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Vysoke´Ucˇenítechnicke´V Brneˇ Zobrazenístínu˚Ve Sce VYSOKE´ UCˇ ENI´ TECHNICKE´ V BRNEˇ BRNO UNIVERSITY OF TECHNOLOGY FAKULTA INFORMACˇ NI´CH TECHNOLOGII´ U´ STAV POCˇ ´ITACˇ OVE´ GRAFIKY A MULTIME´ DII´ FACULTY OF INFORMATION TECHNOLOGY DEPARTMENT OF COMPUTER GRAPHICS AND MULTIMEDIA ZOBRAZENI´ STI´NU˚ VE SCE´ NEˇ S VYUZˇ ITI´M KNIHOVNY DIRECTX RENDERING OF SHADOWS IN A SCENE WITH DIRECTX DIPLOMOVA´ PRA´ CE MASTER’S THESIS AUTOR PRA´ CE Bc. JOZEF KOBRTEK AUTHOR VEDOUCI´ PRA´ CE Ing. JAN NAVRA´TIL SUPERVISOR BRNO 2012 Abstrakt Tato práce pojednává o metodách zobrazení stínù, jejich analýze a implementaci v rozhraní DirectX 11. Teoretická èást popisuje historický vývoj použití stínù v 3D aplikácích a jedno- tlivé algoritmy pro výpoèet stínù. V rámci práce jsou na demonstrační aplikaci porovnány z hlediska výkonu, nároènosti implementace a kvality výstupu 2 varianty algoritmu shadow mapping pro všesměrová světla - s využitím cube mappingu a parabolické projekce, každá s pěti různě optimalizovanými implementacemi. Abstract This work discusses shadowing methods, analyses them and describes implementation in DirectX 11 API. Theoretical part describes historical evolution of shadow usage in 3D appli- cations and also analyzes shadowing algorithms. This work compares 2 variants of shadow mapping algorithm for omnidirectional lights, based on cube mapping and paraboloid pro- jection, on demo application using quality, performance and implementation aspects. Klíčová slova DirectX, Direct3D, stínovací metody, shadow mapping, cube mapping, stínová tělesa, geo- metry shader Keywords DirectX, Direct3D, shadowing methods, shadow mapping, cube mapping, shadow volumes, geometry shader Citace Jozef Kobrtek: Zobrazení stínù ve scéně s využitím knihovny DirectX, diplomová práce, Brno, FIT VUT v Brně, 2012 Zobrazení stínù ve scéně s využitím knihovny DirectX Prohlášení Prohla¹uji, že jsem tento semestrální projekt vypracoval samostatně pod vedením pana Ing. Jana Navrátila ....................... Jozef Kobrtek 19. května 2012 Poděkování Chcel by som poďakova» vedúcemu Ing. Navrátilovi za neoceniteľnú pomoc a pripomienky, ktoré prispeli k skvalitneniu tejto práce. Taktiež ďakujem Matejovi Kolejákovi a Matejovi Smetanovi za zapožičanie hardware, na ktorom bolo možné prácu testova». c Jozef Kobrtek, 2012. Tato práce vznikla jako školní dílo na Vysokém učení technickém v Brně, Fakultě informa- čních technologií. Práce je chráněna autorským zákonem a její užití bez udělení oprávnění autorem je nezákonné, s výjimkou zákonem definovaných případů. Obsah 1 Úvod 2 2 Tiene v 3D aplikáciach 3 2.1 Historický vývoj . 3 2.2 Typy svetiel . 7 3 Tieňovacie algoritmy 9 3.1 Planar projection shadows . 9 3.2 Shadow mapping . 11 3.3 Shadow volumes . 16 4 Problém viditeľnosti 21 4.1 Obalové telesá . 21 4.2 View Frustum Culling . 22 5 Návrh a implementácia aplikácie 26 5.1 Návrh . 26 5.2 Implementácia . 26 6 Testy 39 6.1 Kvalitatívne porovnanie . 39 6.2 Testy výkonu . 41 7 Záver 48 A Pseudokód Welzlovho algoritmu 53 B Pseudokód výpoètu prieniku dvoch pohľadových telies 54 C Screenshoty z kvalitatívneho porovnania 55 C.1 512 x 512 . 55 C.2 1024 x 1024 . 56 C.3 2048 x 2048 . 57 C.4 4096 x 4096 . 