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  1. In ordinary marching squares, we're trying to find isolines on a height map for some particular height. It's a delightfully simple algorithm because we can use a look-up table to determine the structure of edges and vertices within each grid cell based on whether each corner is above or below the desired height. In multi-material marching squares, each point on the grid has some proportion of several materials and we're trying to draw the boundaries between the areas where each material is dominant. This is less simple, since there are more than two options for each corner of each cell; at worst each corner could have a distinct dominant material. Even so, it's not too hard to approach this problem with a look-up table based on the corners of each cell. Finally, we have constrained multi-material marching squares, which is much like other constrained triangulation problems. In addition to the multi-material grid, we now have pre-defined boundary edges in some of the grid cells, and the multi-material marching squares must respect those pre-defined edges as if they accurately represent the boundary between two materials. I'm finding it hard to wrap my head around this problem. It seems that a look-up table will be of no use because the pre-defined edges create too many possibilities, even if those edges are restricted to the kinds of edges that marching square would naturally produce, but doing this without a look-up table also seems daunting. Motivation: In principle the goal seems quite simple. Take a 2D grid and use it to define terrain as a height map and as a material map that will form the foundation for a procedurally constructed mesh. Aside from the usual hills and valleys of a plain height map, the multi-material aspect of the grid allows us to define swamp, forest, desert regions on the map and apply particular procedural meshing for each. In addition to that, we want vertical cliffs that get their own special meshing and define the region boundaries. The cliffs are the constraints of constrained multi-material marching squares because when there is a cliff running through a grid cell, that should always act as the boundary if the material at the top of the cliff is different from the material at the bottom, even if marching squares would have naturally put the boundary somewhere else.
  2. Hi, i’m trying to build an effective AI for the Buraco card game (2 and 4 players). I want to avoid the heuristic approach : i’m not an expert of the game and for the last games i’ve developed this way i obtained mediocre results with that path. I know the montecarlo tree search algorithm, i’ve used it for a checkers game with discrete result but I’m really confused by the recent success of other Machine Learning options. For example i found this answer in stack overflow that really puzzles me, it says : "So again: build a bot which can play against itself. One common basis is a function Q(S,a) which assigns to any game state and possible action of the player a value -- this is called Q-learning. And this function is often implemented as a neural network ... although I would think it does not need to be that sophisticated here.” I’m very new to Machine Learning (this should be Reinforcement Learning, right?) and i only know a little of Q-learning but it sounds like a great idea: i take my bot, making play against itself and then it learns from its results… the problem is that i have no idea how to start! (and neither if this approach could be good or not). Could you help me to get the right direction? Is the Q-learning strategy a good one for my domain? Is the Montecarlo still the best option for me? Would it work well in a 4 players game like Buraco (2 opponents and 1 team mate)? Is there any other method that i’m ignoring? PS: My goal is to develop an enjoyable AI for a casual application, i can even consider the possibility to make the AI cheating for example by looking at the players hands or deck. Even with this, ehm, permission i would not be able to build a good heuristic, i think Thank you guys for your help!
  3. Hi, I came across this udk article: https://docs.unrealengine.com/udk/Three/VolumetricLightbeamTutorial.html that somewhat teaches you how to make the volumetric light beam using a cone. I'm not using unreal engine so I just wanted to understand how the technique works. What I'm having problems is with how they calculate the X position of the uv coordinate, they mention the use of a "reflection vector" that according to the documentation (https://docs.unrealengine.com/latest/INT/Engine/Rendering/Materials/ExpressionReference/Vector/#reflectionvectorws ) it just reflects the camera direction across the surface normal in world space (I assume from the WS initials) . So in my pixel shader I tried doing something like this: float3 reflected_view = reflect(view_dir, vertex_normal); tex2D(falloff_texture, float2(reflected_view.x * 0.5 + 0.5, uv.y)) view_dir is the direction that points from the camera to the point in world space. vertex normal is also in world space. But unfortunately it's not working as expected probably because the calculations are being made in world space. I moved them to view space but there is a problem when you move the camera horizontally that makes the coordinates "move" as well. The problem can be seen below: Notice the white part in the second image, coming from the left side. Surprisingly I couldn't find as much information about this technique on the internet as I would have liked to, so I decided to come here for help!
  4. Consider how one makes terrain using marching cubes. By having a grid of floats we can represent a continuous field that marching cubes will interpolate and turn into a nice smooth isosurface for the player to walk around on. This is easy and excellent for creating mountains and valleys and so on, but what if we want more variety in our game? A game is not normally made of just grass and sky. Maybe some places should be sand, or water, or road. How could that be worked into the mesh that we're getting from marching cubes? The obvious approach seems to be to have multiple fields, so each point on the grid has a certain level of sand, soil, rock, water, and so on. Then we modify the marching cubes algorithm to look for transitions between materials, so it puts a surface between areas of mostly one material and areas that are mostly other materials. We'd also want to keep track of when these surfaces touch the air, because that's the only time when we'd actually want to triangulate and render the surfaces. Suddenly the delightfully simple marching cubes algorithm is looking a lot less obvious. Has anything like this ever been done? Does anyone have any tips? Is this the right approach? Edit: Embarrassing mistake! I didn't think of phrasing the problem as "multiple materials" until I went to post this question, but now that I have I see there are plentiful google results for marching cubes with multiple materials. I'm still interested in any tips and advice, but now I have other resources to help with this problem. From the Google results, this paper looks especially interesting: Automatic 3D Mesh Generation for A Domain with Multiple Materials
  5. Are there any good books on the topic of MMORPG or RPG engineering. (like MU) I'm more interested in the server side architecture than client side. A book concentrated on rpg server development is preferred. I understand that there are too many topics to be covered in a single book. I'm looking for a book that will give me an idea about: Principles, ideas with example code or pseudocodes... Project structure Code structure How to properly structure the game loop How to handle zoning How/Where to handle AI Threading (what should be in separate threads) Multi servers (what should be in a separate server/machine) Putting it all together The book could also be on developing RPG's and I can just adapt it for multiplayer (server side). I currently have these books: Synthetic Worlds: The Business and Culture of Online Games Massively Multiplayer Game Development Massively Multiplayer Game Development 2 Game Development Essentials: Online Game Development Networking and Online Games: Understanding and Engineering Multiplayer Internet Games Designing Virtual Worlds Developing Online Games: An Insider's Guide Multiplayer Game Programming Multiplayer Game Programming: Architecting Networked Games Don't get me wrong they are great reads but they are mostly geared towards designing game-play, economy and solutions to common problems; some even marketing. Except for Multiplayer Game Programming which has some of the things I'm looking for but I'm still looking for more or a more comprehensive book. I considered looking into an open-source server for ragnarok online but it's already so matured that it's hard to follow the code and thought process of the developers.
