The document summarizes a presentation about lighting techniques for a spherical planet in the game Project A1. It discusses using deferred cubic irradiance caching for global illumination that varies based on 12 time spans. Reflection probes are relit based on time of day instead of pre-capturing. Directional lighting and shadows change according to longitude. Sky lighting and bent normals are stored in cubemaps.
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.
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.
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.
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.
Epic Games Japan hold a meeting named "Lightmass Deep Dive" on July 30, 2016.
Osamu Satio of Square Enix Osaka gave a presentation about their Lightmass Operation for Large Console Games. EGJ translated the slide for the presentation to English and published it.
There are some movies in the slide. So we recommend downloading this slide.
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.
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.
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.
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.
Epic Games Japan hold a meeting named "Lightmass Deep Dive" on July 30, 2016.
Osamu Satio of Square Enix Osaka gave a presentation about their Lightmass Operation for Large Console Games. EGJ translated the slide for the presentation to English and published it.
There are some movies in the slide. So we recommend downloading this slide.
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.
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.
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.
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)
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.
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.
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.
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.
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.
his session presents a detailed overview of the new lighting system implemented in DICEs Frostbite 2 engine and how it enables us to stretch the boundaries of lighting in BATTLEFIELD 3 with its highly dynamic, varied and destructible environments.
BATTLEFIELD 3 goes beyond the lighting limitations found in our previous battlefield games, while avoiding costly and static prebaked lighting without compromising quality.
We discuss the technical implementation of the art direction in BATTLEFIELD 3, the workflows we created for it as well as how all the individual lighting components fit together: deferred rendering, HDR, dynamic radiosity and particle lighting.
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
Rendering Techniques in Rise of the Tomb RaiderEidos-Montréal
This cohesive overview of the advanced rendering techniques developed for Rise of the Tomb Raider presents a collection of diverse features, the challenges they presented, where current approaches succeed and fail, and solutions and implementation details.
Epic Games Japan hold a meeting named "Lightmass Deep Dive" on July 30, 2016.
A Japanese architectural artist, Kenichi Makaya, created Casa Barragan on UE4. the architecture is a house of Mexican Architect, Luis Barragan. And he gave a presentation about making of the scene. .
CASA BARRAGAN Unreal Engine4
https://www.youtube.com/watch?v=Y7r28nO4iDU&feature=youtu.be
EGJ translated the slide for the presentation to English and published it.
The Matsu Project - Open Source Software for Processing Satellite Imagery DataRobert Grossman
The Matsu Project is an Open Cloud Consortium project that is developing open source software for processing satellite imagery data using Hadoop, OpenStack and R.
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.
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.
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)
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.
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.
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.
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.
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.
his session presents a detailed overview of the new lighting system implemented in DICEs Frostbite 2 engine and how it enables us to stretch the boundaries of lighting in BATTLEFIELD 3 with its highly dynamic, varied and destructible environments.
BATTLEFIELD 3 goes beyond the lighting limitations found in our previous battlefield games, while avoiding costly and static prebaked lighting without compromising quality.
We discuss the technical implementation of the art direction in BATTLEFIELD 3, the workflows we created for it as well as how all the individual lighting components fit together: deferred rendering, HDR, dynamic radiosity and particle lighting.
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
Rendering Techniques in Rise of the Tomb RaiderEidos-Montréal
This cohesive overview of the advanced rendering techniques developed for Rise of the Tomb Raider presents a collection of diverse features, the challenges they presented, where current approaches succeed and fail, and solutions and implementation details.
Epic Games Japan hold a meeting named "Lightmass Deep Dive" on July 30, 2016.
A Japanese architectural artist, Kenichi Makaya, created Casa Barragan on UE4. the architecture is a house of Mexican Architect, Luis Barragan. And he gave a presentation about making of the scene. .
CASA BARRAGAN Unreal Engine4
https://www.youtube.com/watch?v=Y7r28nO4iDU&feature=youtu.be
EGJ translated the slide for the presentation to English and published it.
The Matsu Project - Open Source Software for Processing Satellite Imagery DataRobert Grossman
The Matsu Project is an Open Cloud Consortium project that is developing open source software for processing satellite imagery data using Hadoop, OpenStack and R.
