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To apply a motion blur effect as a post-process it’s necessary to know the velocity of each pixel on the screen. No need to fetch any of their textures and write back the data to the G-Buffer. Knowing the final terrain depth thanks to theĭepth pre-pass means any opaque geometry occluded by the terrain (guards, trees, villages hidden behind some hill) will fail the early-depth testĪnd can be safely discarded very fast. However in an open area like the Afghan mountains, the terrain can act like a very good occluder. The depth pre-pass benefit is not especially relevant for this shot since most of the scene is located in front of the terrain anyway. The G-Buffer rendering was done in the following order:įirst all the opaque meshes of the main scene (characters, hospital building…), It’s important for open-world games where the draw distance can be very high. The depth is also reversed (value of 1 for meshes close to the camera) in order to keep a high floating-point precision
#METAL GEAR SOLID 5 PC GRAPHICS SKIN#
(only skin and hair materials seem concerned here) Alpha: translucency for the sub-surface scattering.The alpha channel contains the coefficientįor the view-dependent roughness of certain materials. Normal map: the normal vector (x, y, z) of the pixel is stored in the RGB channels.The alpha channel contains the opacity / light “transmittance” value of the material (typically 1 for completely opaque objects, Albedo map: the RGB channels contain the diffuse albedo color of the meshes, the intrinsic color when no lighting is applied.Here we have a relatively light G-Buffer with 3 render targets in B8G8R8A8 format: The vertex shader reads the heightmap and modifies on-the-fly the vertex position to match the elevation value. The engine divides the heightmap into different tiles, for each tile a draw call is dispatched with a flat grid of 16x16 vertices. It’s a 16-bit floating point texture containing the terrain elevation value (view from the top). The terrain mesh is generated from the heightmap you can see below: This pass renders only the geometry of the terrain underneath the hospital as viewed from the point of view of the player and outputs its depth information to a depth buffer. So let’s see how this frame is rendered! Depth Pre-Pass I’ll simply refer to that mysterious individual as the “Man on Fire” not to spoil anything about the story. Right in front of Snake two soldiers are standing up, they’re looking at some burning silhouette at the end of the hallway. Not the most glamorous scene but it illustrates well the different effects the engine can achieve. Snake is lying on the floor trying to blend in among the other corpses, he’s at the bottom of the screen with his naked shoulder. Here is a frame taken from the very beginning of the game, during the prologue when Snake tries to make his way out of the hospital. “Photorealism Through the Eyes of a FOX”. Some of the information I present here has already been made public in the GDC 2013 session The analysis below is based on the PC version of the game with all the quality knobs set to maximum.
#METAL GEAR SOLID 5 PC GRAPHICS SERIES#
Was released in 2015 and brings the series to a whole new level of graphics quality thanks to the The final chapter Metal Gear Solid V: The Phantom Pain With this game but with the Ghost Babel spin-off on GBC,Ī lesser-known but nevertheless excellent title with an impressive depth. Though in my case the first time I played as Snake wasn’t The title introduced many players to the genre of “tactical espionage action”, an expression coinedīy Hideo Kojima the creator of the franchise. On the original PlayStation almost two decades ago. When Metal Gear Solid became a best-seller The Metal Gear series achieved world-wide recognition