ShaderX Shader Programming Tips & Tricks With DirectX 9

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About the Authors currently works on Black&White 2 for Lionhead Studios. He studied graphics programming-related subjects at university for five years before that. His passion for video games and 3D graphics help him spend many sleepless nights after long days of writing shader code. Roger Descheneaux Roger has been working on 3D graphics since the late 1980s, and he has a vaguely uncomfortable feeling that he should somehow be better at it by now. In 1991 he graduated to working on 3D graphics device drivers for IBM. The first driver he worked on was for a five-card graphics solution that sold for $30,000 and couldn’t do texture mapping. The graphics hardware is slightly faster and somewhat cheaper these days. He currently works on OpenGL device drivers for ATI Research in Marlborough, Massachusetts, for graphics chips that can definitely do texture mapping. Sim Dietrich Sim manages the U.S. Technical Developer Relations team at nVidia Corporation. Sim has written chapters for Game Programming Gems 1 and 2 and served as editor of the Graphics Display section of Gems 2. He was a key contributor to the CgFX effort, bringing real-time shaders to Max, Maya, and SoftImage for the first time. Sim’s interests include new shadow techniques and improving graphics workflow through efforts like Cg and CgFX. Wolfgang F. Engel (wolfgang.engel@shaderx.com) Wolfgang is the editor of ShaderX2 : Introductions & Tutorials with DirectX 9, the editor and a co-author of Direct3D ShaderX: Vertex and Pixel Shader Tips and Tricks, the author of Beginning Direct3D Game Programming, and a co-author of OS/2 in Team, for which he contributed the introductory chapters on OpenGL and DIVE. He spoke at GDC 2003 and at Vision Days 2003 in Copenhagen, Denmark. He has published articles in German journals and on www.gamedev.net, www.gamasutra.com, and his own web site, www.direct3d.net. During his career in the game industry he built up two small game development units. Tom Forsyth (tomf@muckyfoot.com) Tom has been obsessed by 3D graphics since seeing Elite on his ZX Spectrum. Since then he has always tried to make hardware beg for mercy. Tom has written triangle-drawing routines on the Spectrum, Sinclair QL, Atari ST, Sega 32X, Saturn, Dreamcast, PC, GamePark32, and Xbox, and he’s getting quite good at them now. Tom’s coding past includes writing curved-surface stuff for Sega and graphics drivers for 3Dlabs. Currently he works in Guildford, England, at Mucky Foot Productions, where past projects include Urban Chaos, StarTopia, and Blade2. Eli Z. Gottlieb Eli is a self-taught programmer attending ninth grade at Bethlehem Central High School in Delmar, New York. Matthew Halpin Matthew started programming before he was 10 and has continued to hold an interest in the areas of graphics and physics. Starting with 2D vector and sprite rendering, he quickly moved onto software 3D rendering and later 3D hardware xi
About the Authors xii accelerated rendering combined with rigid body and particle physics systems. He has been working in the games industry since receiving a BA in computer science from Cambridge University. Shawn Hargreaves After finishing a degree in music, Shawn has been writing games for the last six years, most recently as lead programmer on Climax’s MotoGP bike racing game. Having started out coding 2D graphics by hand in DOS (where he created the popular Allegro library (http://www.talula.demon.co.uk/allegro/index.html) and then spending time on the N64 and PS2, he is still in awe of the sorts of things that are possible with programmable shaders on Xbox and modern PC cards. Evan Hart Evan is a software engineer with ATI’s Application Research Group where he works on technology evangelism and adoption. He is a graduate of Ohio State University. O’dell Hicks O’dell has been a professional game programmer since 1998 and a hobbyist several years longer than that. He has done work on both the PC and Xbox. One day he hopes to finish a game that he is working on by himself in his spare time. His web site can be found at http://odellworld.com/. Oliver Hoeller Oliver currently works as senior engine programmer at Piranha Bytes, which developed the RPGs Gothic I and II. He started programming at age 10 on his Commodore VIC20, working his way through 6502(VIC20), 6510(C64), and 68000(Amiga) Assembler. His first game project was with 15, a jump and run game named Platou (Kingsoft, C64). He was an active member of the German demo scene in the ’80s and early ’90s. After a detour — during which he developed music software, created a security program, and worked as a consultant for web services — Oliver returned to his roots and developed his first 3D engine (Warrior Engine, 1995-98). He was lead programmer and director of development at H2Labs/Codecult and was responsible for development of the Codecreatures game system. Takashi Imagire Takashi has been a professional game programmer for five years, mainly working with the PlayStation and PlayStation2. Currently, he is programming real-time 3D graphics in his spare time, while focusing on the newest shader technology. A number of articles and demos on shader programming can be found on his web site at http://www.t-pot.com/. His goal is to publish his demos immediately after the release of new shader technology. John Isidoro John is a member of the 3D Application Research Group at ATI Technologies and a graduate student at Boston University. His research interests are in the areas of real-time graphics, image-based rendering, and machine vision. Greg James Greg is a software engineer with nVidia’s technical developer relations group
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 10 and 11: About the Authors Dan Amerson Dan g
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]
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half noise(float3 v,sampler1D g) {
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Conclusion References Section I —
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Figure 1: The interconnection of cl
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VECTOR: SpringVector VECTOR: ForceV
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need to do is render a full-screen
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e applied to the other faces of the
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add r0, r1, c14 mov o6.xyzw, r0 ; 5
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texld r2, v[aL+4].zw, s0 ;Sample ne
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add r4.r, r1.r, -r2.r ; Subtract Cl
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dcl 2d s2 ; (Ny,Nz) def c10, 120.0,
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Sample Application Conclusion Refer
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GPU simultaneously, blocking often
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Section I — Geometry Manipulation
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earlier. However, such methods are
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Conclusion Section I — Geometry M
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Principles Advantages Displacement
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At first glance, hardware support i
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the mesh (either the high- or low-p
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Art Tools Although we use our own V
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scatter them all over the UV domain
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version and then the low LOD versio
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Summary References Section I — Ge
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Section II Rendering Techniques Ren
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Introduction Rendering Objects as T
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Computing Thickness Section II —
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Section II — Rendering Techniques
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m.) The coordinate for green is thi
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TEXLD r0, t0, s0 // read the RGB-en
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depth complexity is important. If w
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The depth comparison barely fits wi
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Conclusion Section II — Rendering
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Screen-aligned Particles with Minim
