ShaderX Shader Programming Tips & Tricks With DirectX 9

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Preface After the tremendous success of Direct3D ShaderX: Vertex and Pixel Shader Tips and Tricks, I planned to do another book with an entirely new set of innovative ideas, techniques, and algorithms. The call for authors led to many proposals from nearly 80 people who wanted to contribute to the book. Some of these proposals featured introductory material and others featured much more advanced themes. Because of the large amount of material, I decided to split the articles into introductory pieces that are much longer but explain a lot of groundwork and articles that assume a certain degree of knowledge. This idea led to two books: ShaderX 2 : Introductions & Tutorials with DirectX 9 ShaderX 2 : Shader Programming Tips & Tricks with DirectX 9 The first book helps the reader get started with shader programming, whereas the second book (this one) features tips and tricks that an experienced shader programmer will benefit from. As with Direct3D ShaderX, Javier Izquierdo Villagrán (nurbs1@jazzfree.com) prepared the drafts for the cover design of both books with in-game screen shots from Aquanox 2, which were contributed by Ingo Frick, the technical director of Massive Development. A number of people have enthusiastically contributed to both books: Wessam Bahnassi Andre Chen Muhammad Haggag Kenneth L. Hurley Eran Kampf Brian Peltonen Mark Wang Additionally, the following ShaderX 2 authors proofread several articles each: Dean Calver Nicolas Capens Tom Forsyth Shawn Hargreaves Jeffrey Kiel Hun Yen Kwoon Markus Nuebel Michal Valient Oliver Weichhold vii
Preface viii These great people spent a lot of time proofreading articles, proposing improvements, and exchanging e-mails with other authors and myself. Their support was essential to the book development process, and their work led to the high quality of the books. Thank you! Another big thank you goes to the people in the Microsoft Direct3D discussion group (http://DISCUSS.MICROSOFT.COM/archives/DIRECTXDEV.html). They were very helpful in answering my numerous questions. As with Direct3D ShaderX, there were some driving spirits who encouraged me to start this project and hold on through the seven months it took to complete it: Dean Calver (Eclipse) Jason L. Mitchell (ATI Research) Natasha Tatarchuk (ATI Research) Nicolas Thibieroz (PowerVR) Carsten Wenzel (Crytek) Additionally, I have to thank Thomas Rued from DigitalArts for inviting me to the Vision Days in Copenhagen, Denmark, and for the great time I had there. I would like to thank Matthias Wloka and Randima Fernando from nVidia for lunch at GDC 2003. I had a great time. As usual, the great team at Wordware made the whole project happen: Jim Hill, Wes Beckwith, Heather Hill, Beth Kohler, and Paula Price took over after I sent them hundreds of megabytes of data. There were other numerous people involved in this book project that I have not mentioned. I would like to thank them here. It was a pleasure working with so many talented people. Special thanks goes to my wife, Katja, and our daughter, Anna, who spent a lot of evenings and weekends during the last seven months without me, and to my parents, who always helped me to believe in my strength. — Wolfgang F. Engel P.S.: Plans for an upcoming project named ShaderX 3 are already in progress. Any comments, proposals, and suggestions are highly welcome (wolf@shaderx.com).
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 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 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
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3D Planets on the GPU Jesse Laeuchl
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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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