ShaderX Shader Programming Tips & Tricks With DirectX 9

Recommendations

Info

About the Authors Dan Amerson Dan graduated from North Carolina State University in 2001 with a bachelor’s degree in computer science. During his undergraduate studies, he focused on artificial intelligence research for automated camera control and positioning. After graduation, Dan joined NDL in late 2001 to work on the NetImmerse and Gamebryo engines. He works primarily on console rendering technologies and most recently served as lead programmer for the Gamebryo shader demo Eturnum. Marwan Y. Ansari (mansari@ati.com) Marwan is a member of the 3D Application Research Group at ATI Research. He received a master’s degree in computer science from the University of Illinois at Chicago and a bachelor of science degree in computer science and mathematics from DePaul University. Prior to moving to ATI’s 3D Application Research Group, he worked on OpenGL drivers for Number Nine Visual Technology before joining ATI’s Digital TV group. In addition to his image space contributions to ShaderX2 , Marwan has also contributed to Game Programming Gems 4 and spoken about real-time video processing using shaders at the Game Developers Conference. Kristof Beets (kristof.beets@powervr.com) Kristof took his first steps in the 3D world by running a technical 3D fan site, covering topics such as the differences between traditional and tile-based rendering technologies. This influenced his electrical engineering studies in such a way that he wrote his thesis about wavelet compression for textures in Direct3D, a paper that won the Belgian Barco Prize. He continued his studies, obtaining a master’s degree in artificial intelligence, while working as a technical editor for Beyond3D and writing various technical articles about 3D hardware, effects, and technology. As a freelance writer he wrote the “FSAA Explained” document for 3Dfx Interactive to explain the differences between various types of full-screen anti-aliasing. This document resulted in a full-time job offer at 3Dfx. Currently he is working as a developer relations engineer for PowerVR Technologies, which includes research into new graphical algorithms and techniques. Flavien Brebion (f.brebion@vrcontext.com) Flavien has had a passion for video games since he got an Amstrad CPC at the age of 12. He still remembers typing in hundred-page listings just to see a small sprite appear on-screen. He studied computing science at the University of Nantes, France, where he graduated with both bachelor’s and master’s degrees in 2000. He has also done a lot of research and developed many small games and rendering engines on his own. Currently he works at VRcontext, a virtual reality company ix
About the Authors x in Brussels, where he develops software designed to display industrial models made up of millions of triangles. He works on amateur games and graphical demos in his spare time, trying to get the most out of the new, powerful video cards. His web site is http://www.fl-tw.com/opengl/SoftShadows/. Chris Brennan (cbrennan@ati.com) Chris graduated with bachelor’s degrees in computer science and electrical engineering from Worcester Polytechnic Institute in 1997 and joined Digital Equipment Corp.’s Workstation Graphics group doing hardware design and verification. When Digital died, Chris joined ATI as a 3D ASIC designer for the Radeon line of graphics chips and then moved over to the 3D Application Research Group where he tries to get those chips to do things that were not originally thought possible. Kevin Buchin Kevin received his master’s degree from Hasso Plattner Institute for Software Engineering in Potsdam, Germany, in 2003. He wrote his thesis on real-time non-photorealistic terrain rendering. He has studied math, logic, and computer science in Muenster, Germany, and Leeds, England, and is involved in the 3D rendering engine VRS (www.vrs3d.org) and the 3D-map software system LandExplorer (www.landex.de). Aaron Burton (aaron.burton@powervr.com) Aaron has been a developer relations engineer at PowerVR Technologies since he