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SIGGRAPH Advances in Real-Time Rendering
Registrace 9. 09. 2021
Welcome to the home for the well-established series of SIGGRAPH courses, covering late-breaking work and advances in real-time computer graphics!
This course was first presented in SIGGRAPH 2006 in Boston, MA.
Since then we continue bringing you the state-of-the-art techniques from the game development community, as well as innovating graphics methods and forward-looking research with the emphasis on practical implementations.
This course was first presented in SIGGRAPH 2006 in Boston, MA.
Since then we continue bringing you the state-of-the-art techniques from the game development community, as well as innovating graphics methods and forward-looking research with the emphasis on practical implementations.
Global Illumination Based on Surfels
This talk delves into real-time global illumination approaches based on Surfels designed by EA SEED and EA DICE, and it's a part of the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course (advances.realtimerendering.com/).
Global Illumination Based on Surfels (GIBS) is a solution for calculating indirect diffuse illumination in real-time. The solution combines hardware ray tracing with a discretization of scene geometry to cache and amortize lighting calculations across time and space. It requires no pre-computation, no special meshes, and no special UV sets, freeing artists from tedious and time-consuming processes required by traditional solutions. GIBS enables new possibilities in the runtime, allowing for high fidelity lighting in dynamic environments and for user created content, while accommodating content of arbitrary scale. The algorithm is part of the suite of tools available to developers and teams throughout EA as part of the Frostbite engine.
This talk will detail the GIBS algorithm and how surfels are used to enable real-time ray traced global illumination. We will describe how the scene is discretized into surfels on the fly, and why we think this discretization is a good fit for caching lighting operations. The talk will describe the acceleration structure used to enable efficient access to surfel data, and how this structure allows us to cover environments of arbitrary size, while keeping a predictable performance and memory footprint. We will detail how the algorithm handles dynamic objects, skinned characters, and transparency. Several techniques have been developed to efficiently integrate irradiance on surfels. We will describe our use of ray guiding, ray binning, spatial filters, and how we handle scenes with large numbers of lights.
Speaker Bios:
Henrik Halen joined Electronic Art's SEED research division as a Senior Rendering Engineer in 2017. His work at SEED is focused on real-time graphics algorithms, lighting and characters. Henrik's experience as a rendering engineer prior to joining SEED includes a decade of contributions to franchises such as Gears of War, Battlefield, Medal of Honor and Mirror's Edge.
Andreas Brinck has worked as a rendering engineer for more than two decades. He joined Electronic Arts in 2011 to help start Ghost Games and was later the rendering lead on NFS Rivals, NFS 2015, NFS Payback, and NFS Heat. In 2019 he joined DICE LA where he is currently working on the Battlefield franchise.
Kyle Hayward has worked as a rendering engineer since 2010. He has focused on multiple areas in graphics, from animation compression to global illumination, working on both offline and real-time solutions. He joined EA in 2012, and later became the NBA rendering lead from 2014 onwards. In 2019 he joined Frostbite, where he has been working on global illumination and raytracing.
Xiangshun Bei has been a rendering engineer within DICE LA at EA since 2019, focusing on real-time rendering and ray tracing. He currently works on the Battlefield franchise. Prior to DICE, he contributed to graphics drivers for Adreno GPU on Snapdragon SoC at Qualcomm. He received his master’s degree in computer science from University of Southern California in 2017.
Global Illumination Based on Surfels (GIBS) is a solution for calculating indirect diffuse illumination in real-time. The solution combines hardware ray tracing with a discretization of scene geometry to cache and amortize lighting calculations across time and space. It requires no pre-computation, no special meshes, and no special UV sets, freeing artists from tedious and time-consuming processes required by traditional solutions. GIBS enables new possibilities in the runtime, allowing for high fidelity lighting in dynamic environments and for user created content, while accommodating content of arbitrary scale. The algorithm is part of the suite of tools available to developers and teams throughout EA as part of the Frostbite engine.
This talk will detail the GIBS algorithm and how surfels are used to enable real-time ray traced global illumination. We will describe how the scene is discretized into surfels on the fly, and why we think this discretization is a good fit for caching lighting operations. The talk will describe the acceleration structure used to enable efficient access to surfel data, and how this structure allows us to cover environments of arbitrary size, while keeping a predictable performance and memory footprint. We will detail how the algorithm handles dynamic objects, skinned characters, and transparency. Several techniques have been developed to efficiently integrate irradiance on surfels. We will describe our use of ray guiding, ray binning, spatial filters, and how we handle scenes with large numbers of lights.
Speaker Bios:
Henrik Halen joined Electronic Art's SEED research division as a Senior Rendering Engineer in 2017. His work at SEED is focused on real-time graphics algorithms, lighting and characters. Henrik's experience as a rendering engineer prior to joining SEED includes a decade of contributions to franchises such as Gears of War, Battlefield, Medal of Honor and Mirror's Edge.