Frossie Economou & Angelo Fausti [Vera C. Rubin Observatory] | How InfluxDB H...InfluxData
Frossie Economou & Angelo Fausti [Vera C. Rubin Observatory] | How InfluxDB Helps Vera C. Rubin Observatory Make the Deepest, Widest Image of the Universe | InfluxDays Virtual Experience NA 2020
Upcoming rendering technology including scriptable render pipelines, advanced lighting options and more.
Presenter: Arisa Scott (Graphis Product Manager, Unity Technologies)
Green Custard Friday Talk 17: Ray TracingGreen Custard
In Green Custard's 17th Friday talk, Jonathan explores the subject of Ray Tracing.
Topics covered:
- What is ray tracing?
- How do we ray trace?
- Backwards ray tracing
- Shadow rays
- Object intersections
- Reflected rays
- Transmitted rays
- Local colour
- Ambient and diffuse
- Specular reflection
- Local colour formula
- Materials and textures
- Distributed ray tracing
- Global illumination
Green Custard is a custom software development consultancy. To discover more about their work and the team visit www.green-custard.com.
Data Processing Using DubaiSat Satellite Imagery for Disaster Monitoring (Cas...NopphawanTamkuan
This content shows the specification of DubaiSat (UAE satellite), information of Hokkaido earthquake, data processing, pre-processing, pan-sharpening, Natural color composite, false color composite, NDVI calculation, image classification by clustering for the damaged area and landslide detection.
Presentation on Salt Lake City Solar Energy Modeling project done in partnership with Utah Clean Energy and the Automated Geographic Reference Center (done in the style of Ignite lightning talks, with a bit of cheating).
From Experimentation to Production: The Future of WebGLFITC
Presented at FITC Toronto 2017
More info at http://fitc.ca/event/to17/
Hector Arellano, Firstborn
Morgan Villedieu, Firstborn
Overview
You don’t need an advanced degree in graphics engineering to use WebGL as a robust solution in your web design and development. During this talk you will discover how to harness the power of WebGL for real-world application.
Objective
Discover real-world applications for advanced WebGL techniques
Target Audience
Designers or developers excited to conquer the complexity associated with WebGL
Five Things Audience Members Will Learn
Explore the outer limits of physics effects, shaders and experimentation
Understand how these techniques can be applied to transform 3D to 2D shadows and post-processing
Render real-time liquid in WebGL
Use DOM as a texture so you get the power of WebGL without having to worry about a fallback system
Master the basics by utilizing libraries
Using Deep Learning to Derive 3D Cities from Satellite ImageryAstraea, Inc.
Detection and reconstruction of 3D buildings in urban areas has been a hot topic of research due to its many applications, including 3D population density studies, emergency planning, and building value estimation. Standard approaches to extract building footprint and measure building height rely on either aerial or space borne point cloud data, which in many areas is unavailable. In contrast, high resolution satellite imagery has become more readily available in recent years, and could provide enough information to estimate a building’s height. Recent successes of deep learning on semantic segmentation have shown that convolutional neural networks can be effective tools at extracting 2D building footprints. Using a digital surface model derived using FOSS and LiDAR data as ground truth, this study goes a step further by employing state of the art deep learning architectures such as U-net to infer both building footprints and estimated building heights in one pass from a single satellite image. This application of open deep learning frameworks can bring the benefits of 3D cities to a larger portion of the world.
Welcome to WIPAC Monthly the magazine brought to you by the LinkedIn Group Water Industry Process Automation & Control.
In this month's edition, along with this month's industry news to celebrate the 13 years since the group was created we have articles including
A case study of the used of Advanced Process Control at the Wastewater Treatment works at Lleida in Spain
A look back on an article on smart wastewater networks in order to see how the industry has measured up in the interim around the adoption of Digital Transformation in the Water Industry.
About
Indigenized remote control interface card suitable for MAFI system CCR equipment. Compatible for IDM8000 CCR. Backplane mounted serial and TCP/Ethernet communication module for CCR remote access. IDM 8000 CCR remote control on serial and TCP protocol.
• Remote control: Parallel or serial interface.
• Compatible with MAFI CCR system.
• Compatible with IDM8000 CCR.
• Compatible with Backplane mount serial communication.
• Compatible with commercial and Defence aviation CCR system.