  6. Hey I want to try shade particles by compute a "small" number of samples, e.g. 10, in VS. I only need to compute the intensity of the light, so essentially it's a single piece of data in 2 dimensions. Now I want to compress this data, pass it on to PS and decompress it there (the particle is a single quad and the data is passed through interpolators). I will accept a certain amount of error as long as there are no hard edges, i.e. blurred. The compressed data has to be small and compression/decompression fast. Does anyone know of a good way to do this? Maybe I could do something fourier based but I'm not sure of what basis functions to use. Thanks
  7. I'm being plagued by a desire to make a game where the player has a level editor that allows the player to draw a 2D level map and then it will pop up into a 3D level. Of course that sounds much like a height map, but sadly I have ambitions beyond what a height map alone can offer. I want the player to be able to draw a curve on the map and have that curve become a vertical cliff. I want the player to be able to draw a thick line and have that line become a road, its vertices lined up with the vertices of the surrounding landscape, but horizontal from side-to-side and with UV coordinates set to allow its texture to follow the direction of the road. If the player draws a road across a chasm, I want that to become a bridge. That may seem like it's asking too much, and it's true that for as long as I've been thinking about this problem I have yet to find an approach that works to my satisfaction, but there are limits to the goals of this project. Just like a height map, this project doesn't attempt any sort of cave or overhang. The final level needs nothing that cannot be represented in a 2D map. Aside from bridges, no part of the level ever needs to cross over itself. Aside from vertical cliffs, the landscape is restricted to being smooth slopes or flat land; there is no desire for the kind of jagged detail that's possible in a height map for this project. Aside from the cliffs that are specifically drawn in the level editor, there should be nothing blocking the player from moving around the level, so everything except the cliffs ought to be relatively smooth. I've tried starting from a regular mesh of equilateral triangles and adjusting the positions of the vertices to match the player's map. I appreciate the regular mesh because it makes it easy to give every vertex, triangle, and edge a number and store the level in an array. It also forms a graph structure that makes it easy to create smooth slopes and know when those slopes ought to be interrupted by cliffs. Unfortunately I have never been able to overcome the technical challenges of making the mesh and the player's drawings line up. I've tried starting from the player's drawn map and building a mesh around it. Unfortunately, computational geometry has never been one of my strengths, so figuring out where to put the vertices and edges to smoothly fill out the rest of the map is daunting. I've considered simulating the vertices as if they were electrons so they can form a minimum energy distribution around the fixed vertices specified by the player, but I'm not sure how to maintain the smoothness of the slopes if the vertices keep moving as the player draws. The bottom line is that I'm really not sure how to even begin solving this problem. I'm willing to put effort into implementing a complicated system, but first I need an idea for how that system ought to work. I really need the wisdom of someone more experienced than myself.
  8. I've come across a multiplayer game framework https://github.com/jondubois/iogrid and it features an algorithm to efficiently handle the movement and collisions of multiple players on a huge map. What it tries to do is to divide the map into smaller cells and create child processes (because it is single thread in javascript) for those cells. Then the algorithm distributes the game workload to different processes of the CPU. So basically each cell will be handled by a child process but everyone of them will share the same game context. This way if I use a 4 core or 8 core CPU I can use all the cores of the CPU by creating new workers processes. And supposedly it will reduce the burden of the master process. In C++ or Java we may choose to create new threads but in javascript there is only one thread in the code so creating processes is very similar. However, I am not familiar with the algorithm. I am not very sure if this is a standard way or a better way to deal with the multiplayer game scenario. But by looking at the way it describes this should be more efficient than using a single core to run the game server on a modern computer. I guess if this is the case there must be some kind of algorithm using by the game development community that does the same thing. What is the name of this algorithm and how can I find articles/materials about it? At the moment I find it hard to understand the algorithm. Particularly in how to deal with the cell overlapping and avoid duplicate calculations when players frequently moving between two adjacent cells. I hope this is not too programming language specific because we all need to deal with multi-core CPU and distribute the workload to improve game performance at some point.