received his Honours degree in information systems engineering in 1998. His first computer was a VIC 20, though his fascination for 3D graphics began with the Atari ST. At PowerVR he has been able to indulge this interest by developing a variety of demos, benchmarks, and debug/performance tools, and supporting developers in creating faster and better games. When he’s not climbing, he spends his spare time working on ray-tracing and real-time 3D demos. Dean Calver Games are fun! Dean figured that out at age 2 and has spent the ensuing years working on how to make better games. For the last seven years, people have even paid him to do it. Having no real preference for console or PC has meant a mixed career switching between them for every project. Professionally, he has worked on a war game, racing games, an X-COM style game, arcade classic updates and the port of Silent Hill 2 to the PC. He is currently working on an Xbox RPG called Sudeki at Climax Solent. Nicolas Capens (sw-shader.sourceforge.net) Nicolas is a master’s student in civil engineering in computer science in Ghent, Belgium. He became interested in graphics programming after discovering some Quake mods, and he quickly learned C++ and x86 assembly by himself. His main interest is software rendering and optimization. For more than two years he has been developing his own software renderer in his spare time. He is currently focusing on implementing shader emulation using the MMX and SSE instruction sets and dynamic code generation. Francesco Carucci Francesco has been a professional game programmer for three years and
Page 2 and 3: ShaderX 2 : Shader Programming Tips
Page 4 and 5: Contents Preface vii About the Auth
Page 6 and 7: Contents Simulation of Iridescence
Page 8 and 9: Preface After the tremendous succes
Page 12 and 13: About the Authors currently works o
Page 14 and 15: About the Authors where he develops
Page 16 and 17: About the Authors River Media, 2002
Page 18 and 19: About the Authors ATI Research, whe
Page 20 and 21: Introduction This book is a collect
Page 22 and 23: Introduction Nicolas Thibieroz show
Page 24: Introduction the effects are visibl
Page 28 and 29: Using Vertex Shaders for Geometry C
Page 30 and 31: under D3DCAPS9.DeclType, the specif
Page 32 and 33: } // get the 10,10,10 portion of th
Page 34 and 35: Points Inside a Triangle N-Patches
Page 36 and 37: Making It Fast Using a Linear Basis
Page 38 and 39: Using Lookup Tables in Vertex Shade
Page 40 and 41: What remains to do is write the ver
Page 42 and 43: Appendix Say you’d like to create
Page 44 and 45: vertex to its final position. As a
Page 46 and 47: order to create a specific level’
Page 48 and 49: Section I — Geometry Manipulation
Page 50 and 51: Figure 6a: Fine geometry with morph
Page 52 and 53: In order to (pre-) calculate a PVS,
Page 54 and 55: Section I — Geometry Manipulation
Page 56 and 57: References Section I — Geometry M
Page 58 and 59: 3D Planets on the GPU Jesse Laeuchl
Page 60 and 61:
p=p+i[1]; float4 b; b[0] = pg[ p[0]
Page 62 and 63:
half noise(float3 v,sampler1D g) {
Page 64 and 65:
Conclusion References Section I —
Page 66 and 67:
Figure 1: The interconnection of cl
Page 68 and 69:
VECTOR: SpringVector VECTOR: ForceV
Page 70 and 71:
need to do is render a full-screen
Page 72 and 73:
e applied to the other faces of the
Page 74 and 75:
add r0, r1, c14 mov o6.xyzw, r0 ; 5
Page 76 and 77:
texld r2, v[aL+4].zw, s0 ;Sample ne
Page 78 and 79:
add r4.r, r1.r, -r2.r ; Subtract Cl
Page 80 and 81:
dcl 2d s2 ; (Ny,Nz) def c10, 120.0,
Page 82 and 83:
Sample Application Conclusion Refer
Page 84 and 85:
GPU simultaneously, blocking often
Page 86 and 87:
Section I — Geometry Manipulation
Page 88 and 89:
Page 90 and 91:
Page 92 and 93:
Page 94 and 95:
earlier. However, such methods are
Page 96 and 97:
Conclusion Section I — Geometry M
Page 98 and 99:
Principles Advantages Displacement
Page 100 and 101:
At first glance, hardware support i
Page 102 and 103:
the mesh (either the high- or low-p
Page 104 and 105:
Art Tools Although we use our own V
Page 106 and 107:
scatter them all over the UV domain