• Remote control system for accessing CCR and allied system over serial or TCP.
• Indigenized local Support/presence in India.
• Easy in configuration using DIP switches.
Technical Specifications
Indigenized remote control interface card suitable for MAFI system CCR equipment. Compatible for IDM8000 CCR. Backplane mounted serial and TCP/Ethernet communication module for CCR remote access. IDM 8000 CCR remote control on serial and TCP protocol.
Key Features
Indigenized remote control interface card suitable for MAFI system CCR equipment. Compatible for IDM8000 CCR. Backplane mounted serial and TCP/Ethernet communication module for CCR remote access. IDM 8000 CCR remote control on serial and TCP protocol.
• Remote control: Parallel or serial interface
• Compatible with MAFI CCR system
• Copatiable with IDM8000 CCR
• Compatible with Backplane mount serial communication.
• Compatible with commercial and Defence aviation CCR system.
• Remote control system for accessing CCR and allied system over serial or TCP.
• Indigenized local Support/presence in India.
Application
• Remote control: Parallel or serial interface.
• Compatible with MAFI CCR system.
• Compatible with IDM8000 CCR.
• Compatible with Backplane mount serial communication.
• Compatible with commercial and Defence aviation CCR system.
• Remote control system for accessing CCR and allied system over serial or TCP.
• Indigenized local Support/presence in India.
• Easy in configuration using DIP switches.
Immunizing Image Classifiers Against Localized Adversary Attacksgerogepatton
This paper addresses the vulnerability of deep learning models, particularly convolutional neural networks
(CNN)s, to adversarial attacks and presents a proactive training technique designed to counter them. We
introduce a novel volumization algorithm, which transforms 2D images into 3D volumetric representations.
When combined with 3D convolution and deep curriculum learning optimization (CLO), itsignificantly improves
the immunity of models against localized universal attacks by up to 40%. We evaluate our proposed approach
using contemporary CNN architectures and the modified Canadian Institute for Advanced Research (CIFAR-10
and CIFAR-100) and ImageNet Large Scale Visual Recognition Challenge (ILSVRC12) datasets, showcasing
accuracy improvements over previous techniques. The results indicate that the combination of the volumetric
input and curriculum learning holds significant promise for mitigating adversarial attacks without necessitating
adversary training.
Student information management system project report ii.pdfKamal Acharya
Our project explains about the student management. This project mainly explains the various actions related to student details. This project shows some ease in adding, editing and deleting the student details. It also provides a less time consuming process for viewing, adding, editing and deleting the marks of the students.
Water scarcity is the lack of fresh water resources to meet the standard water demand. There are two type of water scarcity. One is physical. The other is economic water scarcity.
Cosmetic shop management system project report.pdfKamal Acharya
Buying new cosmetic products is difficult. It can even be scary for those who have sensitive skin and are prone to skin trouble. The information needed to alleviate this problem is on the back of each product, but it's thought to interpret those ingredient lists unless you have a background in chemistry.
Instead of buying and hoping for the best, we can use data science to help us predict which products may be good fits for us. It includes various function programs to do the above mentioned tasks.
Data file handling has been effectively used in the program.
The automated cosmetic shop management system should deal with the automation of general workflow and administration process of the shop. The main processes of the system focus on customer's request where the system is able to search the most appropriate products and deliver it to the customers. It should help the employees to quickly identify the list of cosmetic product that have reached the minimum quantity and also keep a track of expired date for each cosmetic product. It should help the employees to find the rack number in which the product is placed.It is also Faster and more efficient way.
Overview of the fundamental roles in Hydropower generation and the components involved in wider Electrical Engineering.
This paper presents the design and construction of hydroelectric dams from the hydrologist’s survey of the valley before construction, all aspects and involved disciplines, fluid dynamics, structural engineering, generation and mains frequency regulation to the very transmission of power through the network in the United Kingdom.
Author: Robbie Edward Sayers
Collaborators and co editors: Charlie Sims and Connor Healey.
(C) 2024 Robbie E. Sayers
CFD Simulation of By-pass Flow in a HRSG module by R&R Consult.pptxR&R Consult
CFD analysis is incredibly effective at solving mysteries and improving the performance of complex systems!