  9. Hello everybody. I have implemented a 2D raycasting algorithm in my game engine but I must be doing something very wrong, since my game is pretty much unplayable if I cast around 10 rays each frame (it runs fine at around 5-6 casts per frame). I tried profiling but, as you can see from the two pictures, I ended up on STL territory, which tells me that the performance issues arise from my approach to the problem. I'm using the Sweep-and-Prune algorithm for my broadphase detection, which divides my entire map into sections, and colliders inside a section are only checked for collisions with other colliders from that section. This approach is used in my raycasting algorithm as well. Initially, I get a list of all colliders inside the raycast's radius and then I check the ray against every collider in that list. As far as I understand it the problem lies not in the Ray vs. Shape checks, but in the preparation work before that. Any tips or guidelines on how to correct my approach, or specifics of the algorithms, are most welcome. Thank you in advance. Raycast BroadCircleToOBB SOBB::GetSupportPoint
  10. I have recently read T-machine's Entity Component System (ECS) data structure. (link) Its "best" version (4th iteration) can be summarized into a single image (copy from T-machine's web) :- This approach also appears in a VDO https://www.youtube.com/watch?v=NTWSeQtHZ9M , with slide and source code ( https://github.com/CppCon/CppCon2015/tree/master/Tutorials/Implementation of a component-based entity system in modern C++ ) . There are many people (including me) believe that the above approach lacks data locality, because Position-1,Position-2,Position-3, ... are not stored in a contiguous array. However, many attempts failed to elegantly make it contiguous. (e.g. stackoverflow's link) I also realized that, to make it contiguous, the cost of query Entity<-->Component is unavoidably significantly higher. (I profiled) I would like to hear that .... Is such mega-array (T-machine's 4th) generally better (performance-wise) than storing each type component to its own contiguous array? (like http://www.randygaul.net/2013/05/20/component-based-engine-design/ ) ? My references (those links) are quite old. Now, are there any others better approaches? (If you happen to know) I know that its depend on data access pattern (i.e. cache miss). I still want to hear more opinion/argument about it, because I may need to rewrite a large part of my engine to make it support 30,000+ entity (personal greed). Thank.
  11. Hi, Im working on a procedural road system and I use bezier splines to genereate the mesh ( tri strip ) but I have a problem with calculating proper uv coordinates. The texture looks distorted on curved segments like on the attached picture When calculating uv i first init them to ( 0.0f, 0.0f ) or ( 0.0f, 1.0f ) for each vertex, and then add the distance between current and previous point on a curve to the previous vert U coord ( V stays the same ). Something like this: float dist = ( pos - prevPos ).Magnitude(); float lenScale = roadWidth / m_uvStretch; dist /= lenScale; verts[ currVertIndex ].uv.X = outVerts[ currVertIndex - 1 ].uv.X + dist; What am I missing? Thanks
  12. Hi folks, a fellow gamedev here. So recently I've been trying to make a business simulation games (similar to Holiday Island or Sim City), and start moving on the vital element of the game: terrain generation and manipulation. The terrain is a simple heightmap with a randomly generated height values (I haven't implemented the random generation part, cause of this issue I'm talking about). Basically, in my game the terrain has to have fixed elevation, so when you compare a terrain vertex to its neighbors, they could either: have similar height have a 0.5m height difference (higher or lower). It must not have more than 0.5m difference. I need to do that to simplify the terrain manipulation (the game kinda heavily relies on it). I was thinking on simply generate the random height first, and then loop over every vertex to force its offending neighbors to lower/heighten itself accordingly. But alas it just doesn't seem to be the right way. Perhaps any of you ever done similar things in the past? I hope you could give me any advice on this matter. It's been boggling my mind. basically this is the game that inspires me.
  13. I am currently working on a dynamic LOD system, After searching for algorithms to do this I found the quadric mesh simplification which looked very promising, however I have no idea how to implement it without any clear example of code. Does anyone have an example of how to implement this algorithm or any mesh simplification algorithm which would be useful for my goal?
  14. Hi everyone, thank you for your attention. I'm making a 3D model editor based on voxel, to create models which looks like cubeworld ones (see https://i.stack.imgur.com/y5SWz.jpg) I've implemented a skeleton-key frames animation system. (My model has a mesh of vertices, and each vertices has a list of bones and weights, to determine how much a bone transformation affects the final vertex transformation) **And now, I'm looking for an algorithm to generate vertex bones weights automatically. I have each vertex position and bone position/rotation/size relatively to the model referential.** (Blender does implement this functionality https://blender.stackexchange.com/questions/782/how-can-i-automatically-generate-vertex-groups-for-an-armature ) PS: Google searching "auto rigging algorithm" actually gives some essays, but as I'm using voxel (as raw cubes), I would be glad to find something more specific/optimized/good looking
  15. Hello, so I wanted to get an opinion on the best ways to manage gameplay logic in a multithreaded manner. After watching these two presentations : http://www.gdcvault.com/play/1020886/Killzone-Shadow-Fall-Threading-the http://www.gdcvault.com/play/1022164/Multithreading It seems that the best approach is to create a dependency graph for object updating, and for any object that needs to access another object that isn't a dependency, a message should be constructed and called after the "multithreading" phase. I wanted to know if anyone had any experience with multithreading game objects in this manner, or if they have any other solutions.
