten and its architecture.
Per then demonstrates how Enlighten was integrated into Frostbite.
ENLIGHTEN OVERVIEW 1/2
Summary of what Enlighten is trying to achieve. This is reflected in the architectural decisions we made.
If you change these you will get a different outcome.
Current console cycle - constrained by hardware
GPU not so powerful and over-utilitised already.
Main feedback we got from pre-release versions of Enlighten was that the GPU wasn’t a viable resource
Plus DX9-class hardware constrains algorithmic options
Memory also very limited. Multi-core is clearly best target.
Wide range of abilities between the 3 targets though – scalability is vital.
Always trading off quality with flexibility
Offline – great quality, terrible iteration time, not real time
Real time without precomputation – low quality, great iteration and gameplay
Enlighten2 is a midpoint
Some pre-processing, so lighting does not fully reflect moving geometry.
Focusing on good quality, scalability and flexibility, not fully dynamic at all costs.
Frostbite
Wanted a lighting solution with fast iteration times / support for dynamic environments.
Previous static techniques gave great results, but painful to wait for lightmaps to build.
Give artist more creative freedom...
Art controls
Many points at which artists can add value.
End goal is always beautiful, emotive, believable images. Not physical realism.
Allow control over all aspects of indirect lighting – not hardwired to direct lights.
Per-light indirect scales/colouring
Global direct/indirect balance and tonemapping
ENLIGHTEN DECISIONS
These are the 4 key architectural features I’d like to dig into further today.
Separate lighting pipeline: Radiosity calculated independently of and asyncronously to rendering engine.
Lightmaps: Compact, controllable and cacheable indirect lighting representation
Target geometry: Separate lighting resolution from geometric detail
Single bounce: Big algorithmic simplification
Will now walk through each in turn.
Will use this asset as an example.
It’s similar to the sponza atrium, built internally and shipped in our SDK.
ENLIGHTEN INTRO 2/2
Pre-process static geometry
Enlighten attempts to put as much magic into this as possible. Essentially a problem-distillation stage.
Details to be aware of now:
Break up scene into systems – locally solveable problems but provide global solution.
1 system == 1 output lightmap
Also setup relighting information – will cover this in more detail
Precomputing information is a tough compromise to make, but very important to getting near-to-offline lighting quality.
Runtime
Our runtime separates indirect lighting work from direct lighting work.
Direct lighting is done on the GPU as usual
Indirect lighting is done on the CPU (current best place for target platforms)
Both can run asyncronously.
Previous cached output is always available – GPU just composites with the latest results off the carousel.
Think of two processes, whirring away asyncronously from each other.
Separation is not just an optimisation – also allows a lot of creative freedom different integration options
LIGHTMAP OUTPUT 2/2
We shall walk through an example shot in our runtime pipeline.
Note the split of direct and indirect lighting paths, with the dependence on a common description of the lighting in the scene.
This is the traditional direct lighting in this shot. It’s a simple cascade shadow map based directional light.
The choice of light and its implementation is essentially arbitrary.
Note the lack of direct environment lighting. Environment lighting (and other area lights) are handled entirely within Enlighten.
This is the corresponding input to Enlighten.
The core runtime component of Enlighten maps a point sampled description of the lighting over the target mesh surface, to a lightmap or lightprobe output.
Anything you can express in these terms is valid input to Enlighten.
We provide several fast paths for common light types. Directional lights with precomputed visibility is one of these options, which we use in this example. This provides a fast efficient method of generating the input lighting that does not require any interaction with the GPU-rendered sunlight, although we could have chosen to point sample that lighting instead.
You may note that as well as the directional light, there is also radiosity lighting in the point sampled data. This is the previous lightmap output being fed to enlighten as an input light to generate a second bounce. This is how we generate multiple bounces. I’ll return to this later on.
This shot shows the “target” mesh for this scene, with the point-sampled lightmap output generated for the previous input.