58 D Obsah CD prílohy 59 E Použitie aplikácie 60 1 Kapitola 1 Úvod V realite by bolo ťažké si predstavi», že by predmety vystavené svetlu nevrhali tiene. Tiene sú práve to, èo nám dáva predstavu o polohe telies v priestore a ich vzájomnej polohe. Práve tento aspekt správania svetla sa snažíme uplatni» aj v 3D grafike. Výpoèet tieňov v počítačovej grafike je už dlhé roky predmetom skúmania, nakoľko ich spracovanie v 3D grafike v reálnom èase je sprevádzané nezanedbateľnou penalizáciou na výkone. Jedná sa o metódy poèítané globálne pre celú scénu a obvykle na niekoľko prechodov, preto musí by» kladený dôraz na ich efektívnu implementáciu. V tejto práci sú popísané a postupne implementované vybrané algoritmy pre zobrazova- nie tieňov v scéne, prièom sú zhodnotené ich vlastnosti, výkon a nároènos» implementácie v rozhraní DirectX 11. Pre tento úèel bolo treba vytvori» aplikáciu, ktorá tieto algotirmy implementuje, a pomocou ktorej by bolo možné vykona» merania a posudzova» kvalitu tieňov vytvorených jednotlivými metódami. Práca sa zameriava aj na porovnanie rozhraní DirectX ako proprietárneho ¹tandardu, a OpenGL ako otvoreného API, a to z hľadiska programátorského ako napr. zložitosť zápisu rovnakých algoritmov, a užívateľského - výkon algoritmu pod jedným èi druhým rozhraním èi veľkos» výsledných binárok. V úvode sa zameriavam na historický vývoj použitia tieňovacích metód vzhľadom na možnosti grafických adaptérov poèas ich vývoja - èi už prvotné s neprogramovateľnou pi- peline, alebo súèasné akcelerátory s programovateľným re»azcom. Sú tu taktiež popísané jednotlivé typy svetiel a ich vlastnosti. Kapitola číslo 2 analyzuje jednotlivé algoritmy zobrazovania tieňov, ich modofikácie èi varianty. Tretia kapitola popisuje analýzu a návrh aplikácie, požiadavky na jej funkènos» a výstup, ako aj problémy spojené s implementáciou v rozhraní DirectX, vrátane shaderov. Kvalitatívne a výkonnostné testy sú popísané v kapitole 6. Taktiež sú tu vyhodnotené výsledky jednotlivých meraní a porovnaní implementovaných metód. Záver práce hodnotí jednotlivé metódy na základe výsledkov meraní. 2 Kapitola 2 Tiene v 3D aplikáciach V tejto kapitole je popísaný vývoj použitia tieňov v hrách a 3D aplikácich v rôznych obdo- biach vývoja grafických akcelerátorov. V tradiènom poňatí syntézy obrazu ak označíme urèitú oblas», že sa nachádza v tieni, znamená to, že existuje urèitý povrch alebo teleso, ktoré sa nachádza medzi zdrojom svetla a sledovanou oblas»ou. Tieň neznamená nutne len tmav¹iu oblas» - v scéne sa môžu objavova» aj farebné tiene. Napr. ak máme v scéne dva zdroje svetla s rôznou farbou - pokiaľ jeden objekt vrhá tieň, stále môže do tieňa dopada» svetlo z druhého zdroja. [35] Obrázok 2.1: Tiene - terminológia, prevzaté z [32] Podľa toho, z ktorých zložiek tieň pozostáva, ich delíme na tvrdé (hard shadows) - len umbra, a mäkké - umbra aj penumbra. Výsledok závisí od použitého algoritmu pre výpoèet tieňov ako aj povahy svetelného zdroja. [2] 2.1 Historický vývoj Použitie tieňov v hrách aj v súèasnej dobe veľmi záleží od výkonu grafickej karty, nakoľko ich vykreslenie vyžaduje èasto niekoľko prechodov (ako bude popísané v ďalších kapitolách). Použitia tieňov v hrách by sa z historického hľadiska dalo rozdeli» na 2 obdobia - a to na akcelerátory s neprogramovateľnou pipeline od roku 1995, ktorý býva považovaný za zaèiatok éry grafikcých èipov pre hráèsky trh1, a na obdobie akcelerátorov s programovateľ- 1podľa: pctuning.cz/hardware/graficke-karty/4743-historie spolecnosti vyrabejicich 3d cipy-dil i-3dfx 3 ným grafickým re»azcom, datované od roku 2001 s vydaním kariet nVidia GeForce3 a ATi Radeon 8500 [19]. 