Andreas Brinck has worked as a rendering engineer for more than two decades. He joined Electronic Arts in 2011 to help start Ghost Games and was later the rendering lead on NFS Rivals, NFS 2015, NFS Payback, and NFS Heat. In 2019 he joined DICE LA where he is currently working on the Battlefield franchise.
Kyle Hayward has worked as a rendering engineer since 2010. He has focused on multiple areas in graphics, from animation compression to global illumination, working on both offline and real-time solutions. He joined EA in 2012, and later became the NBA rendering lead from 2014 onwards. In 2019 he joined Frostbite, where he has been working on global illumination and raytracing.
Xiangshun Bei has been a rendering engineer within DICE LA at EA since 2019, focusing on real-time rendering and ray tracing. He currently works on the Battlefield franchise. Prior to DICE, he contributed to graphics drivers for Adreno GPU on Snapdragon SoC at Qualcomm. He received his master’s degree in computer science from University of Southern California in 2017.
zhlédnutí: 40 150
Video
SIGGRAPH 2021 Advance in Real Time Rendering in Games course - Closing Remarks
zhlédnutí 2KPřed 2 lety
Closing Remarks for the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course ( advances.realtimerendering.com/) which is the leading course bringing state-of-the-art and production-proven rendering techniques for fast, interactive rendering of complex and engaging virtual worlds of video games. This year the course includes speakers from the makers of several innovative games and game ...
SIGGRAPH 2021 Advance in Real Time Rendering in Games course - Welcome and Introduction
zhlédnutí 6KPřed 2 lety
SIGGRAPH 2021 Advances in Real-Time Rendering in Games course ( advances.realtimerendering.com/) is the leading course bringing state-of-the-art and production-proven rendering techniques for fast, interactive rendering of complex and engaging virtual worlds of video games.This year the course includes speakers from the makers of several innovative games and game engines, such as Unity Technolo...
Improved Spatial Upscaling through FidelityFX Super Resolution for Real-Time Game Engines
zhlédnutí 5KPřed 2 lety
This talk provides in-depth intuition and details about AMD's FSR1 scaling algorithm, as well as shares the architecture behind integrating this technique into Unity's high-definition rendering pipeline. Part of the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course (advances.realtimerendering.com/). All methods shared in the presentation are illustrated with diagrams, images, and pe...
Experimenting with Concurrent Binary Trees for Large Scale Terrain Rendering
zhlédnutí 15KPřed 2 lety
In this talk, we share results of our novel technique using concurrent binary trees for large-scale terrain rendering, as well as the results of the deep dive into latest efforts to integrate the original technique into the Unity game engine. Part of the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course (advances.realtimerendering.com/). We will review the foundations of concurrent ...
A Deep Dive into Nanite Virtualized Geometry
zhlédnutí 240KPřed 2 lety
Nanite, Unreal Engine 5's new virtual geometry system, enables the rendering of trillion triangle scenes at real-time framerates. This lecture will take a deep dive into how Nanite works, from mesh import all the way to final rendered pixels. Part of the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course (advances.realtimerendering.com/). We will explain how the mesh-based data struc...
Large-Scale Global Illumination at Activision
zhlédnutí 16KPřed 2 lety
In this talk, we’ll describe the key techniques behind the large-scale global illumination system in Activision. Part of the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course (advances.realtimerendering.com/). We present a new precomputed lighting compression technique that enables high-performance and seamless reconstruction directly from the compressed lighting data. In addition, ...
Real-Time Samurai Cinema: Lighting, Atmosphere, and Tonemapping in Ghost of Tsushima
zhlédnutí 11KPřed 2 lety
In this talk, we describe some of the graphics techniques used in the production of Ghost of Tsushima. Part of the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course (advances.realtimerendering.com/). Set in 13th century Japan, Ghost of Tsushima pays homage to classic samurai cinema with dramatic lighting, wind, clouds, haze, and fog, and features a beautiful open-world version of th...
Radiance Caching for Real-Time Global Illumination
zhlédnutí 43KPřed 2 lety
This talk will present an efficient and high-quality Final Gather for fully dynamic Global Illumination with ray tracing, targeted at next generation consoles and shipping in Unreal Engine 5. Part of the SIGGRAPH 2021 Advances in Real-Time Rendering in Games course ( advances.realtimerendering.com/). Hardware Ray Tracing provides a new and powerful tool for real-time graphics, but current hardw...
Nuts. Absolutely nuts. I had no idea Nanite was so freaking complicated!
It'll be very nice if someone could make a video to explain the content of this video.
nanite is still the god of lod
I’m here using Unity’s real-time light, light probes and reflection probes thinking that’s all there is. Watching this has blown my mind
It seems there are only a few videos from 2021. Will there be any other public videos?
This is exceptional work
So did they end up using this approach as a default for GI? Or do they use something else for new EA/Frostbite games?
any idea why nanite meshes do not update the nav mesh? not even after setting the nav mesh dynamic, the nav mesh simply ignores nanite meshes
i understood 2% of this but that 2% was crazy
"Instances are the new triangles". My favorite line.