This is in some sense the raw lightmap output from Enlighten, before any interpolation, albedo modulation or directional relighting is applied.
Note how low resolution the output is. You can see the effect of the skylight (blue) and the bounced directional light.
Although low detail this resolution captures the essence of the indirect lighting. Significant soft shadows are present, and the lighting gradients can be seen quite clearly.
This shows exactly the same lighting data, but applied to the detailed geometry, together with normal maps and indirect specular.
Note how much the basic lightmap output gives you when taken together with these relighting additions.
In particular, hardware interpolation gives you a lot as long as your output is very ‘clean’. This cleanness is important - we scale linearly with output texels, so each texel really has to work for it’s place in the lightmap. If you want a very dense output format, as we have, you can’t afford noise.
Much of the detail is filled in by the off-axis relighting. Simple variation in normals gives you a lot of lighting variation.
There are multiple output formats for Enlighten. This particular screenshot is using our “directional irradiance” technique which is a mid point between a full spherical output (e.g. Spherical harmonics – complete spherical lighting data) and direction-less irradiance (the other 2 output options).
The specular effect is a simple ‘imaginary’ specular effect generated in the final shader. Think of it as a phong specular model parametised by the strongest lighting direction. You only get one specular highlight, but your eye is very intolerant to errors in specular term. Believable specular results are far easier to obtain than “accurate” ones. So we prefer to give as much control to the user/artist as possible here.
And here we see the final composite.
This was a brief introduction to our runtime radiosity pipeline. Per will talk through its use in Frostbite later on.
Want to move to the second of my architecture points: the modelling of a single bounce...
ENLIGHTEN SINGLE BOUNCE 1/1
This is a big algorithmic simplication, and when running in realtime, doesn’t actually lose you anything.
Infinite bounces through feedback loop
“The Right Way” at 60fps
Key point
All terms in lighting become separable
Easy dynamic albedo
Much simpler to compute and compress
There are some very elegant methods for computing the fully converged integral (based around S = (1-T)^-1), and if you never intended to update some aspect of that solution, this might be the best option. But in practice you are always generating more than one solution.
With one bounce you don’ t have any cross terms. For instance, the surface albedo is now separable – essentially just a diagonal matrix you multiply your input lighting by. So any precomputation you do is now independent of the surface albedo, so you are free to update it in realtime. Similarly, the transfer coefficients are much simpler to calculate. This also leave the door open to recalculating them on the fly.
Convergence is quick. 4 bounces at 60fps =>4*1000/60 = 66 ms. You can’t see this in practice. The decoupled direct lighting also helps you. Even if there is a lag, your direct lights are always lag-free. It’s harder to perceive the lag in indirect lighting in this setting, and only becomes apparent with momentary light sources (grenades, muzzle flash, etc).
ENLIGHTEN LIGHTMAPS 1/2
The word “Lightmap” does tend to conjure up images of large pages of memory-hogging textures.
Enlighten lightmaps are actually really very small and very densely packed – there is very little wastage.
Memory footprint and bandwidth are low.
Primarily comes from only storing indirect lighting, and using target geometry to simplify the uv surface area.
The target mesh lightmap is no longer a 1-1 mapping of the original detailed surface. The low numbers of charts allow us to get very high coverage.
We support a number of different output texture formats that all share the same layout. So you can swap algorithms easily.
As well as cheap interpolation, the key properly lightmaps give us a cacheable output. This is in contrast to many gpu solutions that are temporary or view-frustum only.
This property gives us a wide range of scalability options. This is the real key point. Extremely valuable in practice.
First if you consider the different kinds of lighting environment you might encounter in a video game it becomes more apparent why this is helpful:
Outdoor time-of-day lighting
Sun motion triggers global lighting update
Sun moves slowly – stagger updates across frames
(lots of work but do it gradually)
Intimate indoor lighting
More detailed, rapidly updating lighting
Restricted visibility – only update visible areas
(need lower latency but achievable by culling)
A zero-order integration
Only update lightmaps in offline editor
Target any platform that supports textures (wii, etc)
“Parametised” lighting descriptions
Used in some MMOs
Compute radiosity on load, or only update on world events
(Just doing the work when required)
TARGET GEOMETRY 2/4
Lets take a closer look at the target/detail mesh projection.
