ShaderX Shader Programming Tips & Tricks With DirectX 9

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About the Authors ATI Research, where she is the programming lead for the RenderMonkey IDE project. She has worked in the graphics industry for more than six years, working on 3D modeling applications and scientific visualization prior to joining ATI. Natalya graduated from Boston University with a bachelor’s degree in computer science, a bachelor’s degree in mathematics, and a minor in visual arts. Nicolas Thibieroz (nicolas.thibieroz@powervr.com) Like many kids of his generation, Nicolas discovered video games on the Atari VCS 2600. He quickly became fascinated by the mechanics behind those games, and started programming on C64 and Amstrad CPC before moving on to the PC world. Nicolas realized the potential of real-time 3D graphics while playing Ultima Underworld. This game inspired him in such a way that both his school placement and final year project were based on 3D computer graphics. After obtaining a bachelor’s degree in electronic engineering in 1996, he joined PowerVR Technologies where he is now responsible for developer relations. His duties include supporting game developers, writing test programs and demos, and generally keeping up to date with the latest 3D technology. Alex Vlachos (http://alex.vlachos.com) Alex is a staff engineer in the 3D Application Research Group at ATI, where he has worked since 1998 focusing on 3D engine development as the lead programmer for ATI’s Demo Team. He developed N-Patches (a curved surface representation introduced in Microsoft’s DirectX 8), also known as PN Triangles, and TRUFORM. He has published in Game Programming Gems 1, 2, and 3, ACM Symposium on Interactive 3D Graphics (I3DG), and Direct3D ShaderX: Vertex and Pixel Shader Tips and Tricks. He has presented at Microsoft Meltdown Seattle and UK, I3DG, GDC, and GDC Europe. Alex is a graduate of Boston University. Daniel Wagner (daniel@ims.tuwien.ac.at) Daniel has been fascinated by programming computer graphics since he got his first PC in 1991. In 1995 he developed the software SimLinz for the Ars Electronica Center (museum of the future) in Linz, Austria. During his study he worked for Reality2, a company that created virtual reality software. After finishing his master’s thesis, “EndoView: A System for Fast Virtual Endoscopic Rendering and Registration” in summer 2001, he worked as a lead developer for BinaryBee, a company developing arcade-style web games. Daniel is currently working on his Ph.D. thesis on augmented reality at the Interactive Media Systems Group at the Vienna University of Technology. Arkadiusz Waliszewski Arkadiusz holds a master’s degree in computer science from Poznan University of Technology and is currently a software engineer in Poland. He started his adventure with computer graphics when he got his first computer (Atari 65XE) and has become addicted. Beside real-time computer graphics, he is also interested in object-oriented programming and design. He likes good movies, dry wine, and big fluffy carpet slippers. Maike Walther Maike’s research interests lie in computational and cognitive aspects of computer depiction. She has studied mathematics, logic, computer science, and psychology xvii
About the Authors xviii at the universities of Muenster, Germany, and Leeds, England. Maike graduated in 2003 from the Hasso Plattner Institute in Potsdam, Germany after writing her master’s thesis on computer graphics and algorithms for real-time non-photorealistic rendering of 3D city models. She is currently developing for the Virtual Rendering System (www.vrs3d.org). Oliver Weichhold Oliver has been a programmer and developer on a number of projects, including a software implementation of the Direct3D pipeline. Carsten Wenzel (carsten@crytek.de) Carsten has been passionate about computer graphics ever since he got a hold of intros and demos for Amiga and PC. Although he’s never really been active in the demo scene, it’s always been a big inspiration for him. As a 3D programmer at Totally Games, he developed many of the pixel and vertex shaders used for special effects in an Xbox game. At that time he also wrote a tech demo for nVidia’s GeForce3. His latest demo, Meshuggah, was released in spring 2002, and he received his master’s degree in computer science in December 2002. He currently works at Crytek. Guillaume Werle (guille@free.fr) Guillaume is a 26-year-old graphic engineer at Montecristo (www.montecristogames.com). He joined the R&D department team last year where he is working on the next-generation 3D engine. In the game industry since 1998, he has done two PlayStation games for Infogrames and one PC game for Montecristo. Despite the little spare time he has, he is still an active demoscener (http://cocoon.planetd.net). His last demo, Raw Confessions, was nominated for the Demoscene Awards (http://awards.scene.org/) in the “Best Demo” category and won the “Best Graphics” award. Renaldas Zioma Renald Zioma has been driven (mad) by computer graphics since he saw ZX Spectrum. After learning assembly and writing a Tetris clone for his ZX, he switched to PCs, finished school, wrote a couple of small non-commercial games, gained experience with object-oriented programming and design while working at a software development company, and received a bachelor’s degree in computer science from Kaunas University of Technology. He has been working as a professional game programmer for the last two years. Recently he finished a demo of a 3D fighting game based on real-time motion recognition for Interamotion, LLC. In his spare time, he programs demos and games and organizes small demo/game scene related events in Lithuania.
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 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 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
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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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