Here's a great example: At a large natural gas-fired power plant, where they use waste heat to generate steam and energy, they were puzzled that their boiler wasn't producing as much steam as expected.
R&R and Tetra Engineering Group Inc. were asked to solve the issue with reduced steam production.
An inspection had shown that a significant amount of hot flue gas was bypassing the boiler tubes, where the heat was supposed to be transferred.
R&R Consult conducted a CFD analysis, which revealed that 6.3% of the flue gas was bypassing the boiler tubes without transferring heat. The analysis also showed that the flue gas was instead being directed along the sides of the boiler and between the modules that were supposed to capture the heat. This was the cause of the reduced performance.
Based on our results, Tetra Engineering installed covering plates to reduce the bypass flow. This improved the boiler's performance and increased electricity production.
It is always satisfying when we can help solve complex challenges like this. Do your systems also need a check-up or optimization? Give us a call!
Work done in cooperation with James Malloy and David Moelling from Tetra Engineering.
More examples of our work https://www.r-r-consult.dk/en/cases-en/
Sachpazis:Terzaghi Bearing Capacity Estimation in simple terms with Calculati...Dr.Costas Sachpazis
Terzaghi's soil bearing capacity theory, developed by Karl Terzaghi, is a fundamental principle in geotechnical engineering used to determine the bearing capacity of shallow foundations. This theory provides a method to calculate the ultimate bearing capacity of soil, which is the maximum load per unit area that the soil can support without undergoing shear failure. The Calculation HTML Code included.
2. UNREAL SUMMIT 2016
A1
• New IP of Nexon
– High-End PC / AAA-quality visuals
– MOBA / Space Opera
– UE4 + @@@
– In Development
• Announced our development last month
3. UNREAL SUMMIT 2016
A1
• Talk about character rendering at last NDC 2016 talk
• This talk presents techniques for lighting the world of A1
– Used a test scene
– Not the game world
4. UNREAL SUMMIT 2016
World of A1
• Spherical planet
• Real-time day and night cycle
• Partially environment destruction
– Trees, buildings, etc.
• Partially terrain modification
– Craters, explosion, etc.
5. UNREAL SUMMIT 2016
Challenges
• Spherical coordinates
• Longitudinal time variation
• Time of day lighting changes
• Dynamic
– Moving Sun
– Destruction
– Modification
6. UNREAL SUMMIT 2016
Our Approach
• “Fully Dynamic” if possible
– Shadow maps, SSAO, SSR, SSIS Screen Space Inner Shadows, etc.
• Partially Precomputation and Relighting
– Global illumination, sky lighting and reflection environment
7. UNREAL SUMMIT 2016
Changes for Planet: 1
• Vector towards the sky
– Vary according to latitude and longitude
– Standard world: just (0, 0, 1)
– Planetary world: normalize(WorldPosition)
• Assuming (0, 0, 0) is the center of the world
• We call this ‘Planet Normal’
8. UNREAL SUMMIT 2016
Changes for Planet: 2
• Longitudinal time variation
– Like GMT
float ComputeGMTFromWorldPosition(float3 WorldPosition)
{
float Longitude = atan2(WorldPosition.y, WorldPosition.x) / PI * 0.5f + 0.5f; // [0, 1]
float NormalizedGMT = frac(Frame.NormalizedDayTime – Longitude); // East to West
return abs(NormalizedGMT);
}
* Note: Frame.NormalizedDayTime = GMT+0 = [0. 1)
11. UNREAL SUMMIT 2016
Directional Light
• Symmetry of two directional lights
– Sun and Moon
• Movable mobility
– For dynamic scenes
– Real-time lighting
• Deferred rendering: opaque materials
• Forward+ rendering: transparent materials
12. UNREAL SUMMIT 2016
Two of Directional Lights
• Sun:
– Dominant light
• Moon:
– Night area
