Is this progress?

 

Sure, it looks like a broken demo cube program. That's because that's what it is. But it represents me getting back on the bandwagon with this whole hobby of 3D graphics programming when I should be doing something to make myself useful. Today we begin with yet another ground-up rewrite, but this time with Vulkan instead of OpenGL, thanks to a hardware update.

I say today, but this has taken literally a few days short of a month to get to the point, just now, where it displayed anything but a blank window. Just before this, I got it to display a blank window with a dark grey background, and then, the broken cube above. (It's because I got the "stride" wrong in my vertex buffer.)

But in any case, this is my hobby and I will waste my time as I like. Forward!

Transparent Materials

All the changes I have been making under the hood have started to bear fruit. Aside from the layer mask support in shadows I mentioned earlier, beams and billboards support shadows and transparency, now. And ordinary meshes can be made transparent, including ones with layered materials, just by setting an opacity. (Although, with layered materials I also need to make sure not to layer any properties, like gloss or metallic, that are not supported in the transparent shader.)

The resolution of transparent objects is reduced, and shadows for transparent materials are... a bit ugly. But what can you do? This is almost ten-year-old technology I'm working with. It's still pretty neat.

Holey Title, Batman

I have been busily rewriting the entire shader definition system to be more flexible and converting all the existing shaders over to the new system. The end result of all this is... nothing changes.

That's not exactly true. Some new features come out of this, just because a new framework makes them easier to implement. For example, masks selected by a layer selection texture can now cast shadows. There are also a lot less classes and clutter around shadow shaders in general, but that's more difficult to illustrate with an image.

Text Too

I built a framework for cacheing letters, and a bunch of code for getting the positions of individual letters in a typeset string from the OS-level text rendering library (Core Text in OSX). And then I wrote a shader that can be called as something like a particle system, picking out the appropriate character data, placing the quad to render that character, getting the cached texture data for that character and drawing it to the screen.

After that, I refactored the character animation code to use what I had learned about buffer textures, eliminating the limits on joints (skeletal animation, mentioned here but implemented before I restarted this blog, some YouTube posts here and here) and shape keys (see this post), and saving a bunch of memory by compacting shape keys to only store data for vertexes that have useful data. It's all pretty cool but has absolutely no visible effect on the final product. Woo.

Today, I made improvements to the screen-space reflection shader (first implemented two years ago) I had been meaning to make for a long time, which means I'm getting close to the point where I can't avoid working on something new.

Text

So, more fooling around on things which aren't what I was going to fool around with. I need text for debugging, among other things, so I decided I would "get that out of the way." Turns out, it's a little bit more complicated than that.

But, after some work, I have it more-or-less working. Well, a start of it. One part was just getting characters rendered onto textures. Then, of course, I had to start working on distance fields, because all the kids are talking about distance fields these days. The screen shot below might illustrate why.

The two words are rendered using textures of the same size (about 32 pixels high in total). The top one is anti-aliased text, and the bottom is a distance field. The distance field is generated from anti-aliased text at four times the resolution, and then scaled down. As you can probably see, this produces a nice clear shape even at the relatively low resolution of the final texture. Generating distance fields from anti-aliased text, caching font info, getting text and distance fields added to my material definition formats, that all took a bunch of time.

And I still have to get this text stuff into the UI.

LODs and Skeletons

This figure is familiar from my earlier implementation of skeletal animations, if anyone was actually reading any of this so that they could actually be familiar with it. It's familiar to me, anyway.

The blue man group member has been washed to reveal an almost flesh-colored putty person. But there's a secret here. This isn't the same model as before, but one I've added a simplified LOD mesh to (in Blender 2.80, by the way, which seems a lot easier to use than 2.79, highly recommended). LOD scales are exaggerated, as usual, so you can see the switch as I move the camera around. The cool thing is that the skeletal animation attached to the original (base) model is automatically hooked up so that it works with other levels of detail. This might sound obvious, but, of course, it takes effort to make things that should work actually work for real.

Next, to check that it also works with shape keys (already implemented, but that just means the bugs are all in place).

Loads of LODs

Finally back to doing stuff. Another pile of work went in to doing this thing which should normally be invisible.

In the previous post I showed some automatic LOD generation, which is OK I guess, but doesn't do a great job all the time. For more control, you need to be able to import multiple versions of the same mesh which you have built by hand. The cylinder above is actually three separate objects which were created in Blender and imported from one file. The scales for switching between LODs were assigned automatically (based on the size of the faces in the objects), and are exaggerated here, again, for debugging.

So, that's working. Now just to check it works in concert with some other features, and then I can move on to... other things.

Creepy Purple Head Is Creepy

This took a lot longer than I hoped. This post is about level of detail. That's where you take out some polygons and simplify a shape, usually based on how far away it is from the viewer, to save your graphics card the trouble of calculating things for polygons which are so small they only cover a few pixels or less anyway. I've had spheres doing this in my "engine" for a long time, because for spheres it's relatively easy to calculate the appropriate low(er)-poly mesh or meshes. For general meshes though, the easy approach is to create a mesh for each LOD using external tools or by hand. I was thinking of taking an automatic approach to generating these meshes and calculating the appropriate view distances. This would, in my mind, save me the trouble of having to do this outside the engine and tune each model's selection of meshes. (It would also save me from the problem of how to handle shape keys on lower-poly versions of a mesh, although I'd probably just ignore that.)