  16. This is a technical article about how I implemented the fluid in my game “Invasion of the Liquid Snatchers!” which was my entry for the fifth annual "Week of Awesome " game development competition here at GameDev.net. One of the biggest compliments I’ve received about the game is when people think the fluid simulation is some kind of soft-body physics or a true fluid simulation. But it isn’t! The simulation is achieved using Box2D doing regular hard-body collisions using lots of little (non-rotating) circle-shaped bodies. The illusion of soft-body particles is achieved in the rendering. The Rendering Process Each particle is drawn using a texture of a white circle that is opaque in the center but fades to fully transparent at the circumference: These are drawn to a RGBA8888 off-screen texture (using a ‘framebuffer’ in OpenGL parlance) and I ‘tint’ to the intended color of the particle (tinting is something that LibGDX can do out-of-the-box with its default shader). It is crucial to draw each ball larger than it is represented in Box2D. Physically speaking these balls will not overlap (because it’s a hard-body simulation after all!) yet in the rendering, we do need these balls to overlap and blend together. The blending is non-trivial as there are a few requirements we have to take into account: - The RGB color channels should blend together when particles of different colors overlap. -- … but we don’t want colors to saturate towards white. -- … and we don’t want them to darken when we blend with the initially black background color. - The alpha channel should accumulate additively to indicate the ‘strength’ of the liquid at each pixel. All of that can be achieved in GLES2.0 using this blending technique: glClearColor(0, 0, 0, 0); glBlendFuncSeparate(GL_ONE_MINUS_DST_ALPHA, GL_DST_ALPHA, GL_ONE, GL_ONE); Putting all that together gets us a texture of lots of blurry colored balls: Next up, is to contribute this to the main backbuffer as a full-screen quad using a custom shader. The shader treats the alpha channel of the texture as a ‘potential field’, the higher the value the stronger the field is at that fragment. The shader compares the strength of the field to a threshold: Where this field strength is strong enough then we will snap the alpha to 1.0 to manifest some liquid. Where the field strength is too weak then we will snap the alpha to 0.0 (or we could just discard the fragment) to avoid drawing anything. For the final game I went a little further and also included a small window around that threshold to smoothly blend between 0 and 1 in the alpha channel, this softens and effectively anti-aliases the fluid boundary. Here’s the shader: varying vec2 v_texCoords; uniform sampler2D u_texture; // field values above this are 'inside' the fluid, otherwise we are 'outside'. const float threshold = 0.6; // +/- this window around the threshold for a smooth transition around the boundary. const float window = 0.1; void main() { vec4 col = texture2D(u_texture, v_texCoords); float fieldStrength = col.a; col.a = smoothstep(threshold - window, threshold + window, fieldStrength); gl_FragColor = col; } This gives us a solid edge boundary where pixels are either lit or not lit by the fluid. Here is the result after we apply the shader: Things are looking a lot more liquid-like now! The way this works is that when particles come within close proximity of each other their potential fields start to add up; once the field strength is high enough the shader will start lighting up pixels between the two particles. This gives us the ‘globbing together’ effect which really makes it look like a fluid. Since the fluid is comprised of thousands of rounded shapes it tends to leave gaps against the straight-edged tilemap. So the full-screen quad is, in fact, scaled-up to be just a little bit larger than the screen and is draw behind the main scene elements. This helps to ensure that the liquid really fills up any corners and crevices. Here is the final result: And that’s all there is for the basic technique behind it! Extra Niceties I do a few other subtle tricks which help to make the fluids feel more believable… Each particle has an age and a current speed. I weight these together into a ‘froth-factor’ value between 0 and 1 that is used to lighten the color of a particle. This means that younger or faster-moving particles are whiter than older or stationary parts of the fluid. The idea is to allow us to see particles mixing into a larger body of fluid. The stationary ‘wells’ where fluid collects are always a slightly darker shade compared to the fluid particles. This guarantees that we can see the particles ‘mixing’ when they drop into the wells. Magma particles are all different shades of dark red selected randomly at spawn time. This started out as a bug where magma and oil particles were being accidentally mixed together but it looked so cool that I decided to make it happen deliberately! When I remove a particle from the simulation it doesn’t just pop out of existence, instead, I fade it away. This gets further disguised by the ‘potential field’ shader which makes it look like the fluid drains or shrinks away more naturally. So, on the whole, the fading is not directly observable. Performance Optimisations As mentioned in my post-mortem of the game I had to dedicate some time to make the simulation CPU and Memory performant: The ‘wells’ that receive the fluid are really just colored rectangles that “fill up”. They are not simulated. It means I can remove particles from the simulation once they are captured by the wells and just increment the fill-level of the well. If particles slow down below a threshold then they are turned into non-moving static bodies. Statics are not exactly very fluid-like but they perform much better in Box2D than thousands of dynamic bodies because they don’t respond to forces. I also trigger their decay at that point too, so they don’t hang around in this state for long enough for the player to notice. All particles will eventually decay. I set a max lifetime of 20-seconds. This is also to prevent the player from just flooding the level and cheating their way through the game. To keep Java’s Garbage Collector from stalling the gameplay I had to avoid doing memory allocations per-particle where possible. Mainly this is for things like allocating temporary Vector2 objects or Color objects. So I factored these out into singular long-lived instances and just (re)set their state per-particle. Note: This article was originally published on the author's blog, and is reproduced here with the author's kind permission.