2.1.1 Fixed-function pipeline (1995-2000) Pre akcelerátory z tohto obdobia je charakteristické: • Neprogramovateľná pipeline, grafické efekty tvorené len množnou parametrizovateľ- ných funkcií, ktoré boli implementované priamo v hardware [28] • Transformácie vrcholov realizované na CPU (s výnimkou GeForce 256 a GeForce2, ktoré podporujú T&L [30]) • Nemožnosť realizova» osvetlenie per-pixel, nakoľko grafická pipeline interpoluje farby počítané vo vrcholoch • Rendering do textúry je z hľadiska výkonu nároèná operácia (kvôli povahe zbernice), navy¹e nie každý akcelerátor ju podporuje [28, 11] Obrázok 2.2: Chronologický vývoj presunu operácii realizovaných procesorom na grafický akcelerátor, posledný stĺpec predstavuje GeForce 256, prevzaté z anandtech.com Ako vidno na obrázku 2.2, prvé akcelerátory urýchľovali iba rasterizáciu, napr. 3dfx Voodoo, neskôr sa procesor odľahčil aj od zostavovania primitív - medzi prvými napr. nVidia Riva 128. Neskôr pribudla možnosť aplikova» viacero textúr v jednom prechode (multitexturing) - nVidia Riva TNT2 [28]. Vyhľadom na relatívne nízky výkon akcelerátorov v tomto období (v podovnení s dne¹- kom) a chýbajúcou podporou v hardware a software boli dynamické tiene v hrách skôr raritou. Obrázok 2.3 demon¹truje implementáciu shadow mapping algoritmu s použitím 4 Obrázok 2.3: Shadow mapping v DirectX7, prevzaté zo software.intel.com DirectX7, no výkon takéhoto rie¹enia by bol pre hry nedostatoèný (11FPS na jednoduchej scéne), viď obrázok 2.3. Nakoľko pipeline neumožňovala výraznejšiu kontrolu osvetlenia, požívali sa tzv. light mapy. Sú to predpočítané ¹truktúry, ktoré uchovávajú osveltenie povrchu telesa. Autorom tejto metódy je John Carmack, prièom poprvýkrát bola táto technika použitá v hre Quake (1996). Táto metóda bola populárna najmä vďaka rastúcemu poètu grafických kariet pod- porujúcich multitexturing [34]. Obrázok 2.4: Aplikácia light mapy na textúru, prevzaté z [4] Dynamické tiene v hrách sa zaèali objavova» až koncom éry fixed-function pipeline. Jednou z najvýznamnejších je opäť dielo id Software a Johna Carmacka - Quake 3 Arena (1999), ktorá implementovala dynamické tiene algoritmom stencil shadow volumes vďaka stencil bufferu, ktorý pri¹iel so ¹tandardom DirectX verzie 6, viď obr. 2.5a. Tieňované v¹ak boli len niektoré objekty ako napr. bedne s nábojmi èi niektoré zbrane. Požívala sa tiež technika planar shadows, krotá spočíva v premietaní telesa na plochu, viď kapitola 3.1. 5 (a) Shadow volumes v Quake 3 Arena (b) Depth-fail shadow volumes v Doom 3 Obrázok 2.5: Tiene v hrách od id Software 2.1.2 Programovateľná pipeline (2001-súèasnos») Zaèiatok éry kariet s programovateľnou pipeline sa datuje do roku 2001, kedy boli uve- dené karty ATi Radeon 8500 a GeForce3 s podporou DirectX 8. Novinkou bola hardvérová podpora pre metódu
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