Most of the video games we play are hidden to us. Even we are seeing the elements at work straight because what is happening behind the scenes. If you have ever seen the video behind the screen about the development of the game, you may have seen versions of the flats, gray games that are full of lines and icons, which have multiple grids and layers in every way. These are the visual representations of all the systems that work for the game.
When it comes to light in any game with a 3D point of view, it is especially strange and strange, but especially in highly sincere sports. We do not see the light as we see everything touching it. It’s hidden, but it gives us most of our information about the worlds of sports. And it’s more complicated than “turning on the lamp, turning the room light.” Reflection, absorption, discouragement, all surfaces scattered is a complex thing that has literally discovered by physicists in the real world for centuries, and will be more likely to be studied for centuries. All of them are game designers in the middle, who apply the science of light in video games in practical ways, balanced with today’s powerful GPU limits, just to show us all a good time.
If you have wondered why many games look like steady amusement parks that are looking forward to communicating with certain things you have, lighting is often the cause. But this is also the reason that more and more sports worlds look dynamic and lifetime. Game developers are good at imitation of static lighting, but it is difficult to move. Dynamic lighting has long been expensive, potentially the performance of the tanking game, and eventually we are starting to see this change.
The case is the shadow of the belief in the Hasan and the Ubesoft Technical Masonry Nicholas Lopez. Lopez spoke at the Game Developers’ conference this spring, and it was interesting to read it through a slide deck, in which it was only promoted with the release of the show’s video recording. I have been talking to the Lopez by email from Ubesft to how to change technology game lighting like Ray Traising. For more information about these aspects of video game visuals, see our primer in sports graphics on path tracing, ray tracing, and racistization.
Initially, my interest that impressed my interest was a specific set of numbers that put Lopez on screen during the GDC presentation. Lopez noted that if the lighting was calculated in the shadow of Haasan’s profession, it would have been in the unity of the Hassan, so it took about two years to “back” the shadow of all the lighting-that is, preventing and presenting it-and storing all its lighting. – I wanted to keep these numbers in context as I saw them.
Lopez said Hassan’s professional coalition and syndicate cities were very small places: four square kilometers in the dense city area. In these games, the developers, using the uniform light investigation, ordered how global light was offered (along with other light techniques). There are points on the light investigation map, which contains information about what the light is taking place in the area, which is then used to help illuminate static and dynamic objects in this place. These were 50 cm investigations, meaning they were requesting light information every half -meter throughout the city of Paris.
Let’s stay for a moment to discuss global light, also known as the GI. It is a wide term used to describe a variety of techniques, which means to imitate and imitate realistic light, especially indirectly lighting. These include maps of the cubic, reflection of screen spaces, investigation lighting, and more. The digital foundry is a great primer on the global elimination that breaks it into pieces.
Lopez told me, “Come on small scale (of these small sports worlds). We can afford high quality light, though it needs to be stored important.” Beyond Hassan’s profession Organization, though, the global size exploded, and suddenly we were looking for 256 square kilometers in the area. This baked light information will burst into the size of the game file storage, so the team started using the dynamic system.
Lopez explained, “We differentiate the density of the complexity of the scene. Artists paint this” GI density map “directly-this means that they can focus on the quality of light, where it makes the most difference-in which Lopez said that” the size of the vicinity is more common. “
It is also noteworthy that Hassan’s professional alliance has a limited number of day-time-only four, shadows in the shadow-and the weather have very limited effects, while the shadow has a dynamic seasonal system. All the elements in the shadow make the game changes in lighting, it has to be kept in mind to offer reliable visuals.
Why will it take such a long time to backed up the original question-linger and need so much file storage?-Will return to a simple result. At that time, the limits of hardware and game engines forced the team to bake many of the light information. Neither hardware nor software was ready to calculate such a light data in real time.
Historically, mostly if not all game lighting has been “baked”. This means that the various techniques used to illuminate the given scene are already calculated and then stored as textures and maps that the engine falls on the basic scene, so your computer or game console does not need to do these calculations while playing games and slowing the game. It really works for static sports and can provide very convincing, effective lighting. As a game becomes more vibrant, baked lighting becomes less viable. If we look at the maps of the cube (see our primer and the video of this digital foundry for details), you will have to calculate the map of a cubic for every possible place, and the game lighting can start the game installed ballooning.