Page 108 and 109:
version and then the low LOD versio
Page 110 and 111:
Summary References Section I — Ge
Page 112 and 113:
Section II Rendering Techniques Ren
Page 114 and 115:
Introduction Rendering Objects as T
Page 116 and 117:
Computing Thickness Section II —
Page 118 and 119:
Section II — Rendering Techniques
Page 120 and 121:
m.) The coordinate for green is thi
Page 122 and 123:
TEXLD r0, t0, s0 // read the RGB-en
Page 124 and 125:
depth complexity is important. If w
Page 126 and 127:
The depth comparison barely fits wi
Page 128 and 129:
Page 130 and 131:
Conclusion Section II — Rendering
Page 132 and 133:
Screen-aligned Particles with Minim
Page 134 and 135:
If each of the four billboard verti
Page 136 and 137:
Page 138 and 139:
Hemisphere Lighting with Radiosity
Page 140 and 141:
Radiosity Maps Hemisphere lighting
Page 142 and 143:
Page 144 and 145:
#define VS AMBIENT 10 // ambient li
Page 146 and 147:
def c0, 0.3333, 0.3333, 0.3333, 0.3
Page 148 and 149:
Galaxy Textures Jesse Laeuchli In m
Page 150 and 151:
We can do that by finding the inver
Page 152 and 153:
Turbulent Sun Jesse Laeuchli Many 3
Page 154 and 155:
A more interesting look can be achi
Page 156 and 157:
Introduction Fragment-level Phong I
Page 158 and 159:
If we go back to the equation, you
Page 160 and 161:
have a single property to take care
Page 162 and 163:
together for each material. This is
Page 164 and 165:
Now we need to feed this info into
Page 166 and 167:
shader though, and that’s the mad
Page 168 and 169:
Page 170 and 171:
shadow. Otherwise, it’s lit. Quit
Page 172 and 173:
code look fairly good, there is a p
Page 174 and 175:
Introduction Specular Bump Mapping
Page 176 and 177:
� Amount of banding for high spec
Page 178 and 179:
Page 180 and 181:
Arithmetic Interpolation Section II
Page 182 and 183:
Light Space Interpolation Consisten
Page 184 and 185:
Normalized Specular Bump Mapping wi
Page 186 and 187:
Introduction Voxel Rendering with P
Page 188 and 189:
Accumulated Voxels This is the simp
Page 190 and 191:
color is output as soon as matter i
Page 192 and 193:
points 5, 6, 7, and 8 would be test
Page 194 and 195:
mul r3.xyz, r2, c0.wwy // Octant 6
Page 196 and 197:
Shadows or when it changes (animate
Page 198 and 199:
Page 200 and 201:
} o.pos = pos; // copy input vertex
Page 202 and 203:
Rendering Volumes in a Vertex & Pix
Page 204 and 205:
Page 206 and 207:
Page 208 and 209:
Page 210 and 211:
Technique Normal Map Compression Ja
Page 212 and 213:
Figure 2: Normal map compressed dir
Page 214 and 215:
References Section II — Rendering
Page 216 and 217:
have to simulate it using geometry.
Page 218 and 219:
Visually, the effect is as if each
Page 220 and 221:
Rotation and Scaling Now that we ar
Page 222 and 223:
Filtering � Mipmapping — As we
Page 224 and 225:
} m OffsetMap[(gi+gj*m dwOffsetMapR
Page 226 and 227:
The Drops of Water Effect The Drops
Page 228 and 229:
Combining All Each drop is encoded
Page 230 and 231:
} half diffatten=0.45+0.55*(1.0-wet
Page 232 and 233:
Introduction Advanced Water Effects
Page 234 and 235:
Preparation of the Underwater Scene
Page 236 and 237:
declare registers dcl position v0 /
Page 238 and 239:
The vertex shader VS-2 (used to bui
Page 240 and 241:
add r0.rgb, r0, t3 // t3 contains t
Page 242 and 243:
“critical” angle (Snell’s Law
Page 244 and 245:
method introduced by the Direct3D e
Page 246 and 247:
calc the distorted bump-normal map
Page 248 and 249:
mad r8, r5, c13, t2 // Use a scaled
Page 250 and 251:
Conclusion References Section II
Page 252 and 253:
Background This article focuses on
Page 254 and 255:
The convolution formula for spheric
Page 256 and 257:
dp4 r3.b, r2, cBb ; compute the fin
Page 258 and 259:
objects. In [5], a method is presen
Page 260 and 261:
Again, exploiting a linear operator
Page 262 and 263:
than can be represented in the cons
Page 264 and 265:
Acknowledgments References Section
Page 266 and 267:
(lon). Finally, the ecliptic rectan
Page 268 and 269:
3 Fr( �) � ( �� ) � �
Page 270 and 271:
(...) dp4 r2.x, v0, c8 dp4 r2.y, v0
Page 272 and 273:
mul r0.x, v0.y, v0.y mad r0.xw, r0.