  17. In this article, I'd like to share a method I used to help visually debug tree-like data structures by leveraging the DOT format and Graphviz. This may be useful to you if you ever end up having to work with low-level data structures and no way to visually see what your code is doing. The Problem During the early stages of development of my inverse kinematics library (which, at the time of writing, is in its alpha stages and not quite ready for general use yet), I was working on an algorithm which takes a scene graph as its input and generates an optimised structure consisting of a tree of "chains", specifically designed for use with an IK solver. The transformation is not that easy to explain in words, but here is an illustration of before (a) and after (b) (please excuse my MSPaint skills; I'm a programmer, not an artist): You can see here that each end effector in the scene graph specifies a "chain length" parameter, which tells the solver how many parent nodes are affected. Since the IK solver works most efficiently on single chains of nodes, it makes sense to break down the scene graph into multiple chains which the solver can then process sequentially. This is illustrated in (b). Notice how chain 1 (red) becomes isolated from the rest of the tree after processing, because its end effector only specified a length of 1. Also notice how in the new structure each chain consists of only a sequence of nodes with no branches. The algorithm had to be able to handle a few weird edge cases, such as: What happens when you place an effector on a node that has multiple children? What happens when there are multiple end effectors in a chain? What happens when an end effector specifies a chain length that doesn't quite join up with the rest of the tree? This of course meant it was harder to test and make sure it was working correctly. I did of course write a suite of unit tests using Google's testing framework, but I wanted more: I wanted to have the ability to visually look at what my algorithm was generating, and I wanted to do this without having to use some fancy 3D engine. Inroducing: DOT and Graphviz DOT is a simple graph description language. Graphviz is a set of open source tools for generating graphics from DOT descriptions. For example, the following DOT code: graph testgraph { a -- b; b -- c; b -- d; } Compiled with dot as follows: dot -Tpdf testgraph.dot -o testgraph.pdf Produces the following graphic: DOT is quite a powerful language. It's possible to specify colours, shapes, multiple connections between nodes, and much more! Read up on the format specification for more information. In only a few lines of code I was able to iterate the optimised chain tree and serialise it to DOT. This is what the example tree I drew in MSPaint looks like after it is broken down by my algorithm and exported to DOT: Things to note: The black edges show the connections between the original tree. The red edges show how the chains are connected (just like in the first figure (b)) Effector nodes are coloured blue Nodes that mark the start or end of a chain are square. You can see for example that node 6 is square because it has two child chains, but node 2 is not square because it's in the middle of the second chain. And just like that I had a powerful way to quickly spot errors in my algorithm. Using python and watchdog I wrote a simple script that would monitor the DOT file for changes and automatically compile it to PDF. Thus, every time I ran my program the graphic would update immediately on my second monitor so I could inspect it. Another Example In another application I wrote, I implemented an intrusive profiler which would dynamically build a tree from the callgraph and store timing information in each node. I thought it would be cool to also dump this tree to DOT format and see what it looked like. Note that in this case I didn't use the "dot" command line tool, instead I used "neato" (this is also part of the Graphviz package). Neato has a different layout algorithm based on physical constraints, which in this case produces much nicer graphs than "dot": I find it quite beautiful to look at. What you see here is a visual representation of how much time was spent where in the program. Nodes that are red are "hot" (meaning lots of time was spent in them) and nodes that are blue are "cold" (nearly no time was spent in them). If you zoom in a little bit you can also see that I exported some of the profiler parameters of each function. While this does provide a very nice birds eye view of where your program needs optimising, I would of course recommend using proper profiling tools to further analyse the slow functions. In conclusion Due to the simplicity of the DOT language, it's trivial to write an exporter for it, so if you ever find yourself fiddling with low level data structures, consider dumping them to DOT and visualising them. I found this to be extremely helpful during development of my IK library.
  18. Hi, I'm curious as to what others do wrt tonemapping when it comes to authoring materials for PBR in programs like SP. To my understanding the default tonemapping in SP is a simple sRGB, but it supports using a 3D LUT. Many modern engines use a different tonemapping to get a more filmic(?) look, like the ACES in Unreal, so does your team use the default sRGB when authoring or does it use a custom LUT? Henning
  19. Aiming turret (math question)

    I really can't figure out the angles needed to aim a certain turret rig I have. The skeleton looks like first image. The red arrow is pointing to the joint that is used to aim (via skeletal controller) and the blue arrow is pointing to the joint that needs to be aimed ie this joints forward x vector needs to point to the target. When aimed the turret likes like the second image. The red dot is the red joint being controlled and the blue dot is the blue joint being aimed. I just can't seem to calculate theta as a function of (x,y) the targets position. So the first thing I tried is the math in third image. The first line we get from the law of sines, the second line is just the definition of tangent, the third line is plugging the first equation into the second, and the fourth line is obtained from the general formula for a linear combination of sine and cosine (https://en.wikipedia.org/wiki/List_of_trigonometric_identities#Linear_combinations). The last line is theta as a function of (x,y) simplified which is my goal. But trying all this out in UE4 I get something that's obviously not correct (see last image). I have a feeling the math is wrong. Math isn't really my wheelhouse and I'm surprised I even came up with anything even it appears wrong. Anyone able to tell me what stupid overcomplicated mistake I'm making in the math? I would really like an analytical solution and not just iteratively error correct it into aiming correctly. I would really appreciate a pair of eyes on this. Thanks!