When the recent murderers’ profession was a small, uniform place of the Alliance’s game against sports. The same approach is applied to very large areas of the shadow, with more dynamic effects and diverse density, made for really widespread games.
But the release of Hassan’s professional coalition has been a long time. More than a decade, in fact, and in this game, a lot has changed! One of the biggest changes is Ray tracing, all PlayStation 5 and Xbox Series X | Available for S gamers, and about 30-40 % of the graphics card shown in the steam hardware survey by May this May.
Lopez said, “Ray tracing has had a major impact on both creative and production points, from a point of view of light.” “In traditional pipelines, lighting was mostly sheds globally, reflection, reflection, stress presence, etc., dramatically.”
He said that the ray tracing freed the artists from many of these obstacles.
Lopez explained, “Artists can move items, adjust the scenes, or repeat without waiting for long backs. And since lighting is counted per pixel, the visual sincerity is very high and physically accurate.” In other words, artists can art at their own pace instead of waiting for the count before doing this with a computer.
Nevertheless, ray tracing is often hidden to us to the users of things, especially when we consider how static many of the games can be. In these games, ray tracing is hidden in addition to all, because it is doing what game designers were doing with creative static lights. For example, duty level calls do not need to be calculated by day and the weather, so traditional lighting can be very effective.
“Benefits can be fun,” Lopez acknowledged, in relation to this set of game design rules. Lopez said, Shadow is a really dynamic world, and it shows a real game changer. It is a symbolic and literal sense. The shadows, as mentioned earlier, see 11 different times a day, four seasons, the effects of a variety of dynamic weather, and destructive environments that players watch the game. Hybrid solutions use shadows, combin some baked and some dynamic light, “pushed the baked GI to its absolute limits.”
Lopez explained, “Ray tracing allows us to accurately and permanently illuminate these dynamic environment.” Lighting behaves like this, even when the world changes rapidly. No hack, no work. This makes the world feel more foundation and reliable. “
Lopez added, “When the doors open, the inner lights naturally shine.” “Destructive items eventually contribute to the light of the scene. Season lighting changes the mood of a scene. Without trassing, these effects can only be brought closer.”
The team repeated the Ubesft’s Anuel Engine, which is used in other ways in Hassan’s credit series. For example, he adopted the Academy Color encoding system, a global colorful standard that is used by the film industry to keep the work of hundreds or thousands on many devices. This helps to ensure that people working on different machines, in different locations, are creating different parts of the game in different types of applications, working with the same color information. This gives us a more permanent and more ground game-that is, the roles, buildings, plants and even the effects look like they are in the same game and they feel convinced-at the end of development. Color -searching tables (LUTS) allow the team to change the visual tone and color classification to match the weather and environment.
Especially an important part of getting the shadow, once again fell to get the light properly. These days, HDR screens are so common, developers can rely on some ability to show the high limit of light and darkness-but darkness often means black. Even high quality display are subject to the user’s personal preference, its specific display features, and the ability of the game console to accurately display color. This was especially important when Ubesoft finally decided to meet the years of the concert that wanted to play a Ninja -based Hasan’s profession.
“We worked to behave more accurately to the main parts of the rendering and exposure pipelines on our physical basis,” said Lopez, “Lopez said.
Lopez said, with the help of ray tracing to help to be aware of how to work on lighting, the team can provide “nights that feel mood and authentic, without relying on artificial filling light.” The quality of lighting directly supports the gameplay, provides both weight and confidence, and makes it feel more cinema.
Lopez said that all these changes came together, to create a “united, reaction visual where everything feels attached”, especially the shadow gave rise to the cycle of innovation, which prompted the profession of Anvil and Hasan.
For the rest of us, the shadows of Hassan’s belief work as the example of how the video game design gamers and game designers are in line with new technology. Designers working in Tent Pool Games like shadows have new ways to make games without sincere sacrifice. In return, we find more dynamic worlds that live around us and move on.
Image Credit: Yubisoft