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If each of the four billboard verti
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Hemisphere Lighting with Radiosity
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Radiosity Maps Hemisphere lighting
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#define VS AMBIENT 10 // ambient li
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def c0, 0.3333, 0.3333, 0.3333, 0.3
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Galaxy Textures Jesse Laeuchli In m
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We can do that by finding the inver
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Turbulent Sun Jesse Laeuchli Many 3
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A more interesting look can be achi
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Introduction Fragment-level Phong I
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If we go back to the equation, you
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have a single property to take care
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together for each material. This is
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Now we need to feed this info into
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shader though, and that’s the mad
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shadow. Otherwise, it’s lit. Quit
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code look fairly good, there is a p
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Introduction Specular Bump Mapping
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� Amount of banding for high spec
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Arithmetic Interpolation Section II
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Light Space Interpolation Consisten
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Normalized Specular Bump Mapping wi
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Introduction Voxel Rendering with P
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Accumulated Voxels This is the simp
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color is output as soon as matter i
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points 5, 6, 7, and 8 would be test
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mul r3.xyz, r2, c0.wwy // Octant 6
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Shadows or when it changes (animate
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} o.pos = pos; // copy input vertex
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Rendering Volumes in a Vertex & Pix
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Technique Normal Map Compression Ja
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Figure 2: Normal map compressed dir
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References Section II — Rendering
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have to simulate it using geometry.
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Visually, the effect is as if each
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Rotation and Scaling Now that we ar
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Filtering � Mipmapping — As we
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} m OffsetMap[(gi+gj*m dwOffsetMapR
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The Drops of Water Effect The Drops
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Combining All Each drop is encoded
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} half diffatten=0.45+0.55*(1.0-wet
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Introduction Advanced Water Effects
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Preparation of the Underwater Scene
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declare registers dcl position v0 /
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The vertex shader VS-2 (used to bui
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add r0.rgb, r0, t3 // t3 contains t
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“critical” angle (Snell’s Law
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method introduced by the Direct3D e
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calc the distorted bump-normal map
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mad r8, r5, c13, t2 // Use a scaled
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Conclusion References Section II
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Background This article focuses on
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The convolution formula for spheric
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dp4 r3.b, r2, cBb ; compute the fin
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objects. In [5], a method is presen
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Again, exploiting a linear operator
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than can be represented in the cons
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Acknowledgments References Section
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(lon). Finally, the ecliptic rectan
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3 Fr( �) � ( �� ) � �
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(...) dp4 r2.x, v0, c8 dp4 r2.y, v0
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mul r0.x, v0.y, v0.y mad r0.xw, r0.
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Where to Go from Here There are a n
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Introduction Deferred Shading with
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next power of two size above the ma
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set of three 3D texture coordinates
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texld r3, t0, s0 ; r3 = Color from
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D3DDECL END() }; Pixel Shader Code
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Better Lighting A “real” specul
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using translucent objects that requ
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Geometry buffers: 0 MRTs: nMRT�W
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Back Faces Only Because the camera
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CD Demo Summary Section II — Rend
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sequence, as shown in Contour by Th
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one-eighth of the original uncompre
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#define L r3 #define PWorld r1 #def
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� � � � � � � � �
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R'=2*(E.NShort) *N-V mul NShort, N,
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#include “..\..\Effects\Beams\Ren
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Figure 5: Sun surface (a) and radia
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Ocean Scene Section II — Renderin
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sq T.w, T.w mul T, T, T.w mul S, Sx
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oD0. The integer portion is divided
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over the entire frame to feed the t
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Layered Car Paint Shader John Isido
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These normals, N s and N ss, are co
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float3 vNp1 = microflakePerturbatio
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Introduction Motion Blur Using Geom
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VS OUTPUT o=(VSOUTPUT).5; Pos = flo
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Figure 4 shows comparison rendering
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} Summary // Environment map the ob
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Introduction Simulation of Iridesce
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Vertex Shader The vertex shader for
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Figure 2: Input texture maps The te
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Iridescence Section II — Renderin
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Summary References ( saturate( dot(
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Introduction Floating-point Cube Ma
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} Conclusion Demo lerp( lerp(C001,
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image, it is called passive stereo.