So, after finishing up fog and transparency illumination in the last post, I noticed that my sphere LOD scales seemed to be a bit off, so I started debugging. That led to bug fixing, and that led to me starting to implement that auto-LOD-generation that I had been thinking about. Like I said, it turned out to take longer than I had hoped. Part of this was finding some reasonably fast and simple algorithm to implement, and part of it was discovering things like Blender had output a separate vertex for every triangle corner in my mesh, even though most triangles share corners with other triangles. This meant a detour to merge these vertexes so I could do a bit of topology analysis in the algorithm (also incidentally saving a bunch of memory after merging the vertex data, although I guess that's not such a big deal compared to things like texture memory).

The final effect is shown in the video above. It works... Ok? I guess? The effect is exaggerated for testing in the video, and normally the changes are basically invisible. I think simplifying material shaders for distant objects will probably be a bigger win (and I'll see if I can automate that too). But anyway, now you know how I spent the last couple of weeks and why clouds still aren't implemented.

Dramatic Sunset Lighting With Forward Scattering

It sort of has something to do with clouds, honest.

Among a bunch of under the hood fixes and additions over the past little while, I went back to my transparency and fog shaders. Both of these effects reference a 3D texture "illumination map" that I generate in screen space. The illumination map makes it possible for all the lights to at least have some effect on transparent objects, including fog. The original illumination map only holds the response of a directly illuminated sphere to incoming light, summed up for all lights. This would be appropriate for clouds made of fairly large particles, which is why I talked about dust in the description of the first video. Maybe blowing sand would be a better description.

Notice how the transparencies in this older video are black when viewed against the sun, and compare to the behavior of the same type of object in the first part of the new video above.

I also wanted to be able to simulate things like steam or water clouds, which, because they are made of smaller (and transparent) particles, scatter light forward instead of just reflecting it back. And I also wanted to support a mix of different types of cloud or transparency in the same scene. I've attacked this problem by rendering two illumination maps, the original, pure reflection map, and another which represents (mostly) forward scattering. (Right now, both maps are applied as-is, but I plan to make the response weighted by the transparent material in a later update.) This is what makes the transparencies shine when illuminated from behind in the top video, and gives the nice (if pixellated) murky sunset effect at the end of the video.

I was thinking of moving on to clouds next, but I could also implement an entire framework for visualizing and debugging the illumination maps, which would only take another week or two...

Mr. Blinky

Well, that certainly is a creepy purple vaguely head-shaped lump. This is a slightly more complex model than the non-descript pillar of purple from the last post, and it blinks. It has separate shape keys to close each eye, and an animation linked to both of them. It also has shape keys for opening and closing the mouth, but I haven't created the tools to pick and choose which animation or key I am manipulating from the game engine's UI yet, so I'm stuck just showing one at a time.

Anyway, things move along. Maybe some additional UI tools before I go on to the clouds...

Shape Keys

Shape keys, or morphs, or morph targets, are a way to control the shape of a mesh by having a number of different meshes (or targets or keys) with the same number and arrangement of vertexes, each of which represents a kind of target shape. Then, by adjusting a weight value you can use one or more of these shapes to influence the final shape. The video above demonstrates a very, very simple case where I have a big purple block, and one shape key attached to it, which is the same block with one side pulled out into an ugly protruding lump. By sliding the control on the lower left, I can run through an animation which makes the lump bulge out and then fade away (changing the shape key weight from zero to one and back again).

I got support for the shape keys themselves into the code last week, but I had to spend a bunch more time adding in support for UI controls and support for linking those controls up to the animation so that I could fool around with the weights in real time. (This is called testing in some circles.) Now that the basic support is in there, it should be a lot easier to set up other controls and debug tools from now on.

I know I said something about clouds last time, but I think the next thing I'm going to do is some more complete shape keys, e.g. a rig for animating a face or some such. We'll see how long that takes, and then I'll probably go back to work on atmospheric effects, unless I get distracted by something else.

Right, Then

So anyway, blogging is now completely forgotten, so I'm just going to use this as my random hobby diary.

I'm building a game, or game engine, or some kind of thing, using obsolete technology on old hardware, for the hell of it. It's fun, for me, and gets me weird looks from my wife and kids.

I have a vision for a kind of space game, a bit of KSP, a bit of Minecraft, but not really either of those things. And since it has space, and planets, I've been trying to make planets that look reasonably good for a while now. One feature that's been in a long time has been atmospheric scattering, based on an old GPU Gems article (here). Works well enough. Indeed, it was a real eye-opener about how much math I could do in the GPU, even on an older system, and get away with it.

A separate trick I picked up in some game development article I've forgotten about, is using the color of the sky overhead as the ambient light value. This makes the insides of shadows blue lit in the daytime and reddish at sunset, for example.

