Banki
02-23-2009, 02:52 AM
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Description: This book is a collection of articles that explain the foundations of
shader programming, from the High Level Shading Language and
version 3.0 shader models to shadow mapping and stencil shadow
volumes. The following provides a brief overview of these articles:
Jason L. Mitchell and Craig Peeper, one of the creators of HLSL
and the compiler, have written the best introduction to HLSL there
is in “Introduction to the DirectX High Level Shading Language.”
Because it comes from the official source, this article covers everything
that an HLSL programmer needs and a lot more.
The vs_3_0 and ps_3_0 shader models will be available in thirdgeneration
shader graphics hardware. These shader versions are
much more flexible and powerful than the previous versions, offering
vertex texturing capabilities, predication, static and dynamic flow
control, vertex stream frequency, and much more. Nicolas Thibieroz,
Kristof Beets, and Aaron Burton from PowerVR have written an
introduction to this shader model that explains every new feature
and includes a source snippet.
Michal Valient’s article “Advanced Lighting and Shading with
Direct3D 9” covers some more advanced lighting models including
Phong, Oren-Nayar, and Cook-Torrance. He implements these algorithms
with ps_1_4, ps_2_0, ps_3_0, and HLSL. This is the most
extensive treatment of this topic available.
There are several different ways to use fog to produce a specific
mood in games. Markus Nuebel shows all possible ways to implement
fog in a way that is easy to understand. The six example
programs make using fog as easy as possible.
Michal Valient’s second contribution is the article “Shadow
Mapping with Direct3D 9.” With the release of DirectX 9 and its
floating-point textures, using shadow maps for shadows leads to a
much better visual experience. Michal shows how to implement
shadow mapping in the most efficient and most flexible way and
gives tips on how to debug an application.
The most comprehensive treatment of shadow volumes available
is contained in the article “The Theory of Stencil Shadow Volumes”
by Hun Yen Kwoon. It covers every aspect of the various ways of
programming shadow volumes. Six example programs give you a
head start on implementing shadow volumes in minutes.
ATI’s RenderMonkey is a shader development tool that helps to
reduce the workload of programmers and artists. One of its creators,
Natalya Tatarchuk, explains how to use it and discusses its feature
set.
A topic that is seldom covered elsewhere is the necessity of creating
geometric data in the art pipeline that is shader-friendly. Gim
Guan Chua has written an article describing this task and provides a
step-by-step explanation of how to do it.
http://rapidshare.com/files/10398319/ShaderX2_Introductions_and_Tutorials_with_DirectX_ 9.0.pdf
Description: This book is a collection of articles that explain the foundations of
shader programming, from the High Level Shading Language and
version 3.0 shader models to shadow mapping and stencil shadow
volumes. The following provides a brief overview of these articles:
Jason L. Mitchell and Craig Peeper, one of the creators of HLSL
and the compiler, have written the best introduction to HLSL there
is in “Introduction to the DirectX High Level Shading Language.”
Because it comes from the official source, this article covers everything
that an HLSL programmer needs and a lot more.
The vs_3_0 and ps_3_0 shader models will be available in thirdgeneration
shader graphics hardware. These shader versions are
much more flexible and powerful than the previous versions, offering
vertex texturing capabilities, predication, static and dynamic flow
control, vertex stream frequency, and much more. Nicolas Thibieroz,
Kristof Beets, and Aaron Burton from PowerVR have written an
introduction to this shader model that explains every new feature
and includes a source snippet.
Michal Valient’s article “Advanced Lighting and Shading with
Direct3D 9” covers some more advanced lighting models including
Phong, Oren-Nayar, and Cook-Torrance. He implements these algorithms
with ps_1_4, ps_2_0, ps_3_0, and HLSL. This is the most
extensive treatment of this topic available.
There are several different ways to use fog to produce a specific
mood in games. Markus Nuebel shows all possible ways to implement
fog in a way that is easy to understand. The six example
programs make using fog as easy as possible.
Michal Valient’s second contribution is the article “Shadow
Mapping with Direct3D 9.” With the release of DirectX 9 and its
floating-point textures, using shadow maps for shadows leads to a
much better visual experience. Michal shows how to implement
shadow mapping in the most efficient and most flexible way and
gives tips on how to debug an application.
The most comprehensive treatment of shadow volumes available
is contained in the article “The Theory of Stencil Shadow Volumes”
by Hun Yen Kwoon. It covers every aspect of the various ways of
programming shadow volumes. Six example programs give you a
head start on implementing shadow volumes in minutes.
ATI’s RenderMonkey is a shader development tool that helps to
reduce the workload of programmers and artists. One of its creators,
Natalya Tatarchuk, explains how to use it and discusses its feature
set.
A topic that is seldom covered elsewhere is the necessity of creating
geometric data in the art pipeline that is shader-friendly. Gim
Guan Chua has written an article describing this task and provides a
step-by-step explanation of how to do it.
http://rapidshare.com/files/10398319/ShaderX2_Introductions_and_Tutorials_with_DirectX_ 9.0.pdf