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target, using the same viewport and
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Basis First, let me point out that
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Camera Transformation Since it is i
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Image Offset Traditionally, offsett
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Pixel Shader Implementation Doing s
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phase texld r2,r0 // Dependent look
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Conclusion It has been proven scien
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the same tonal value. This techniqu
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Varying the Line Style Section II
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} color *= getStrokeColor(Tex2, Dif
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References Section II — Rendering
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Integrating Fog in Your Engine The
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Final Words Section II — Renderin
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desirable, we may soon find these a
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created along the length of a vecto
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The function of the texture coordin
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dcl 2d s1 dcl t0 texld r0, t0, s0 t
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First, we compute a few constants d
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to the coordinates, storing -1 as 0
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...and execute the 4�1 matrix vec
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texld r10, r10, s1 mad r5, r10.xxxx
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const float tcPixelBH =2*TexcoordBi
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mov oT1.y, r3.z Below is the last s
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texld r3, r7, s0 add r4, t1, c7 tex
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p.copy(b); r.copy(b); float rr = r.
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Results Section II — Rendering Te
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Conclusion Figure 4 shows a practic
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Section III Software Shaders and Sh
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Section III — Software Shaders an
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x86 Shaders-ps_2_0 Shaders in Softw
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Named Constants in Shader Developme
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Advanced Image Processing with Dire
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float4 RGB to HSV (float4 color) {
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} } b=t; } else if (i == 3) { r=p;
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Section IV — Image Space Advanced
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struct PS INPUT { float2 texCoord:T
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} texCoords[2] = In.texCoord + samp
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} median = max(b,c); } } return med
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Median-filtering the red, green, an
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Values connected by arrows in Figur
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The shader performs an extremely si
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Conclusion Utilizing the FFT Sectio
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Night Vision: Frame Buffer Postproc
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Quad Rendering Once the scene is st
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Non-Photorealistic Post-processing
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Color Conversions OK, so we are all
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Our goal is to cover the screen wit
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ps.1.1 def c0, 0.3, 0.59, 0.11, 0 t
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These are combined into a single te
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References The final step, in instr
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Introduction Image Effects with Dir
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� viewMatrix: View matrix. This i
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} // xPosition = [-1.1, 1.1] float
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} //===============================
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The square’s edge (in texture spa
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} // // Since all the coords are sy
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A spice transition: //-------------
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download on the ATI developer web s
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environment map. Since the effect i
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Compute the normal for ripple two a
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} // b/c waveAge increases. isInsid
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The sub-region size is determined u
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See Figure 13. The texture-wrapping
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// Select the color based on the lo
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Section IV — Image Space Image Ef
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-----------------------------------
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A variance over an L-shaped area fo
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} float s0a,s1a,s2a,s3a,la, l2a; sa
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} // combine Sobel edge with curren
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Using Pixel Shaders to Implement a
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glVertex2f(-1.0, -1.0); glTexCoord2
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} Section IV — Image Space Using
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Conclusion Section IV — Image Spa
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The X is the real part, and Y is th
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Introduction Real-Time Depth of Fie
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Figure 3: Thin lens camera Multiple
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Scene Rendering Vertex Shader The v
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struct PS OUTPUT { float4 vColor: C
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Figure 6: Depth of field filter ker
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struct PS INPUT { float2 vTexCoord:
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float fFocalDistance; float fFocalR
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matrix matWorldViewProj; //////////
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} v[2] = D3DXVECTOR4(0.0f, 3.4295f
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Pixel Shader for X Axis of Separabl
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} vWeights3.y = saturate(s4.a - vTh
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}; float2 vTap1: TEXCOORD1; float2
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Pass Five: Compositing the Final Ou
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Bokeh Section IV — Image Space Re
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Section V Shadows Soft Shadows by F
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Section V — Shadows 560 Soft Shad
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Robust Object ID Shadows Sim Dietri
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Section V — Shadows 582 Robust Ob
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Section V — Shadows 588 Reverse E
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Section VI 3D Engine and Tools Desi
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Section VI — 3D Engine and Tools
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Post-Process Fun with Effects Buffe
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Vertex Shader Compiler David Panger
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Color Plate 3. The contents of the
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Color Plate 6. These images show th
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Color Plate 11. Position data (See
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Color Plate 15. Final render using
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Color Plate 18. Stereoscopic render
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Figure 1 (See page 471.) Figure 3 (
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Color Plate 23. The two ripple cent
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Screen shot taken from the soft sha
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676 Index data types, DirectX 9, 4-
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678 Index implementing, 520-523 mot
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680 Index shadow map, 562 using, 57
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Learn FileMaker Pro 6 1-55622-974-7
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About the CD The companion CD conta
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