Page 274 and 275:
Where to Go from Here There are a n
Page 276 and 277:
Introduction Deferred Shading with
Page 278 and 279:
next power of two size above the ma
Page 280 and 281:
set of three 3D texture coordinates
Page 282 and 283:
texld r3, t0, s0 ; r3 = Color from
Page 284 and 285:
D3DDECL END() }; Pixel Shader Code
Page 286 and 287:
Better Lighting A “real” specul
Page 288 and 289:
using translucent objects that requ
Page 290 and 291:
Geometry buffers: 0 MRTs: nMRT�W
Page 292 and 293:
Back Faces Only Because the camera
Page 294 and 295:
CD Demo Summary Section II — Rend
Page 296 and 297:
sequence, as shown in Contour by Th
Page 298 and 299:
one-eighth of the original uncompre
Page 300 and 301:
#define L r3 #define PWorld r1 #def
Page 302 and 303:
� � � � � � � � �
Page 304 and 305:
R'=2*(E.NShort) *N-V mul NShort, N,
Page 306 and 307:
#include “..\..\Effects\Beams\Ren
Page 308 and 309:
Figure 5: Sun surface (a) and radia
Page 310 and 311:
Ocean Scene Section II — Renderin
Page 312 and 313:
sq T.w, T.w mul T, T, T.w mul S, Sx
Page 314 and 315:
oD0. The integer portion is divided
Page 316 and 317:
over the entire frame to feed the t
Page 318 and 319:
Layered Car Paint Shader John Isido
Page 320 and 321:
These normals, N s and N ss, are co
Page 322 and 323:
float3 vNp1 = microflakePerturbatio
Page 324 and 325:
Introduction Motion Blur Using Geom
Page 326 and 327:
Page 328 and 329:
VS OUTPUT o=(VSOUTPUT).5; Pos = flo
Page 330 and 331:
Figure 4 shows comparison rendering
Page 332 and 333:
} Summary // Environment map the ob
Page 334 and 335:
Introduction Simulation of Iridesce
Page 336 and 337:
Vertex Shader The vertex shader for
Page 338 and 339:
Figure 2: Input texture maps The te
Page 340 and 341:
Iridescence Section II — Renderin
Page 342 and 343:
Summary References ( saturate( dot(
Page 344 and 345:
Introduction Floating-point Cube Ma
Page 346 and 347:
Page 348 and 349:
} Conclusion Demo lerp( lerp(C001,
Page 350 and 351:
image, it is called passive stereo.
Page 352 and 353:
target, using the same viewport and
Page 354 and 355:
Basis First, let me point out that
Page 356 and 357:
Camera Transformation Since it is i
Page 358 and 359:
Image Offset Traditionally, offsett
Page 360 and 361:
Pixel Shader Implementation Doing s
Page 362 and 363:
phase texld r2,r0 // Dependent look
Page 364 and 365:
Conclusion It has been proven scien
Page 366 and 367:
the same tonal value. This techniqu
Page 368 and 369:
Varying the Line Style Section II
Page 370 and 371:
} color *= getStrokeColor(Tex2, Dif
Page 372 and 373:
References Section II — Rendering
Page 374 and 375:
Integrating Fog in Your Engine The
Page 376 and 377:
Final Words Section II — Renderin
Page 378 and 379:
desirable, we may soon find these a
Page 380 and 381:
created along the length of a vecto
Page 382 and 383:
The function of the texture coordin
Page 384 and 385:
dcl 2d s1 dcl t0 texld r0, t0, s0 t
Page 386 and 387:
First, we compute a few constants d
Page 388 and 389:
to the coordinates, storing -1 as 0
Page 390 and 391:
...and execute the 4�1 matrix vec
Page 392 and 393:
texld r10, r10, s1 mad r5, r10.xxxx
Page 394 and 395:
const float tcPixelBH =2*TexcoordBi
Page 396 and 397:
mov oT1.y, r3.z Below is the last s
Page 398 and 399:
texld r3, r7, s0 add r4, t1, c7 tex
Page 400 and 401:
p.copy(b); r.copy(b); float rr = r.
