DirectX 9着色器编程技巧与实战

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"ShaderX2: Shader Programming Tips & Tricks with DirectX 9" 本书“ShaderX2: Shader Programming Tips & Tricks with DirectX 9”是由Wolfgang F. Engel编辑的一本关于图形学编程的专业书籍，主要关注DirectX 9的着色器编程技术。该书面向计算机游戏开发人员和对三维显示系统感兴趣的读者，提供了丰富的着色器编程技巧和经验分享。在DirectX 9中，着色器是实现复杂图形效果的关键组件，它们允许开发者在GPU（图形处理单元）上运行定制的计算代码，以控制像素的颜色、光照、纹理映射等视觉属性。ShaderX2深入探讨了如何利用这些特性来提升游戏和应用程序的图形表现力。书中的内容可能包括但不限于以下几个方面： 1. **基础理论**：介绍着色器的基本概念，如顶点着色器、像素着色器、几何着色器和HLSL（High-Level Shader Language）编程语言的基础知识。 2. **着色器设计与优化**：讲解如何编写高效的着色器代码，减少计算复杂度，同时保持高质量的视觉效果。 3. **光照和阴影**：探讨不同的光照模型和阴影技术，如法线贴图、环境光遮蔽、动态阴影等。 4. **纹理和贴图**：讲解纹理采样、纹理合成、立方体贴图、MIP映射等技术，以及如何通过纹理实现复杂的表面效果。 5. **特效**：介绍粒子系统、体积渲染、雾化、水体模拟等特效的实现方法。 6. **硬件加速与兼容性**：讨论如何利用DirectX 9 API与不同硬件平台进行交互，以及如何处理兼容性问题。 7. **实例分析**：提供具体的代码示例和项目案例，帮助读者理解并应用所学知识。 8. **调试与性能监控**：讲解如何使用工具进行着色器的调试和性能优化。此外，书籍可能还包含对其他相关软件的提及，如Crystal Reports，尽管它不是主要内容，但可能是书中某个特定章节或应用场景的辅助工具。 “ShaderX2: Shader Programming Tips & Tricks with DirectX 9”是一本对于想要掌握DirectX 9着色器编程的开发者非常有价值的资源，它涵盖了从基础到高级的各种技巧和实践经验，可以帮助读者提升图形编程能力，创造出更加生动逼真的游戏和应用画面。

River Media, 2002) and Direct3D ShaderX: Vertex and Pixel Shader Tips and Tricks

(Wordware, 2002). Christopher is a graduate of Boston University.

David Pangerl

David’s addiction to computers and games started early in his life, and the vision

to create virtual worlds continues to be a strong force in his life. He has been

involved in the production of several games, including Crash, Casanova, Hitch

cock, Hannibal, and most recently Mistmare. His main interests are computer

graphics, artificial intelligence, and compilers.

Kurt Pelzer

As a senior programmer at Codecult, Kurt developed several real-time simula

tions and technology demos built on CC’s high-end 3D engine Codecreatures

(e.g., a launch demo for nVidia’s GeForce4 Ti generation and the well-known

Codecreatures-Benchmark-Pro). He designed the innovative fx systems of

Codecreatures and was involved in creating a simulation of the Shanghai

TRANSRAPID track for SIEMENS AG. Kurt also worked on Piranha Bytes’ PC

game Gothic and the top-selling Gothic II—which were named RPG of the Year in

Germany in 2001 and 2002. In prehistoric times Kurt started programming on

C64 and Atari’s ST; later on he studied mathematics, always focusing on com-

puter graphics. When he’s not scribbling down equations or reading the book of

seven seals, Kurt works at Piranha Bytes to guarantee a high level of visual qual-

ity for the company’s future products.

Emil Persson

Emil recently graduated from Luleå University of Technology in Northern Swe-

den after studying computer science and engineering. Over the years Emil has

gathered experience from early software rendering attempts to advanced tech-

niques in the Glide, OpenGL, and Direct3D APIs. His web site at http://esprit.

campus.luth.se/~humus/ focuses on real-time 3D graphics. In the future you’ll

probably find Emil working as a game developer working on the next generation

of game engines.

Tim Preston

Tim is a software engineer working on the Direct3D sections of the Gamebryo

game engine at NDL. He graduated from Princeton University in 1997 with a

degree in chemistry and a desire to do pretty much anything but chemistry. He

went to the University of North Carolina for a master’s in computer science,

where he did a lot of molecular modeling work that led to an interest in 3D graph

ics. When he graduated in 1999, the game industry was a good match for his expe

rience and his goal of not doing anything too important.

Maurice Ribble

Maurice graduated in 2001 from the Milwaukee School of Engineering with a

bachelor’s degree in computer engineering. During his junior year he had the

opportunity to take part in a summer internship at Los Alamos National Labs. He

was somewhat disappointed that other people worked on million-dollar work

stations while he worked on consumer-level hardware, but after writing an appli

cation that performed lighting calculations for volume textures on first-generation

consumer fragment shader hardware, he realized that consumer-level hardware

About the Authors

was in for exciting changes, and he wanted to be part of the action. He currently

works on the OpenGL device driver team at ATI Research.

