Occlusion culling is a rendering optimisation technique that refers to not drawing triangles (meshes in general) that will not be visible on screen due to being occluded by (i.e. they are behind) some other solid geometry. Performing redundant shading of to-be-occluded triangles can have an impact on the GPU, such as wasted transformed vertices in the vertex shader or shaded pixels in the pixel shader, and on the CPU (performing the drawcall setup, animating skinned props etc) and should be avoided where possible.
In this blog post we are wrapping up the exploration of Unreal’s renderer with image space lighting, transparency rendering and post processing.
We continue the exploration of how Unreal renders a frame by looking into light grid generation, g-prepass and lighting.
I was looking around the Unreal source the other day and inspired by some excellent breakdowns of how popular games render a frame, I thought to try something similar with it as well, to study how it renders a frame (with the default settings/scene setup).
Some time ago I did an investigation on if/how Unity can be used as a FX Composer replacement, using the free version as a test. I then concluded that to a large degree Unity could be used for shader prototyping. It was missing the low level access though that would allow me implement more complicated graphics techniques, so I jumped onto SharpDX for a couple years.
Developing code is good but sometimes you just need to drag and drop a few assets, attach a shader and get going. Now that Unity is available fully featured for free, it was time to give it another go. In this post I document my findings.
SkySaga:Infinite Isles is a voxel based, sandbox, single/multiplayer exploration and crafting game currently in closed Alpha state. It has a very distinct aesthetic with vivid, saturated colours and complex lighting. It additionally supports a day-night cycle, a weather system, translucent and solid shadows, clouds, lit transparencies, volumetric fog, and many dynamic lights. The game also features a variety of biome types, from sunny or frozen forests, to scorching deserts and underground towns hidden in fog just to name a few.
A few weeks ago I came across an interesting dissertation that talked about using tessellation with Direct3D11 class GPUs to render hair. This reminded me of my experiments in tessellation I was doing a few years ago when I started getting into D3D11 and more specifically a fur rendering one which was based on tessellation. I dug around and found the source and I decided to write a blog post about it and release it in case somebody finds it interesting.
Before I describe the method I will attempt a brief summary of tessellation, feel free to skip to next section if you are already familiar with it. Continue reading “Rendering Fur using Tessellation”