Now, when out in space the ambient light value doesn't take this sky overhead thing into account, which is correct if you really are out in space, since the sky should be black. There's still ambient light, but that's a problem for another day. Anyway, I thought it might be a good idea to simulate the ambient light on the surface of planets as seen from space. They should be illuminated by the sky as well as direct light from the sun.

Turns out, the effect is very subtle. You might even say invisible.

Never mind the light positioning and lack of clouds. Unless you know exactly what to look for (the area along the north edge of the Arabian peninsula is a little brighter, but that might be affected by other factors too), you would never notice.

On the other hand, even the additional math to do this doesn't seem to have too much effect, so I'll probably leave it in. See it in motion on my YouTube channel.

Now, clouds, that would be cool.

Three or Four Problems

So, with just two weeks of distance, I'm rereading and editing. I've read the whole thing again. The last half certainly goes smoother than the first. I wonder if I'll be able to fix that. Other than that, I've fixed the easy problems, hopefully, writing a new scene in the process, and now I have three major problems left. One is a relatively simple problem of characters not behaving in a way that makes sense (failing to realize or know things they should, for the sake of a piece of dialog I wanted to have-- classic darling killing required). Two are more difficult, in that they involve things which are mentioned, but then don't get the air time they need in the story, basically a couple of themes which are shortchanged. That's going to be troublesome to fix, and it also probably means more happening, rather than less.

Can I get this done by the end of the week as planned? Stay tuned...

And

You know what's really annoying? I can't post any of this stuff, because I don't want to ruin the impact when read in its proper place (assuming I ever finish this damn thing).

38k

Finally passed the 38 thousand word mark. It has been a long time coming, for whatever reason. I had to go back to the beginning, basically, and work through all the stuff up to this point, fixing things, to finally get to a point where I was able to go on. But today, it did go on, finally (I said that didn't I?). I'm even happy with the results, although, as usual, that is tempered by the fact that I will still have to come back and look at it again later.

34048

So, here we are, at the end of August. I got about thirty-five hundred words done in the last two weeks. If I can get six or seven thousand done in September, the first draft will be done. That is, assuming I can fit the rest of the happening that is supposed to happen into six or seven thousand words. I'm feeling it might take a bit more than that. (You never know, though. It could take less.)

Am I rushing along to try and get to the end? I think I might be. I think maybe I should, because once I have a framework in place, I can begin the serious carpentry. I think I like that part. Then again, maybe that's just me forgetting what that part is like.

30589

Woohoo, past the 30k mark. That makes about 2000 words in two days.

...

OK, so actually that should be par for the course, but, for me, it's about two or three times regular speed, so I'm happy. 30k is also a nice round number. It means, hopefully, I am almost three-quarters there.

I note that in my ancient Twenty Thousand post, I estimated I might have the first draft done three months later, at the end of August, assuming about 8500 words a month. Here we are in mid-August, and I'm at 30k, so even that estimate (which I thought was a horribly long time then) was too optimistic. I may be able to finish the first draft by the end of October, and show it to people in time for Christmas. Damn slow work, this.

28433

Just about to begin on chapter twelve. Except, I don't really know what's going to happen in chapter twelve. I have a better idea of what might happen in chapter thirteen, but I feel like I need a little side story, some kind of intermission before the music starts again.

Hmm... we leave our heroes, variously sleeping in caves or tied up on motel room floors, and turn our attention to... something else.

24K

Not 24 Karat, 24 thousand words. It has been a bit more than half a month since I last talked about this, and I seem to be keeping up my lethargic pace.

The story is progressing, but I'm not at all happy with the last few thousand words. This whole section will need a rewrite, probably several. There's too much bumbling around jumping off buildings and onto moving cars. Characters express no character. The set pieces don't flow, and the rhythm is non-existent. Very frustrating, but I think it's better to push on. If I can get to the end, then I'll have something to work with. I hope.

Twenty Thousand

Last night I finally broke twenty thousand words on the first draft of that novella I'm working on. I say it's a novella, because I expect to get about thirty-five to forty thousand words out of it. So, 20k is about half way.

It has been a month since I regained my enthusiasm for writing this thing. The past month I have, by my standards, been racing ahead. In that month, I have gotten down roughly eighty-five hundred words.

Eighty-five hundred words. Of first draft. In a month. At this rate, finishing the first draft will take nearly three months more, and then I have to let it sit for a month or two, and then revise it, so, let's say five months. It's going to be October before I can even show this to anyone else.

Of course, right now it's not even in a state where I want to show it to anyone. I'm worried that there's not enough meat. It seems to be rushing, and I'm not sure the set-pieces are working. Right now I'm coming up on writing a scene I've wanted to write for months, but now I'm scared. I'm scared that I'm driving the story to this scene just because I like the scene. I'm scared that what I see in my mind's eye doesn't actually translate to words. I'm scared that the scene isn't going to work.

Mid-novella crisis. I should buy a sports car or something.

Linda ran off the edge of the building, carrying us, out into the hollow air. I looked down at the street four stories down, and felt every inch of that distance slap me in the face. We seemed to hang there for eternity. I heard somebody whimper. I think maybe it was me.