Guennadi Riguer

Guennadi is a software developer at ATI Technologies, where he is helping game

engine developers to adopt new graphics technologies. Guennadi holds a degree

in computer science from York University and previously studied at Belorussian

State University of Computing and Electronics. He began programming in the

mid-80s and worked on a wide variety of software development projects prior to

joining ATI.

Thomas Rued (rued@digitalarts.dk)

Thomas started his programming career at the local mall in 1983, doing small

graphics programs in BASIC until an angry salesperson turned the computer off

and he had to start all over. Later he programmed multimedia programs for

InterVision in assembler and Pascal. Then he decided that education was in order

and earned a degree in computer science. He moved on to Interactive Vision for

several years, where he was a senior software engineer and worked on 3D appli

cations plus the in-house frameworks for game development using C++ and

DirectX. Currently Thomas works at Digital Arts (www.digitalarts.dk) where he

focuses on high-end 3D visualization stuff in real time using modern 3D hardware.

In his spare time he is the co-coordinator of the Danish IGDA chapter.

Scott Sherman

Scott is a software engineer at NDL where he is the lead on the Xbox version of

their graphics engine. After receiving degrees in physics and electrical engineer-

ing, a short stint in the hardware side of the computer industry led to doing on-air

statistics and scoring systems programming for sporting event broadcasts. Once

the excitement of live television wore off, he moved over to the field of game pro-

gramming, and is currently focused on real-time 3D graphics.

Peter-Pike Sloan

Peter-Pike currently works on D3DX at Microsoft. Prior to that he worked in the

Microsoft Research Graphics Group, the Scientific Computing and Imaging group

at the University of Utah, PTC, and Evans & Sutherland. His primary research

interests revolve around interactive graphics techniques. Most of his publications

are available at http://research.microsoft.com/~ppsloan.

Marco Spoerl (http://www.marcospoerl.com)

Like just about everyone else, Marco started programming way back on a C64.

After buying a PC just so he could play Doom, he learned about computer graph

ics. He started his professional career as an engine programmer at Codecult Soft

ware, working on the Codecreatures Game Development System and the

Codecreatures Benchmark Pro. After receiving his diploma in computer science,

and a short walk on the wild side as a freelance software developer, he’s now

working in the training and simulation department at Munich-based Krauss-

Maffei Wegmann.

Natalya Tatar chuk (Natasha@ati.com)

Natalya is a software engineer working in the 3D Application Research Group at

About the Authors

xvi

ATI Research, where she is the programming lead for the RenderMonkey IDE

project. She has worked in the graphics industry for more than six years, working

on 3D modeling applications and scientific visualization prior to joining ATI.

Natalya graduated from Boston University with a bachelor’s degree in computer

science, a bachelor’s degree in mathematics, and a minor in visual arts.

Nicolas Thibieroz (nicolas.thibieroz@powervr.com)

Like many kids of his generation, Nicolas discovered video games on the Atari

VCS 2600. He quickly became fascinated by the mechanics behind those games,

and started programming on C64 and Amstrad CPC before moving on to the PC

world. Nicolas realized the potential of real-time 3D graphics while playing Ultima

Underworld. This game inspired him in such a way that both his school placement

and final year project were based on 3D computer graphics. After obtaining a

bachelor’s degree in electronic engineering in 1996, he joined PowerVR Technol

ogies where he is now responsible for developer relations. His duties include sup

porting game developers, writing test programs and demos, and generally keeping

up to date with the latest 3D technology.

Alex Vlachos (http://alex.vlachos.com)

Alex is a staff engineer in the 3D Application Research Group at ATI, where he

has worked since 1998 focusing on 3D engine development as the lead program-

mer for ATI’s Demo Team. He developed N-Patches (a curved surface represen-

tation introduced in Microsoft’s DirectX 8), also known as PN Triangles, and

TRUFORM. He has published in Game Programming Gems 1, 2, and 3, ACM

Symposium on Interactive 3D Graphics (I3DG), and Direct3D ShaderX: Vertex and

Pixel Shader Tips and Tricks. He has presented at Microsoft Meltdown Seattle and

UK, I3DG, GDC, and GDC Europe. Alex is a graduate of Boston University.

Daniel Wagner (daniel@ims.tuwien.ac.at)

Daniel has been fascinated by programming computer graphics since he got his

first PC in 1991. In 1995 he developed the software SimLinz for the Ars

Electronica Center (museum of the future) in Linz, Austria. During his study he

worked for Reality2, a company that created virtual reality software. After finish

ing his master’s thesis, “EndoView: A System for Fast Virtual Endoscopic Ren

dering and Registration” in summer 2001, he worked as a lead developer for

BinaryBee, a company developing arcade-style web games. Daniel is currently

working on his Ph.D. thesis on augmented reality at the Interactive Media Sys

tems Group at the Vienna University of Technology.