  20. Hello, everyone. We are a small indie game studio called Drunken Monday. We’ve recently made a game in Unity3d where you run around an arena, rotate around yourself with the huge axe and try to hit other players. Good smash - good kill. We used ragdoll animation based on physics to make the deaths look more realistic. And everything was good in the beginning... However, when the number of the characters and calculations started growing, the game began working slowly and lagging on older phones. Disabling all physics calculation gave us 50-60 fps and absolute smoothness, but we didn't want to give up the cool ragdoll deaths of the characters. One of the solutions was to force the animators to build a pack of death animations. But we had a great idea to record a few ragdoll deaths directly in Unity and then just show the desired animation? Deaths will turn out to be diverse, there will no need to occupy animators, and the most important - everything will be fast, beautiful and realistic. What we get: Implementation The animation clip in the Unity is presented by the AnimationClip class, which contains an array of AnimationCurve. AnimationCurve defines the curve for the changes of one particular property of a particular object, for example, the localPosition.x. Values change in the timeline are described by a number of Keyframe structures. The idea is simple: for the each property of the each character object we create an AnimationCurve and store the values of this property on the curve for the each frame. The generated AnimationClip is exported through AssetDatabase.CreateAsset at the end. Let's create the class AnimationRecorderItem to track the each character object. All properties of the monitored object will be described through the dictionary, where the keys are the name of the properties and the values are the animation curves. Properties = new Dictionary<string, AnimationCurve> (); Properties.Add ( "localPosition.x", new AnimationCurve () ); Properties.Add ( "localPosition.y", new AnimationCurve () ); Properties.Add ( "localPosition.z", new AnimationCurve () ); Properties.Add ( "localRotation.x", new AnimationCurve () ); Properties.Add ( "localRotation.y", new AnimationCurve () ); Properties.Add ( "localRotation.z", new AnimationCurve () ); Properties.Add ( "localRotation.w", new AnimationCurve () ); Properties.Add ( "localScale.x", new AnimationCurve () ); Properties.Add ( "localScale.y", new AnimationCurve () ); Properties.Add ( "localScale.z", new AnimationCurve () ); For all of the object properties in each frame will be set their current values: Properties["localPosition.x"].AddKey (new Keyframe (time, _animObj.localPosition.x, 0.0f, 0.0f)); Properties["localPosition.y"].AddKey (new Keyframe (time, _animObj.localPosition.y, 0.0f, 0.0f)); Properties["localPosition.z"].AddKey (new Keyframe (time, _animObj.localPosition.z, 0.0f, 0.0f)); Properties["localRotation.x"].AddKey (new Keyframe (time, _animObj.localRotation.x, 0.0f, 0.0f)); Properties["localRotation.y"].AddKey (new Keyframe (time, _animObj.localRotation.y, 0.0f, 0.0f)); Properties["localRotation.z"].AddKey (new Keyframe (time, _animObj.localRotation.z, 0.0f, 0.0f)); Properties["localRotation.w"].AddKey (new Keyframe (time, _animObj.localRotation.w, 0.0f, 0.0f)); Properties["localScale.x"].AddKey (new Keyframe (time, _animObj.localScale.x, 0.0f, 0.0f)); Properties["localScale.y"].AddKey (new Keyframe (time, _animObj.localScale.y, 0.0f, 0.0f)); Properties["localScale.z"].AddKey (new Keyframe (time, _animObj.localScale.z, 0.0f, 0.0f)); But if you record all values for the each frame for the each property of the each object, the output file of the animation will turn out to be too large. Let's introduce the conditions for limiting the minimum changes in comparison with the previous frame. If the object has moved, increased and turned just a little bit, we will not record these changes. Completed class: AnimationRecorderItem.cs Also, we have to create a manager class AnimationRecorder. This script should be executed through the all children of the animated object and create an instance of AnimationRecorder for each of them. And also immediately generate and remember relativePath under which it will be saved in AnimationClip. According to the documentation, relativePath is generated as follows: The code will look like: private List<AnimationRecorderItem> _recorders; void Start () { Configurate (); } void Configurate () { _recorders = new List<AnimationRecorderItem> (); var allTransforms = gameObject.GetComponentsInChildren< Transform > (); for ( int i = 0; i < allTransforms.Length; ++i ) { string path = CreateRelativePathForObject ( transform, allTransforms [ i ] ); _recorders.Add( new AnimationRecorderItem ( path, allTransforms [ i ] ) ); } } private string CreateRelativePathForObject ( Transform root, Transform target ) { if ( target == root ) { return string.Empty; } string name = target.name; Transform bufferTransform = target; while ( bufferTransform.parent != root ) { name = string.Format ( "{0}/{1}", bufferTransform.parent.name, name ); bufferTransform = bufferTransform.parent; } return name; } To calculate current animation time and record the properties values for the each frame: private float _recordingTimer; private bool _recording = false; void Update () { if ( _recording ) { for ( int i = 0; i < _recorders.Count; ++i ) { _recorders [ i ].AddFrame ( _recordingTimer ); } _recordingTimer += Time.deltaTime; } } But the Update function is called quite often and recording the animation every frame is pretty redundant, so we limit the record. 30 fps should be enough for everyone. We will start recording by tapping on Spacebar. private const float CAPTURING_INTERVAL = 1.0f / 30.0f; private float _lastCapturedTime; private float _recordingTimer; private bool _recording = false; void Update () { if ( Input.GetKeyDown ( KeyCode.Space ) && !_recording ) { StartRecording (); return; } if ( _recording ) { if (_recordingTimer==0.0f||_recordingTimer-_lastCapturedTime>=CAPTURING_INTERVAL) { for ( int i = 0; i < _recorders.Count; ++i ) { _recorders [ i ].AddFrame ( _recordingTimer ); } _lastCapturedTime = _recordingTimer; } _recordingTimer += Time.deltaTime; } } public void StartRecording () { Debug.Log ( "AnimationRecorder recording started" ); _recording = true; } Let’s implement an animation export. We will create the AnimationClip instance and fill it with the collected values. private void ExportAnimationClip () { AnimationClip clip = new AnimationClip (); for ( int i = 0; i < _recorders.Count; ++i ) { Dictionary<string,AnimationCurve> propertiles = _recorders [ i ].Properties; for ( int j = 0; j < propertiles.Count; ++j ) { string name = _recorders [ i ].PropertyName; string propery = propertiles.ElementAt ( j ).Key; var curve = propertiles.ElementAt ( j ).Value; clip.SetCurve ( name, typeof(Transform), propery, curve ); } } clip.EnsureQuaternionContinuity (); string path = "Assets/" + gameObject.name + ".anim"; AssetDatabase.CreateAsset ( clip, path ); Debug.Log ( "AnimationRecorder saved to = " + path ); } Completed class AnimationRecorder.cs Finally, we will create the AnimationRecorderRagdollHelper helper class, which function will stop the Animator on the animated object, turn on all collisions, give the object acceleration and start recording our animation. The end of the animation recording will be completed by ourselves. To avoid some artefacts due to scene loading and the initialization of various objects, the script will start working with the specified delay. Completed class AnimationRecorderRagdollHelper.cs That's all, we add AnimationRecorderRagdollHelper on our character, set the impact force, then start the scene - and watch how the character cheerfully flies around the scene. When the cold corpse freezes on the ground - press Spacebar. The script will export our animation to the root of the project. https://gfycat.com/RecklessFickleBarracuda We recorded 4-5 animations for each character in this way and choose between them randomly when the character dies. P. S. Or not quite randomly. Our game is multiplayer, physics is calculated on the server and the vector of impact comes to us. So we select the necessary animation based on the vector which comes to us from the server, simply looking for the closest vector which the animation was recorded. Links: Project on GitHub A video of the game on YouTube with some deaths Slash Arena: Online ( Facebook ) Slash Arena: Online ( Steam )
