Mediocre game technology

When doing any type of raymarching over a depth buffer, it is very easy to determine if there is no occluder – the depth in the buffer is farther away than the current point on the ray. However, when the depth in the buffer is closer you might be occluded or you might not, depending on a) the thickness of the occluder and b) if there are any other occluders behind the first one and their thickness. It seems most people assume a) is either infinite or a constant value and b) is ignored alltogether. Since my new renderer is entirely based around screen space raymarching I wanted to improve on this to make it more accurate. This has been done before, but mostly in the context of order independent transparency (I think). Let's look at a scene where the occluders are assumed to have infinite depth (I have tweaked the lighting for more distinct shadows to get a better look at raymarching artefacts, so the lighting does not exactly match the environment in these screenshot). At

When working with diffuse lighting and ambient occlusion in screen space it is often very tempting to do computations in lower resolution. Most of it is blurry anyway, and for any kind of GI/path tracing, diffuse lighting is undoubtedly the bottleneck. Here is a test scene with all colours set to white and no textures. Enabling only the diffuse lighting, the image looks strangely familiar. You quickly realise that diffuse lighting is the lion's share of the entire image. Since everything is the same colour, two overlapping objects can be told apart only because they differ in diffuse lighting. Therefore, lowering the resolution of diffuse lighting also means that a lot of edges will be half resolution and the same diffuse lighting suddenly looks like this. Not acceptable (click on image to view full resolution), but note that the image looks perfectly fine over larger areas where there are no edges, and also at the contours towards the skybox. I've come to th

I have always been very fascinated by depth of field in computed graphics. For me, it often defines photo realism, mimicking the shortcomings of a real camera. Naturally it is a poor match for interactive applications because the computer doesn't know what the user is looking at, but I've tried to squeeze in depth of field in as many of the Mediocre games as I could get away with. In Smash Hit I wanted to use it for everything, but Henrik though it looked too weird and made it harder to aim (he was probably right), so we ended up only enabling only it in the near field. In Does not Commute and PinOut, which both have fixed camera angles I'm doing a wonderful trick, enabling a slight depth of field by seamlessly blurring the upper and lower parts of the screen. This is super cheap and takes away depth artefacts completely. Anyway, since I'm so obsessed with depth of field I've started experimenting with it in VR. This has opened up a whole can of new problems and

Eight years ago, just when I first started writing this blog my second  post was about screen space ambient occlusion. I used that renderer for all my physics experiments, leading up to the fluid simulation that became Sprinkle. At that point I left desktop computing in favor of mobile devices. Ten games later I'm now back to desktop machines and I'm completely blown away by all the computing power. For the first Sprinkle game I had to make dedicated geometry with holes in it when drawing large alpha blended overlays because the fill rate was so terrible. Now I'm running hundreds of lines of code really doing complex computations per pixel. Sorry, you have probably already adjusted but this will take me a while.   So what would be more fitting than to freshen up that old physics renderer (well more like starting from scratch, but still). I have been wanting to experiment with physics in VR for a while and now is the time. For this I need a renderer that can handle a