Recent content on Irradiance Blog
Skin with micro-occlusion at the top, and micro-shadowing below. Both are using the same micro-occlusion data and were taken with the exact same exposure. Last time I went over micro-occlusion , existing micro-shadowing approaches, and provided an analytical alternative approach. But at the end of that post I went over the fact that none of the results of those approaches depended on the…
Piqué fabric with micro-occlusion on the top, and micro-shadowing at the bottom. Both are using the same micro-occlusion map. Geometry virtualization and displacement systems like Nanite has allowed us to substantially increase the geometry resolution. But when it comes to representing small details like cavities, cracks, and creases, those types of solutions are too expensive to be used…
I’m Pablo Zurita, a Principal Rendering Engineer. Most of my experience is in the games industry working as a rendering engineer. I have worked as an individual contributor or as a lead on multiple game companies with my longest stint being at Electronic Arts . I have also worked on companies outside the gaming industry such as Autodesk , DreamWorks R&D , etc.
While it has been over a decade since the sea-change towards physically based rendering (PBR) started, it isn’t rare to find that artists and engineers still have certain challenges when it comes to PBR. Some concepts are hard to grasp, and the trade-offs being made to fulfill artistic objectives are usually misunderstood. Over the years I have had the chance to work on the implementation of…
Pablo Zurita Vancouver, BC, Canada. Argentine Canadian citizen. Overview Principal rendering engineer with multiple years of experience writing rendering technology for AAA games, visualization, DCC applications, and CG animation under different technology stacks and engines such as Unreal Engine, Unity, and Frostbite. Experienced working on-site and remotely, as both individual contributor and as…
I joined the industry quite some time ago, and that time has given me the chance to work in studios that were on different stages. Most of my experience has been at big AAA studios or large companies, and the only experience I missed was the indie experience. I have worked on very established studios with multiple decades of history, as well as studios that didn’t have much more than a year…
A decade ago a wrote a stomp allocator for Unreal Engine 4. I wrote it out of necessity when I was working on one of the cancelled iterations of Dead Island 2 . To avoid introducing engine divergences (a topic I will probably write about at some point) I made the change public and provided a pull request for it. The pull request was accepted, and it was useful enough that Epic wrote about it in…