– Adding direct specular
13. UNREAL SUMMIT 2016
Two of Directional Lights
• Problem:
– Directional lights commonly affect all surfaces on the world
– Incorrect results
• Ex) Moonlight leaks in the daytime
• Slow (2X)
• Solution:
– Cull backside of the planet from the light
– Smoothly attenuate radiance at boundaries
14. UNREAL SUMMIT 2016
Time of Day Lighting
• Different time for each pixel
• Overriding light color by using a hand-painted texture in the shader
• Different methods for GI, sky light and reflection environment
– See further slides
15. UNREAL SUMMIT 2016
Sun Shadows
• Shadows have an important role to recognize time during game play
• Presented at my NDC 2016 talk
– Use UE4 implementation
• CSM + PCF
– Add improved PCSS
• To control shadow softness by time: only for 0 and 1 cascade splits
• Shadow normal offset: to remove Peter Panning
• Temporal reprojection: to reduce flickering due to slow moving
16. UNREAL SUMMIT 2016
Tighter Shadow Bounds
• For both quality and speed
• Setting tighter bounds
– Assuming very far objects on the view do not cast shadows
– Backside of the planet culling + planetary view frustum culling
– More than 1.5X faster rendering
17. UNREAL SUMMIT 2016
Planetary View Frustum Culling
• Limit the far plane as distance
between the camera and the center of the planet
– Assume that we can’t see backside of the planet
• Closer the camera, shorter the far plane
– A proportional expression between
the center of the planet and view frustum planes
20. UNREAL SUMMIT 2016
Existing Solutions in UE4
• Lightmaps (X)
– Static, and high memory consumption
• LPV (X)
– Slow, and low quality
• DFGI (X)
– Slow, and not supporting skeletal meshes
• Indirect lighting cache
– Be possible!
21. UNREAL SUMMIT 2016
UE4 Indirect Lighting Cache
• SH irradiance volume
• Per-primitive caching
– 5x5 volume -> upload to the global volume texture atlas
– For movable components or preview / Update when the component is moved
• “Try to use volume ILC for all types of components in the scene”
– Including static components and terrain
22. UNREAL SUMMIT 2016
Lacks of Volume ILC
• Lighting discontinuity (a.k.a. seams)
• Low density at a large geometry
– Need size-dependent cache distribution
• High memory consumption and slow cache update
• High CPU costs
– Per-primitive computation on the render thread
– Need update cache if a primitive is moved or lighting is changed
• Unsuitable for our game
23. UNREAL SUMMIT 2016
Need of a New Method
• Keep using SH irradiance volume
• More efficient data structure
• Seamless
• Faster update (or no cache update)
• Time of day lighting changes
24. UNREAL SUMMIT 2016
Related Work
• Far Cry series
• Assassin Creed series
• Quantum Break
• TC: The Division
• …
25. UNREAL SUMMIT 2016
Deferred Cubic Irradiance Caching
• ‘Deferred’:
– As post processing: avoiding overdraw
– Faster development iteration: quick recompile shaders
– But use forward rendering for transparency
• ‘Cubic’:
– Exploiting cubemaps: fit to GPUs
– Cache placement on the world: seamless
– Faster addressing: using planet normal = normalize(WorldPosition)
28. UNREAL SUMMIT 2016
Time of Day Lighting
• All day light
– Affect all day
• Time of day light
– Limited by time span
– 12 time spans: 0, 2, 4, …, 20, and 22 hour
• Twelve SH irradiance volumes
– Interpolate lighting from nearest 2 volumes
– No cache update
30. UNREAL SUMMIT 2016
Offline: Cache Placement
• Based on texels of the cubemap
– N x N x 6
– 50 cm space
– Finding Z by using ray casting
31. UNREAL SUMMIT 2016
Offline: Cache Placement
• 2.5D cache placement
– Above the surfaces
– No multi-layers or indoor in our game
– Incorrect results for flying characters
• Multiple layered cubemaps?
