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Rendering Techiques 2013


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Excellent papers on massive virtual world rendering.

 

"Populating a Massive Game World" addresses one important feature for model/billboard vegetation rendering: manually placed tree/vegetation instances in addition to proceduraly placement fully integrated into optimized vegetation rendering

 

This is really something important missing in UNIGINE, but mandatory required e.g. for realistic strings of trees along man-made roads or individual trees in urban areas (e.g. for driving simulation). Above mentioned VBS3 Features: Biotopes also demonstrates some spline-based procedural tree placement capabilities fully integrated into general vegetation rendering. 

 

This is impossible with current UNIGINE implementation using pure density mask based placement based on interdependent WorldClutter and ObjectGrass instances. While this approach allows usage of existing world/object classes the taken approach complicates vegetation setup significatly and now would require per-instance feature placement extensions on both classes which would be quite inelegant and inefficient. That was one of the key reason for suggesting a dedicated ObjectForest classs in forest rendering thread

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Havok Vision engine 3D ocean simulation based on Rheinmetall requirements and implementation specification. Especially the simulation of different sea states, ship wakes, ship-hull dependant foam/spray effects and local wave modifications are quite convincing.

Seach on youtube by "havok ocean" for additional examples
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The most convincing 3D real-time ocean simulation as of today. But of course not yet suited to simulate this with larger numbers of ships as required in training and simulation. Nevertheless this will be the future
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Hi Everyone!

 

Not sure if this is the correct place to add this but seeing as it's something that seems to have been a big subject at Siggraph in recent years I thought I'd bring up physically based rendering...

 

http://blog.selfshadow.com/publications/s2013-shading-course/ 

 

Some great resources talking about how it's been implemented in other realtime engines...

 

http://www.fxguide.com/featured/game-environments-parta-remember-me-rendering/ 

 

http://www.makinggames.de/index.php/magazin/2391_ryse__the_transition_to_physically_based_shading

 

and also at Disney on their feature films..  http://disney-animation.s3.amazonaws.com/library/s2012_pbs_disney_brdf_notes_v2.pdf 

 

As an artist who works quite a lot with materials and texture generation as well as lighting all of this stuff is very exciting to me :)

 

David.

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The ablility to blur reflection Cubemaps by a slider would be great too, ideally it should be linked to specular level, but the ability to do it at all would be very helpful, and maybe have it controllabe by a map as well so you can have areas of texture that are shiny and parts that are matte.

post-258-0-28492300-1391399582_thumb.jpg

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Some of you guys may already have seen these...

from the Polycount forums..

Kodde has made a physically based Maya viewport shader ... http://www.polycount.com/forum/showthread.php?p=1441311 

 

and the user 'almighty_gir' came up with one for UDK... http://www.polycount.com/forum/showthread.php?t=124934 

 

Key aspect seems to be the use of 'roughness' and 'metalness' textures. The Roughness texture is like the opposite of glossiness and determines which mip of a pre-blurred cube map should be used on a per pixel basis. Metalness determines how the reflection is blended with dielectric materials (such as porcelain or plastic) reflecting an untinted or 'white' reflection whereas a metallic material reflections are tinted (imagine gold or bronze).

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The ablility to blur reflection Cubemaps by a slider would be great too, ideally it should be linked to specular level, but the ability to do it at all would be very helpful, and maybe have it controllabe by a map as well so you can have areas of texture that are shiny and parts that are matte.

 

Blurry reflections modulated by the specular level will be available in the upcoming update.

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