- #JURASSIC WORLD EVOLUTION FREE RANGE DINOSAURS FULL#
- #JURASSIC WORLD EVOLUTION FREE RANGE DINOSAURS PLUS#
We know lights may be occluded by opaque objects, so JWE uses the information from the depth buffer to reduce the range to the regions it cares about.
#JURASSIC WORLD EVOLUTION FREE RANGE DINOSAURS FULL#
JWE is full of small lights which makes it a suitable technique.Īn additional consideration is that tiles in screen space extend from the camera to the far plane. It’s worth mentioning that tiled lighting is particularly effective when there are many small lights, rather than a few big ones. Reducing the number of lights per tile is very important in a forward engine, where calculations happen as geometry is rendered and decisions per object would be too coarse and greatly impact performance. In the lighting pass, each pixel reads the tile it belongs to and processes each light. Intersecting each light against the subfrustum of a tile gives you a list of lights for that tile. A compute shader is dispatched per tile, which reads a big buffer with data for all lights. Tiled lighting in JWE splits the screen into 8×8 pixel tiles extruded towards the far plane to create subfrustums. We talked about tiled in Rise of the Tomb Raider but there’s some differences. One thing to explain before we get to the geometry prepass is tiled forward lighting. I’m not entirely sure what the purpose of the repeating texture is (you can see the same objects repeated multiple times). Dinosaur and car motion is also blended here. You can see it in the image as streams pulling outward. The motion for the wind is an undulating texture meant to mimic wind waves which seems to have been computed on the CPU, and the influence of the helicopter is cleverly done blending a stream of particles on top of the first texture. This is a top down texture similar to the one before containing motion vectors in 2D.
#JURASSIC WORLD EVOLUTION FREE RANGE DINOSAURS PLUS#
In this particular scene there is a general breeze from the storm plus a helicopter, both producing currents that displace grass. Take this depth buffer and a heightmap of the scene (center image), and output three quantities: a mask to tell whether the depth of the object was above/below the terrain, the difference in depth between them, and the actual depth and pack them in a 3-channel texture (rightmost image)Īn additional process simulates wind.The other dinosaurs aren’t rendered here, perhaps the engine knows they aren’t stepping on grass and optimizes them out. If you squint you’ll see the profile of an ankylosaurus. The result is a top down depth buffer (leftmost image). cars only render wheels and part of the chassis, which is in contact with grass. This doesn’t need an accurate version of the geometry, e.g. Render dinosaurs and cars, probably other objects such as the gyrospheres.This means that the texture doesn’t necessarily look like a top-down snapshot of the scene, but will typically be split into 4 quadrants.
The texture wraps around as the camera moves and fills in the new regions that appear at the edges. This grass displacement texture is later read in the vertex shader of all the grass in the game, and the information used to modify the position of the vertices of each blade of grass. To animate the grass, one of the very first processes populates a top-down texture that contains grass displacement information. Grass DisplacementĪ big component of JWE is foliage and its interaction with cars, dinosaurs, wind, etc. Frontier clearly spared no expense developing the technology to get there, however this also means that analyzing a frame is a bit harder. Compute can be more flexible than draw (and, if done correctly, faster) but a lot of time has to be spent fine-tuning and balancing performance. it is broadly split into half compute, half draw techniques.
According to the capture there are 15 compute vs 18 color/depth passes, i.e. In the absence of markers, Renderdoc splits rendering into passes if there are more than one Draw or Dispatch commands targeting the same output buffers. The first thing to notice about the frame is that it is very compute-heavy. I chose a moody, rainy intermediate view that captures the dark essence of the original movies taking advantage of the Capture Mode. It’s hard to decide what to present as a frame for this game, because free navigation and dynamic time of day means you have limitless possibilities. For the analysis I used Renderdoc and turned on all the graphics bells and whistles. For JWE in particular it is a DX11 tiled forward renderer. Frontier is a proud developer of their Cobra technology, which has been evolving since 1988. What’s not to like about a game that gives you the reins of a park where the main attractions are 65-million-year-old colossal beasts? This isn’t the first successful amusement park game by Frontier Developments, but it’s certainly not your typical one. Jurassic World: Evolution is the kind of game many kids (and adult-kids) dreamed of for a long time.