32. UNREAL SUMMIT 2016
Offline: Photon Emission
• UE4 Lightmass: a photon mapping based light builder
• Store ‘time of day light index’ for deposited photons
• No changes for remainders
class FIrradiancePhotonData
{
FVector4 PositionAndDirectContribution;
FVector4 SurfaceNormalAndIrradiance;
int32 TimeOfDayLightIndex;
};
33. UNREAL SUMMIT 2016
Offline: Irradiance Estimation
• Twelve SH irradiance volumes
– Sharing world position, bent normal and sky occlusion
– Difference irradiance by time spans
• Per-time span irradiance
– Indirect photon final gathering
• All day lights: always
• Time of day lights: filtering by its index
• Global sky occlusion and bent normal
35. UNREAL SUMMIT 2016
Run-time: Cubemap Caching
• Once at loading time
• CPU irradiance cache -> GPU cubemaps
– half4 texture cube array
• 2nd Order SH: encoded on 3 textures (RGB)
• 12 time spans * 3 = 36 elements
• Misc.:
– Bent normal and sky occlusion: 1
– Average color and directional shadowing: 12 – for reflection environment relighting
• Average color is computed by integrating incident radiance from all directions
36. UNREAL SUMMIT 2016
Run-time: SH Lighting
• Every frame
• Texture addressing
– Coordinates: planet normal
– Array index: time of day light index + 12 * {0|1|2}
• SH2 diffuse lighting
– Interpolate radiance from nearest 2 time spans
• Total 6 times fetches of a texture cube array
38. UNREAL SUMMIT 2016
Performance
• Light building
– Scene-dependent
– Costly 12 times final gathering but faster than lightmaps
• Rendering
– Scene-independent
• approximately 0.4 ms: GTX970 1080p / ignoring transparency
• Stable visuals
– No seams or flickering
– Consistent looks for characters and environment
40. UNREAL SUMMIT 2016
Transform to Spherical World
• Sky vector
– Not (0, 0, 1)
– Planet normal = normalize(WorldPosition)
• Rotate planet normal to (0, 0, 1) basis
– Heavy ALU
float3 TransformVectorToLandsphereSpace(float3 InVector, float3 WorldPosition)
{
float3 PlanetNormal = normalize(WorldPosition);
float3 SkyUp = float3(0, 0, 1);
float3 RotationAxis = normalize(cross(PlanetNormal, SkyUp));
float RotationAngle = acos(dot(SkyUp, PlanetNormal));
float3x3 Rotator = RotationMatrixAxisAngle(RotationAxis, RotationAngle);
return mul(Rotator, InVector);
}
41. UNREAL SUMMIT 2016
Time of Day Lighting
• Multiple sky cubemaps generated by artists
• Interpolated lighting like GI
42. UNREAL SUMMIT 2016
Bent Normal and Sky Occlusion
• As large scale ambient occlusion
– RGB: bent normal
– A: sky occlusion
– One R8G8B8A8 cubemap (no time variation)
• Diffuse lighting
– Widen and soft: sqrt
• Specular lighting
– Narrow and sharp: Square
Sky Occlusion + Bent Normal
43. UNREAL SUMMIT 2016
Screen Space Inner Shadows
• For GI and sky lighting
• Better looks when a character is on shadowed surfaces
• SSR styled ray marching
– Tracing on scene depth
– Directionality rather than SSAO
– No precomputation or asset building
– See my NDC 2016 presentation
45. UNREAL SUMMIT 2016
Capture Probe Placement
• Uniform distribution on the sphere as the base
– Using golden spiral
• Additional placement by artists
46. UNREAL SUMMIT 2016
Time of Day Lighting
• Use relighting instead of pre-capturing all day
– Capture the scene without lighting
– Relight probes with tweak
• Relighting
– Geometric properties
• Relighting position = world position + (reflection vector * capture radius * specular occlusion)
• Relighting normal = normalize(relighting position)
– Direct lighting: Sun and SH2 diffuse sky lighting
– Indirect lighting: deferred cubic irradiance caching
• RGB: irradiance = average color of GI
• A: directional shadowing = occlusion of light sources
48. UNREAL SUMMIT 2016
Volumetric Lighting
• Average color of GI (irradiance) is
also used for volumetric lighting
• For each ray marching step (for high spec.)
or at the surface (for low spec.)
49. UNREAL SUMMIT 2016
Summary
• Spherical world of A1
– Partially dynamic
– Time of day lighting changes
• Different approaches
– Deferred cubic irradiance caching
– Twelve time spans
– Relighting
50. UNREAL SUMMIT 2016
Future Work
• Improved GI
– 2nd Order SH -> 3th Order SH
– Layered cubemaps
– Volumetric fog
51. UNREAL SUMMIT 2016
Future Work
• Environment destruction and modification
– Multiple versions of irradiance volumes
• Pre-build for destroyed scenes
• Run-time update of cubemaps
• Like Quantum Break did
– Real-time GI
• SSGI?
– Recapture reflection environment