Want to capture lighting at the resolution we choose, then relight other geometry from there.
This is the target geometry authored for our arches scene.
It’s very basic. The key thing is to get a mesh that has a simple uv surface area (low chart counts).
The tri count is not important.
Collision geometry or a low LOD is usually a good starting point.
TARGET GEOMETRY 3/4
This is the detail geometry with the lighting from the target mesh lifted onto it.
The lifting operation is actually an offline mesh-to-mesh projection. Deliberately simple.
There is no need to author uvs for the detail geometry. These are generated during the projection.
Rather cool property – easy to author simple target geometry. Skip uv authoring on complex detail geometry.
Extra authoring overhead, but simple geometry and we also provide uv tools.
Not an exact science - reasonably tolerant to mistakes.
TARGET GEOMETRY 4/4
Here’s an example projection. The yellow chart is from the detail mesh and has been projected to the pink/red target mesh. Note the generated uvs in the 2D inset correspond to the 3D location.
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The projection itself is done as part of the precompute.
Here we can see the packed uvs for the target mesh with one particular chart highlighted (in pink in 3D and red in 2D), and a single detail chart (in yellow) also highlighted. The detail mesh has uvs that sample a small section of the target mesh uvs.
By computing a projection from the detail mesh vertex positions to the target mesh geometry we can generate a set of uvs for the detail mesh.
It’s a (fairly simple) 3D projection based on the shape of each piece of geometry. The UV projection is then inferred from the 3D projection.
Note that no actual simplified geometry is generated during the process – no CSG ops, mesh reduction or other complex stuff. We are deliberately keeping it as simple as possible.
Also note that “lifting” lighting from one mesh to another is just an offline uv generation problem. At runtime there is no difference between rendering a detail or target mesh – they both sample from the same data.
There are further implementation detais regarding handling of overhanging geometry, mesh instances, authoring controls and so on. Which we won’t have time to cover today.
To recap, these are the 4 architectural features we’ve just covered.
<summarise key points of each>
I’ll now hand over Per to discuss their use in Frostbite...
So I’m going to go through how we’ve set up the Frostbite Engine to run with Enlighten and how our pipeline and runtime support this architecture. But first I’m going to talk about why we started to work with Geomerics, and why we decided to go for a real-time radiosity solution in Frostbite.
So why do we want real-time radiosity in a game engine? For us the main argument was to improve the workflows and iteration times.
We’ve been working with traditional lightmap techniques at Dice, and even if the results can look amazing in the end, it was just a very painful way of creating content . It’s not unusual that artists spend hours waiting for lightmap renders to finish. So we though, if artist can spend their time working on actually lighting the game instead of waiting for lightmaps to compute, then perhaps the end results will look more interesting?
Another main argument is to support for dynamic environments. Video games are becoming more dynamic, so if we change the lighting in the game, we should also be able to update the bounce light dynamically.
And finally, the architecture that came out of integrating Enlighten into Frostbite turned out to be pretty flexible. The direct and indirect lighting pipeline is completely separate, so the architecture is pretty robust to general changes to the rendering engine.
Before we can run the game with dynamic radiosity, we have to do a few things in our precompute pipeline.
I’ll go through these steps one by one.
Enlighten provides two ways of representing the bounce light. Either via lightmaps, or via lightprobes. The first thing we do is to decide how each object should be lit.
Static geometry is parameterized and lit with dynamic lightmaps. This geometry can bounce light, and is typically large objects that don’t move.
Dynamic objects can only receive bounce light by sampling lightprobes, so they are typically moving around in the scene or just small and don’t affect the lighting to much themselves.
