Regarding 3D graphics, we process the light intensity of the actual world using a similar large range with high accuracy (HDR rendering), and the simulation of the camera and the eye will happen at a later stage (tone mapping). There is a huge variation in brightness in the actual world, from intense brightness down to gloomy darkness, but the human eye and the camera cope by adjusting the exposure, shutter speed of the camera, and the opening of the pupil, etc. Originally, 3D graphics performed on a computer, is something designed to make an image which is close to the actual world. In order to render a HDR image without being restricted by the possible color range of the television display, the HDR rendering indicates a process where tone mapping is used to get the proper brightness balance for the TV display. "Half-Life 2: The Lost Coast", but we will give a brief overview of the concept here. HDR rendering and tone mapping is explained in the article about It means that brightness balance has been centred around the protagonist under the cliff, and so the relatively bright sky tends to become almost white. The effect in pseudo-HDR rendering is seen everywhere. SOTC's HDR rendering method is not physically correct, but the effect works well and creates very impressive visual results. This is called the dynamic tone mapping, which is part of the HDR effect. When you emerge from the dark sanctuary interior to the outside, the outside scene is drawn almost completely white, which settles shortly to it's proper brightness balance. This is the trendy high dynamic range rendering (HDR - High Dynamic Range). It floods the external scenery which is seen from the interior to white, and light overflows through the opening of the columns which support the sanctuary. * The HDR rendering and dynamic exposure / tone mapping algorithmĪfter starting SOTC, the first impressive visuals you get are probably the view of the magnificent scenery seen outside from inside the sanctuary. "You can spend far too much time making detailed adjustments on a case-by-case basis, just to get the exact right motion on each character." "Rather than the programmer saying how about like this, he keeps making the kind of environment which the designer can adjust to whatever their heart's desire." I'm not sure if I was able to achieve it, but it is hard to tell because it is not cartoony. "I tried hard to make the appearance look natural to the eye. The work on SOTC accumulated little-by-little, so when it finally came together, it seemed completely natural." "I'm not sure where I could even start talking about it! Really! (laughing). So now, we have brought together the information from the development of Shadow Of The Colossus, because we had heard discussion on the technology we used and wished to present it. Shadow Of The Colossus is a good game in itself, but it is the technology which is operational within the machine, PS2-wise, that gives it the true "next-gen impression". You could probably say that this winter, where SOTC (Shadow Of The Colossus) appeared, represents such a maturing period for PS2. At this time, the world's attention tends to go to the next generation machine, but this is actually the time where all the technology achieved over the lifetime of the current machine bears fruit, and is the age where the masterpiece games appear. With the PS3 being announced for spring 2006, you might think the PS2 is at the point where it's reached it's limit.
0 Comments
Leave a Reply. |