  21. How we optimized Ragdoll animation of death in Unity Or how easily to turn Ragdoll into AnimationClip. Hello everyone. We are a small indie game studio called Drunken Monday. We’ve made recently a game on Unity3d where you run on the arena, rotate around yourself with the huge axe and try to hit other players. Good smash - good kill. To make the death looks more realistic we used usual ragdoll animation based on physics. And everything was good… in the beginning. When the number of the characters and calculations started growing, the game began working slowly and lagging on the old phones. Disabling all physics calculation gave us 50-60 fps and absolute smoothness. But we didn't want to refuse the cool ragdoll deaths of the characters. One of the solutions was to force the animators to build a pack of death animations. But we’ve got a great idea to record a few ragdoll deaths directly in Unity and then just show the desired animation? Deaths will turn out to be diverse, there will no need to occupy animators, and the most important - everything will be fast, beautiful and realistic. What we get: Implementation The animation clip in the Unity is presented by the AnimationClip class, which contains array of AnimationCurve. AnimationCurve defines the curve for the changes of one particular property of a particular object, for example, the localPosition.x. Values change in the timeline are described by a number of Keyframe structures. The idea is simple: for the each property of the each character object we create an AnimationCurve and store the values of this property on the curve for the each frame. The generated AnimationClip is exported through AssetDatabase.CreateAsset at the end. Let's create the class AnimationRecorderItem to track the each character object. All properties of the monitored object will be described through the dictionary, where the keys are the name of the properties and the values are the animation curves. Properties = new Dictionary<string, AnimationCurve> (); Properties.Add ( "localPosition.x", new AnimationCurve () ); Properties.Add ( "localPosition.y", new AnimationCurve () ); Properties.Add ( "localPosition.z", new AnimationCurve () ); Properties.Add ( "localRotation.x", new AnimationCurve () ); Properties.Add ( "localRotation.y", new AnimationCurve () ); Properties.Add ( "localRotation.z", new AnimationCurve () ); Properties.Add ( "localRotation.w", new AnimationCurve () ); Properties.Add ( "localScale.x", new AnimationCurve () ); Properties.Add ( "localScale.y", new AnimationCurve () ); Properties.Add ( "localScale.z", new AnimationCurve () ); For the all object properties in the each frame will be set theirs current values: Properties["localPosition.x"].AddKey (new Keyframe (time, _animObj.localPosition.x, 0.0f, 0.0f)); Properties["localPosition.y"].AddKey (new Keyframe (time, _animObj.localPosition.y, 0.0f, 0.0f)); Properties["localPosition.z"].AddKey (new Keyframe (time, _animObj.localPosition.z, 0.0f, 0.0f)); Properties["localRotation.x"].AddKey (new Keyframe (time, _animObj.localRotation.x, 0.0f, 0.0f)); Properties["localRotation.y"].AddKey (new Keyframe (time, _animObj.localRotation.y, 0.0f, 0.0f)); Properties["localRotation.z"].AddKey (new Keyframe (time, _animObj.localRotation.z, 0.0f, 0.0f)); Properties["localRotation.w"].AddKey (new Keyframe (time, _animObj.localRotation.w, 0.0f, 0.0f)); Properties["localScale.x"].AddKey (new Keyframe (time, _animObj.localScale.x, 0.0f, 0.0f)); Properties["localScale.y"].AddKey (new Keyframe (time, _animObj.localScale.y, 0.0f, 0.0f)); Properties["localScale.z"].AddKey (new Keyframe (time, _animObj.localScale.z, 0.0f, 0.0f)); But if you record all values for the each frame for the each property of the each object, the output file of the animation will turn out to be too large. Lets introduce the conditions for limiting the minimum changes in comparison with the previous frame. If the object has moved, increased and turned just a little bit, we will not record these changes. Completed class: AnimationRecorderItem.cs Also we have to create a manager class AnimationRecorder. This script should be executed through the all children of the animated object and create an instance of AnimationRecorder for each of them. And also immediately generate and remember relativePath under which it will be saved in AnimationClip. According to the documentation, relativePath is generated as follows: The code will look like: private List<AnimationRecorderItem> _recorders; void Start () { Configurate (); } void Configurate () { _recorders = new List<AnimationRecorderItem> (); var allTransforms = gameObject.GetComponentsInChildren< Transform > (); for ( int i = 0; i < allTransforms.Length; ++i ) { string path = CreateRelativePathForObject ( transform, allTransforms [ i ] ); _recorders.Add( new AnimationRecorderItem ( path, allTransforms [ i ] ) ); } } private string CreateRelativePathForObject ( Transform root, Transform target ) { if ( target == root ) { return string.Empty; } string name = target.name; Transform bufferTransform = target; while ( bufferTransform.parent != root ) { name = string.Format ( "{0}/{1}", bufferTransform.parent.name, name ); bufferTransform = bufferTransform.parent; } return name; } To calculate current animation time and record the properties values for the each frame: private float _recordingTimer; private bool _recording = false; void Update () { if ( _recording ) { for ( int i = 0; i < _recorders.Count; ++i ) { _recorders [ i ].AddFrame ( _recordingTimer ); } _recordingTimer += Time.deltaTime; } } But the Update function is called quite often and recording the animation every frame is pretty redundant, so we limit the record. 30 fps should be enough for everyone. We will start recording by tapping on Spacebar. private const float CAPTURING_INTERVAL = 1.0f / 30.0f; private float _lastCapturedTime; private float _recordingTimer; private bool _recording = false; void Update () { if ( Input.GetKeyDown ( KeyCode.Space ) && !