Page 402 and 403:
Results Section II — Rendering Te
Page 404 and 405:
Conclusion Figure 4 shows a practic
Page 406:
Section III Software Shaders and Sh
Page 409 and 410:
Section III — Software Shaders an
Page 411 and 412:
Page 413 and 414:
Page 415 and 416:
Page 417 and 418:
Page 419 and 420:
Page 421 and 422:
x86 Shaders-ps_2_0 Shaders in Softw
Page 423 and 424:
Page 425 and 426:
Page 427 and 428:
Page 429 and 430:
Page 431 and 432:
Page 433 and 434:
Page 435 and 436:
Page 437 and 438:
Page 439 and 440:
Page 441 and 442:
Page 443 and 444:
Page 445 and 446:
Page 447 and 448:
Page 449 and 450:
Page 451 and 452:
Page 453 and 454:
Page 455 and 456:
Page 457 and 458:
Named Constants in Shader Developme
Page 459 and 460:
Page 461 and 462:
Page 464 and 465:
Advanced Image Processing with Dire
Page 466 and 467:
float4 RGB to HSV (float4 color) {
Page 468 and 469:
} } b=t; } else if (i == 3) { r=p;
Page 470 and 471:
Section IV — Image Space Advanced
Page 472 and 473:
struct PS INPUT { float2 texCoord:T
Page 474 and 475:
} texCoords[2] = In.texCoord + samp
Page 476 and 477:
Page 478 and 479:
Page 480 and 481:
} median = max(b,c); } } return med
Page 482 and 483:
Median-filtering the red, green, an
Page 484 and 485:
Values connected by arrows in Figur
Page 486 and 487:
The shader performs an extremely si
Page 488 and 489:
Conclusion Utilizing the FFT Sectio
Page 490 and 491:
Night Vision: Frame Buffer Postproc
Page 492 and 493:
Quad Rendering Once the scene is st
Page 494 and 495:
Non-Photorealistic Post-processing
Page 496 and 497:
Color Conversions OK, so we are all
Page 498 and 499:
Our goal is to cover the screen wit
Page 500 and 501:
ps.1.1 def c0, 0.3, 0.59, 0.11, 0 t
Page 502 and 503:
These are combined into a single te
Page 504 and 505:
References The final step, in instr
Page 506 and 507:
Introduction Image Effects with Dir
Page 508 and 509:
� viewMatrix: View matrix. This i
Page 510 and 511:
} // xPosition = [-1.1, 1.1] float
Page 512 and 513:
} //===============================
Page 514 and 515:
The square’s edge (in texture spa
Page 516 and 517:
} // // Since all the coords are sy
Page 518 and 519:
A spice transition: //-------------
Page 520 and 521:
download on the ATI developer web s
Page 522 and 523:
environment map. Since the effect i
Page 524 and 525:
Compute the normal for ripple two a
Page 526 and 527:
} // b/c waveAge increases. isInsid
Page 528 and 529:
The sub-region size is determined u
Page 530 and 531:
See Figure 13. The texture-wrapping
Page 532 and 533:
// Select the color based on the lo
Page 534 and 535:
Section IV — Image Space Image Ef
Page 536 and 537:
-----------------------------------
Page 538 and 539:
A variance over an L-shaped area fo
Page 540 and 541:
} float s0a,s1a,s2a,s3a,la, l2a; sa
Page 542 and 543:
} // combine Sobel edge with curren
Page 544 and 545:
Using Pixel Shaders to Implement a
Page 546 and 547:
glVertex2f(-1.0, -1.0); glTexCoord2
Page 548 and 549:
} Section IV — Image Space Using
Page 550 and 551:
Conclusion Section IV — Image Spa
Page 552 and 553:
The X is the real part, and Y is th
Page 554 and 555:
Introduction Real-Time Depth of Fie
Page 556 and 557:
Figure 3: Thin lens camera Multiple
Page 558 and 559:
Scene Rendering Vertex Shader The v
Page 560 and 561:
struct PS OUTPUT { float4 vColor: C
Page 562 and 563:
Figure 6: Depth of field filter ker
Page 564 and 565:
struct PS INPUT { float2 vTexCoord:
Page 566 and 567:
float fFocalDistance; float fFocalR
Page 568 and 569:
matrix matWorldViewProj; //////////
Page 570 and 571:
} v[2] = D3DXVECTOR4(0.0f, 3.4295f
Page 572 and 573:
Pixel Shader for X Axis of Separabl
Page 574 and 575:
} vWeights3.y = saturate(s4.a - vTh
Page 576 and 577:
}; float2 vTap1: TEXCOORD1; float2
Page 578 and 579:
Pass Five: Compositing the Final Ou
Page 580 and 581:
Bokeh Section IV — Image Space Re
Page 582:
Section V Shadows Soft Shadows by F
Page 585 and 586:
Section V — Shadows 560 Soft Shad
Page 587 and 588:
Page 589 and 590:
Page 591 and 592:
Page 593 and 594:
Page 595 and 596:
Page 597 and 598:
Page 599 and 600:
Page 601 and 602:
Page 603 and 604:
Page 605 and 606:
Robust Object ID Shadows Sim Dietri
Page 607 and 608:
Section V — Shadows 582 Robust Ob
Page 609 and 610:
Page 611 and 612:
Page 613 and 614:
Section V — Shadows 588 Reverse E
Page 615 and 616:
Page 617 and 618:
Page 620:
Section VI 3D Engine and Tools Desi
Page 623 and 624:
Section VI — 3D Engine and Tools
Page 625 and 626:
Page 627 and 628:
Page 629 and 630:
Page 631 and 632:
Page 633 and 634:
Page 635 and 636:
Page 637 and 638:
Page 639 and 640:
Post-Process Fun with Effects Buffe
Page 641 and 642:
Page 643 and 644:
Page 645 and 646:
Page 647 and 648:
Page 649 and 650:
Page 651 and 652:
Page 653 and 654:
Page 655 and 656:
Page 657 and 658:
Page 659 and 660:
Page 661 and 662:
Page 663 and 664:
Page 665 and 666:
Page 667 and 668:
Page 669 and 670:
Page 671 and 672:
Page 673 and 674:
Page 675 and 676:
Vertex Shader Compiler David Panger
Page 677 and 678:
Page 679 and 680:
Page 681 and 682:
Page 683 and 684:
Page 685 and 686:
Page 687 and 688:
Page 689 and 690:
Page 691 and 692:
Page 693 and 694:
Page 695 and 696:
Page 697 and 698:
Page 699 and 700:
Page 701 and 702:
Color Plate 3. The contents of the
Page 703 and 704:
Color Plate 6. These images show th
Page 705 and 706:
Color Plate 11. Position data (See
Page 707 and 708:
Color Plate 15. Final render using
Page 709 and 710:
Color Plate 18. Stereoscopic render
Page 711 and 712:
Figure 1 (See page 471.) Figure 3 (
Page 713 and 714:
Color Plate 23. The two ripple cent
Page 715 and 716:
Screen shot taken from the soft sha
Page 717 and 718:
676 Index data types, DirectX 9, 4-
Page 719 and 720:
678 Index implementing, 520-523 mot
Page 721 and 722:
680 Index shadow map, 562 using, 57
Page 723 and 724:
Learn FileMaker Pro 6 1-55622-974-7
Page 728 and 729:
About the CD The companion CD conta
show all

ShaderX Shader Programming Tips & Tricks With DirectX 9

Create successful ePaper yourself

Delete template?

Save as template?