So guys basically reinvented voxels but for polygons. Sounds crazy.
That is awesome!
It's not clear to me how to parallel propagate subdivision into neighboring triangles. Is there a way how to avoid recursive subdivision on half-edges of main mesh triangles?
all this graphical wizardry and yet unreal actors and objects are bloated to huge sizes in memory, huge disconnect between the graphics side and the rest of the engine
The guy just reading the text word by word, which makes this very difficult to listen. He doesn't explain, he doesn't communicate. Just a plain reading with some random pseudo-emotional intonation swings.
Awsome Job !!
Good talk - the change of basis to apply simple constraints in the spatial domain is simple but the details are clever and a bit mind blowing. And finally, the compression of 44:1 with little loss of detail was amazing. That's one where I'll need to read the papers. Could that technique also apply to image compression ? I wonder how it would perform.
The way you are describing things up to around 16:10 you make it sound like someone with decent coding expertise could implement the important bits of this idea themselves
Yeah. Science!
It'd be much clearer if you could state the problem prior to an explanation.
He did
So what if there's no good previous frame to work from, like after a hard transition? Is there a big slow down, or do we get a single poor quality frame?
1.5gb is a memory problem? I would gladly pay 8gb memory requirement for those tasty tasty shadows and indirect lighting.
Interesting solution but I'll take path tracing with radiance caching over this anyway.
Pretty cool explanations. I didn't really understand most of the technical details and jargon but the overall concept and parts of the executen were quite clear. 👍 1:04:02 I understood the slide about vertex clustering and duplicates completely 😁 which was cool 1:08:14 one of the things I asked myself is how you handle translucent things, since you said you didn't use the materials in looking for the right triangles. So I guess you somehow still have to implement this somehow
About your second point, I believe Nanite doesn't support transparent materials.
Thanks much appreciated.
unusable
As a computer scientist, this stuff is almost pure magic. Congratulation to the team at Unreal for designing/implementing these algorithms and tools! This is amazing work.
Fewer than 100 people actually understand how this thing works.
Annnnd that's it for my standup.
Genius solution!
Based that he explained it fully. Ty
Remodeling manually is the same,This is just automatic manner.
This is some crazy piece of engineering.
I miss good old days when I thought shadowmapping is hard to understand
The algorithm of shadow map is not hard to understand,just creating another mesh by vertices that align with the other two vertices which is the object vertex and the light.Always think it yourself,not rely on people feeds,it would be easier to understand. Now you may ask you exactly to align those vertices?It is simple,using derraviate or trigonometry,i program an mouse orientation myself with trigonometry as i make 3d game engine so i understand it enough. All of this man saying is just about automatic remodeling which can be done manually by artists but consumes much more time.
The team behind this are true geniuses. This amount of complexity being managed is pretty incredible.
The whole idea and initial work was the guy in this video, Brian Karis. I believe he didn´t got a team to lead till he has proved it worked. He came with the idea, and they told him, go work alone on it for a while a see what happens.
Wouldn't this mean you have 1 draw call per cluster? Also... what if half the mesh uses lod 0 and the other half has to use lod 1... wouldn't the triangles due to simplification either be crossing over to have gaps?
"tech experts" in polycount forums "but this will need gazillion terabyte discs for a game".
I'm STILL struggling very hard to understand HOW this did NOT revolutionize every 3D suite out there. It's not as if they kept the tech completely hidden.
Implementation complexity. It's too new to be that wide-spread. Doesn't even cover all cases yet. Eventually this may grow into a proper standard of doing things. Give it a few more years
“You can’t displace a spear into a shape like a torus”. Poincare 😒
Great job, very technical and well explained.
'Also known as an index buffer and a triangle mesh'.. Lol
Where is sample project sources?
This is sorcery at it best
Literally 'Game Changing'!!
I think that "surface circle" is a better description of what these are versus "surface element"
Surficle
@@nielsbishere Surcle
@@inxiveneoy sule
Since it’s also something that has to do with sinuses, “Snot on a wall”.
What videogame is at lower right at 15:20? (looks like a cat holding a lamp in isometric scenery)
Thank You😊
This is a game(graphics) programming gem. Thank you for sharing.
Yeah, I like DAGs... czcams.com/video/zH64dlgyydM/video.html
I worked at Epic from late 2003 to early 2005, on UT2K4 as an artist. Sometimes late at night, I'd wander over to the Gears of War side of the hallway and discuss things with artists and programmers like James Golding, Shane Caudle, Cliff Bleszinski, Tim Sweeney, and Chris Perna. Having worked closely with programmers from my very first day in game development years earlier, it was a real joy at Epic to talk with people that both I and the gaming world at large considered masters. Still have dreams I'm working there again. The best achievement of my artistic life is my time there, and will never forget what that felt like.
I don't understand. If working there is so mind-blowingly amazing, why are you not working there anymore?
@@DasAntiNaziBroetchen could be many reasons, for example could have had to leave the country/state