_recording ) { StartRecording (); return; } if ( _recording ) { if (_recordingTimer==0.0f||_recordingTimer-_lastCapturedTime>=CAPTURING_INTERVAL) { for ( int i = 0; i < _recorders.Count; ++i ) { _recorders [ i ].AddFrame ( _recordingTimer ); } _lastCapturedTime = _recordingTimer; } _recordingTimer += Time.deltaTime; } } public void StartRecording () { Debug.Log ( "AnimationRecorder recording started" ); _recording = true; } Let’s implement an animation export. We will create the AnimationClip instance and fill it with the collected values. private void ExportAnimationClip () { AnimationClip clip = new AnimationClip (); for ( int i = 0; i < _recorders.Count; ++i ) { Dictionary<string,AnimationCurve> propertiles = _recorders [ i ].Properties; for ( int j = 0; j < propertiles.Count; ++j ) { string name = _recorders [ i ].PropertyName; string propery = propertiles.ElementAt ( j ).Key; var curve = propertiles.ElementAt ( j ).Value; clip.SetCurve ( name, typeof(Transform), propery, curve ); } } clip.EnsureQuaternionContinuity (); string path = "Assets/" + gameObject.name + ".anim"; AssetDatabase.CreateAsset ( clip, path ); Debug.Log ( "AnimationRecorder saved to = " + path ); } Completed class AnimationRecorder.cs Finally, we will create the AnimationRecorderRagdollHelper helper class, which function will stop the Animator on the animated object, turn on all collisions, give the object acceleration and start recording our animation. The end of the animation recording will be completed by ourselves. To avoid some artifacts due to scene loading and the initialization of various objects, script will start working with the specified delay. Completed class <b>AnimationRecorderRagdollHelper.cs That's all, we add AnimationRecorderRagdollHelper on our character, set the impact force, then start the scene - and watch how the character cheerfully fly around the scene. When the cold corpse freezes on the ground - press Spacebar. The script will exports our animation to the root of the project. https://gfycat.com/RecklessFickleBarracuda We recorded 4-5 animations for each character in this way and switch on them randomly at the character death. P. S. Or not quite randomly. Our game is multiplayer, physics is calculated on the server and the vector of impact comes to us. So we select the necessary animation based on vector which comes to us from the server, simply looking for the closest vector which the animation was recorded. Links: Project on a GitHub A video of the game on YouTube with some deaths Slash Arena: Online ( Facebook ) Slash Arena: Online ( Steam )
  22. I was avoiding posting here because there's plenty of information on triangulation out there, but I'm beginning to find it more of a curse than a blessing due to how specified my case is and how many triangulation algorithms there are. I have 2D potentially-concave polygons that are defined as an ordered list of vertices in clockwise order. These vertices define the hull or outline of the shape - no vertices are inside the polygon. I was looking at ear-clipping, but the order of complexity seems like it could be improved with a better algorithm. Anyone have any good resources or personal knowledge specific to my case?
  23. C# Spaceship steering problem

    Hey guys. I haven't been here for a long time. Reason being that I didn't really code in that time. Now I've returned to my project and ran into some problem. Last time I've worked on it, I've switched my physics engine from bullet to jitter due to unresolvable problems, but there's now an issue with my steering code. In essence, depending on what direction I'm facing relative to the initial orientation the actual change in direction differs more or less from the actual input. For example, I'f I turn 90 degrees left or right it becomes impossible to turn up or down. Now, in order to make the spaceship turn, this is the code for it: Within InputSystem I calculate cursor offset from the screen center and then from it a multiplier that is then used by MovementSystem: var mouseOffsetMagnitude = Math.Abs(_mouseOffset.Length()); if(mouseOffsetMagnitude < 10) rot.TurnMultiplier = Vector3.Zero; else if (mouseOffsetMagnitude > _screenCenter.Y*0.8) { rot.TurnMultiplier = Vector3.Zero; } else { var multiX = _mouseOffset.X/(_screenCenter.Y*0.8); var multiY = _mouseOffset.Y/(_screenCenter.Y*0.8); rot.TurnMultiplier = new Vector3((float) multiY, (float) -multiX, 0); } MovementSystem takes this multiplier, which is then multiplied by the ships steering torque and a constant to get the torque vector for steering. The torque vector is also transformed by the ships orientation to ensure it's facing the correct way and then fed into Jitter to make the ship actually turn: var torqueVector = Vector3.Transform(rot.TurnMultiplier*phys.SteeringTorque*0.00025f, body.Orientation.FromJMatrix()); body.AddTorque(new JVector(0.0f, torqueVector.Y, -torqueVector.X)); Currently roll is not used, hence the 0 value in the last line.
  24. I am trying to calculate irradiance map based on this article: http://www.codinglabs.net/article_physically_based_rendering.aspx I understand the idea, you must place an hemisphere over the normal, then you need to sum every incoming radiance. Then write the radiance back at the corresponding pixel in the cube map. However I didn't understand how author iterated over the hemisphere and the direct translation from hlsl code to glsl didn't worked as I expected. It smooth the original cube map a lot. As if I dropped resolution from 1024px to 32px. I changed the hemisphere iteration as below: normal = normalize(normal); vec3 up = vec3(0.0, 1.0, 0.0); vec3 right = normalize(cross(normal, up)); int index = 0; vec3 irradiance = vec3(0.0 ,0.0 ,0.0); for (float longi = 0.0; longi <= 90.0; longi += 3.0) { mat4 trl = rotationMatrix(right, radians(longi)); for (float azi = 0.0; azi <= 360.0; azi += 3.0) { mat4 tra = rotationMatrix(normal, radians(azi)); vec3 sampleVec = (tra * trl * vec4(normal, 1.0)).xyz; irradiance += texture(iChannel0, sampleVec).rgb * dot(sampleVec, normal); index++; } } fragColor = vec4((PI * irradiance / float(index)), 1.0); Generated irradiance map seems to me too bright. Also I don't understand why we are averaging the summed radiance by dividing it to "index" ? Aren't we after the total incoming radiance to a point ? Here is the link to the shader. https://www.shadertoy.com/view/4sjBzV
  25. For example I have 6000 entities on a 2D map and I want to get about 180 which are on my player's screen. When my player is moving new entities may appear on the map, at the same time some entities or enemies die so they disappear. I used to clear the entire spatial hash and insert everything again a few times a second. But I am thinking maybe it is better to only update those entities that change on the map, the number of changes may be huge though, but still, compared to the number of entities on the map it is still small. I am just not sure if this is worthy or not.