In this scene you can see how we’ve separated static and dynamic objects. The underlying geometry is used to bounce light, which is then transferred to all objects in the scene.
One of the key features in Enlighten is to group objects into systems. A system is a collection of meshes that can be processed independently, and this really makes the radiosity a more local problem. Each system can be processed in parallel, the precompute can be distributed and runtime updates can be separated.
We automatically define input dependencies to each system system, which is a way to put restrictions on the light transport. So when we update the yellow system here, we only read bounce light from the green systems and we can forget about the rest.
We also use systems to control update performance. Large systems will have many pixels and it will take longer to compute, so by creating many small systems, we can spread out radiosity updates on several frames if we like. We typically update one system per CPU core every frame.
We need to parameterize the world to get lightmaps uvs, and we do this semi-automatically.
For each static mesh we also have a low-poly target mesh that we use for lighting. The target mesh is manually parametrized, and we project the detail mesh onto the target mesh to generate uvs for the detail mesh.
We also pack a uv atlas for each system. Each system atlas is independent of all other systems, so we end up with one lightmap per system.
When we have generated systems and parameterized the geometry, we can generate runtime data in our precompute pipeline.
The runtime data has information about geometry and form factors that we need to update the radiosity in real time.
There’s one data set per system, which is very nice if we want to stream data from disk.
All systems can be processed in parallel, so we use Incredibuild’s XGI to distribute this build step. This is the only time consuming step of the precompute, but it scales pretty well with incredibuild. A typical final game level takes about 10 – 30 min to precompute.
Since this data only contains geometry information, so we only have to regenerate it when we change the geometry, not the lighting or the colors in the scene.
Let’s take a look at the runtime. A key thing with this architecture is that we have a separate render pipeline for direct and indirect radioisty. In fact, we update the radiosity on the CPU and we do the direct light & compositing on the GPU.
Frostbite uses deferred rendering, so can we can render many light sources every frame. Each light source is fed to Enlighten and part of the radiosity bounce light.
Another thing we do is to separate the rendering of lightmaps and lightprobes. Lightmaps are rendered in the forward pass, but lightprobes are added to 3D textures so we can render them deferred in screen. The reason we do this is so we don’t have to upload a unique lightprobe for every object we render, which tends to quite a few objects if you consider foliage, vegetation, particle effect and decals, so adding lightprobes deferred in screenspace is just simpler for us.
The complete render pipeline looks like this. First, we update lightmaps & lightprobes on the CPU, and we lift lightprobes into 3d textures. These 3d textures cover the entire scene.
Next, we run the geometry pass, where we add bounce light from the lightmaps to a separate g-buffer which we LogLuv encode. We also use the stencil buffer to mask out all dynamic objects, so we know what to light with lightprobes later.
Finally, in the light pass, we first render all deferred lights, we then add the lightmaps from the g-buffer, and finally we add the lightprobe 3d textures deferred in screen space.
Let’s take a look at an example scene. This is the lightmaps and lightprobes generated on the CPU.
First we render the direct light sources deferred.
Then we add the lightmap bounce light.
Then we add bounce light from the lightprobes. We add them all together, to get the final compposite.
Final composite
Lightmaps
The initial constraint of targeting the current console cycle makes lightmaps the output of choice
But key properly is that it’s cacheable. 2D nature is not vital.
Lazy eval of more “3D” structure expected on next cycle and PC. Laziness important to avoid O(n^3) scaling. Just not viable on consoles at the moment.
Currently very task based
Ok to a point.
Incremental update vs fixed cost
Enlighten costs as much to bounce black light as it does complex lighting.
Might appear to be a good optimisation to make, but the tradeoffs are not obvious.
This requires more thought.
Might make more sense when moving towards a fully dynamic solution. Temporal optimisations can be tricky...
Splitting lighting by distance
Another opportunity exposed from single bounce model
Maths does work out. Radiosity is different across scales. Question is: how useful is it to exploit?