Arkadiusz Waliszewski

Arkadiusz holds a master’s degree in computer science from Poznan University of

Technology and is currently a software engineer in Poland. He started his adven

ture with computer graphics when he got his first computer (Atari 65XE) and has

become addicted. Beside real-time computer graphics, he is also interested in

object-oriented programming and design. He likes good movies, dry wine, and big

fluffy carpet slippers.

Maike Walther

Maike’s research interests lie in computational and cognitive aspects of computer

depiction. She has studied mathematics, logic, computer science, and psychology

About the Authors

xvii

at the universities of Muenster, Germany, and Leeds, England. Maike graduated

in 2003 from the Hasso Plattner Institute in Potsdam, Germany after writing her

master’s thesis on computer graphics and algorithms for real-time non-photo

realistic rendering of 3D city models. She is currently developing for the Virtual

Rendering System (www.vrs3d.org).

Oliver Weichhold

Oliver has been a programmer and developer on a number of projects, including a

software implementation of the Direct3D pipeline.

Carsten Wenzel (carsten@crytek.de)

Carsten has been passionate about computer graphics ever since he got a hold of

intros and demos for Amiga and PC. Although he’s never really been active in the

demo scene, it’s always been a big inspiration for him. As a 3D programmer at

Totally Games, he developed many of the pixel and vertex shaders used for spe

cial effects in an Xbox game. At that time he also wrote a tech demo for nVidia’s

GeForce3. His latest demo, Meshuggah, was released in spring 2002, and he

received his master’s degree in computer science in December 2002. He cur

rently works at Crytek.

Guillaume Werle (guille@free.fr)

Guillaume is a 26-year-old graphic engineer at Montecristo (www.montecristo-

games.com). He joined the R&D department team last year where he is working

on the next-generation 3D engine. In the game industry since 1998, he has done

two PlayStation games for Infogrames and one PC game for Montecristo. Despite

the little spare time he has, he is still an active demoscener (http://cocoon.planet-

d.net). His last demo, Raw Confessions, was nominated for the Demoscene

Awards (http://awards.scene.org/) in the “Best Demo” category and won the

“Best Graphics” award.

Renaldas Zioma

Renald Zioma has been driven (mad) by computer graphics since he saw ZX

Spectrum. After learning assembly and writing a Tetris clone for his ZX, he

switched to PCs, finished school, wrote a couple of small non-commercial games,

gained experience with object-oriented programming and design while working at

a software development company, and received a bachelor’s degree in computer

science from Kaunas University of Technology. He has been working as a profes

sional game programmer for the last two years. Recently he finished a demo of a

3D fighting game based on real-time motion recognition for Interamotion, LLC. In

his spare time, he programs demos and games and organizes small demo/game

scene related events in Lithuania.

About the Authors

xviii

Introduction

This book is a collection of articles that discuss ways to use vertex and pixel

shaders to implement a variety of effects. The following provides a brief overview

of these articles:

Section I — Geometry Manipulation Tricks

This section starts with a DirectX 9 sequel to Dean Calver’s vertex compression

article in Direct3D ShaderX: Pixel and Vertex Shader Tips and Tricks. Dean shows

a number of ways to reduce vertex throughput by compressing vertex data.

Carsten Wenzel points out how to use lookup tables in vertex shaders to reduce

the workload of the vertex shader hardware. A feature-complete and very hard-

ware-friendly terrain engine is explained in Daniel Wagner’s article, “Terrain

Geomorphing in the Vertex Shader.” The speed of the example program provided

with source is impressive. Creating 3D planets for a space-shooter type of game

can be done entirely on the GPU, which Jesse Laeuchli shows how to do in his

article “3D Planets on the GPU.”

The vs_3_0 vertex shader model has a feature called vertex texturing, which

Kristof Beets uses to create a very realistic-looking cloth animation in his article

“Cloth Animation with Pixel and Vertex Shader 3.0.” In “Collision Shaders,”

Takashi Imagire, who is known for the example programs on his web site

(www.t-pot.com), uses shaders to calculate collisions, something that has never

been shown before. The final article in this section covers using displacement

mapping as a method of geometry compression. The main aim of Tom Forsyth’s

article is to allow people to take data from the industry’s current mesh and tex

ture authoring pipelines, and to derive displacement map data from them.

Section II — Rendering Techniques

The section starts with an article by Greg James that presents a convenient and

flexible technique for rendering ordinary polygon objects of any shape as thick

volumes of light scattering or light absorbing material with ps_1_3. O’dell Hicks

shows in his article, “Screen-aligned Particles with Minimal VertexBuffer

Locking,” how to create screen-aligned particles with a vertex shader, bringing us

one step closer to the goal of having almost everything done by the GPU. “Hemi

sphere Lighting with Radiosity Maps,” written by Shawn Hargreaves, shows a

lighting model that was designed for fast moving objects in outdoor environments.

Its goals are to tie in the moving objects with their surroundings, to convey a sen

sation of speed, and to be capable of rendering large numbers of meshes at a good

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