Intelligent Lighting for Game Environments

Lighting design is an important topic of game development. There are many functions that lighting assumes in game environments, including directing attention, establishing good action visibility, evoking emotions, setting atmosphere, and providing depth. Current lighting design techniques rely on static manually designed lighting, where designers set up the positions, angles, and colors for each light in a level. Game environments are dynamic and unpredictable; physical and narrative scene content, including character locations, tension, and narrative goals, change unpredictably in real time due to user interaction. Thus, current static techniques often do not adequately adapt to serve desired aesthetic and communicative functions or perceptual effects. Recently, Doom 3 incorporated dynamic real-time lighting and demonstrated many advantages of using real-time dynamic lighting in games, including heightening the emotional engagement and enhancing the overall interactive experience. However, the technique is scripted and tightly coupled to game content. In this article, we present ELE (Expressive Lighting Engine), an intelligent lighting system that automatically sets and adjusts scene lighting in real time to achieve aesthetic and communicative functions, including evoking emotions, directing visual focus, and providing visibility and depth. ELE operates as a separate system that interacts with game/graphics engines through a standard interface. In this article, we will discuss ELE and its interface with Unreal Tournament 2003. We will also present results showing ELE in action. These results show: the utility of real-time adaptive lighting in providing visual focus, setting atmosphere, evoking emotions, and establishing visibility during interaction in interactive environments; and acceleration in the development process due to the introduction of an automatic system for lighting that can be overridden by designers at a high level, thus eliminating the time-consuming process of setting individual light parameters for each level and scene

Dynamic Intelligent Lighting for Directing Visual Attention in Interactive 3D Scenes

Recent enhancements in real-time graphics have facilitated the design of high fidelity game environments with complex 3D worlds inhabited by animated characters. Under such settings, it is hard, especially for the untrained eyes, to attend to an object of interest. Neuroscience research as well as film and theatre practice identified several visual properties, such as contrast, orientation, and color that play a major role in channeling attention. In this paper, we discuss an adaptive lighting design system called ALVA (Adaptive Lighting for Visual Attention) that dynamically adjusts the lighting color and brightness to enhance visual attention within game environments using features identified by neuroscience, psychophysics, and visual design literature. We also discuss some preliminary results showing the utility of ALVA in directing player’s attention to important elements in a fast paced 3D game, and thus enhancing the game experience especially for non-gamers who are not visually trained to spot objects or characters in such complex 3D worlds

An Interactive Narrative Architecture Based on Filmmaking Theory

Designing and developing an interactive narrative experience includes development of story content as well as a visual composition plan for visually realizing the story content. Theatre directors, filmmakers, and animators have emphasized the importance of visual design. Choices of character placements, lighting configuration, and camera movements, have been documented by designers to have direct impact on communicating the narrative, evoking emotions and moods, and engaging viewers. Many research projects focused on adapting the narrative content to the interaction, yet little attention was given to adapting the visual presentation. In this paper, I present a new approach to interactive narrative – an approach based on filmmaking theory. I propose an interactive narrative architecture, that in addition to dynamically selecting narrative events that suit the continuously changing situation, it automatically, and in real-time, reconfigures the visual design integrating camera movements, lighting modulation, and character movements. The architecture utilizes rules extracted from filmmaking, cinematography, and visual arts theories. I argue that such adaptation will lead to increased engagement and enriched interactive narrative experience

A low complexity visual saliency model based on in-focus regions and centre sensitivity.

A novel low-complexity visual saliency detection algorithm for detecting salient regions in images is proposed. The algorithm derives salient regions based on in-focus regions and image centre sensitivity. The performance of the algorithm in predicting human eye fixations is validated against ten state-of-the-art algorithms using a public image dataset. The results demonstrate that the proposed algorithm achieves higher prediction accuracy in saliency detection at significantly lower computational complexity compared to other algorithms

Automating Lighting Design for Interactive Entertainment

Recent advances in computer graphics, particularly in real-time rendering, have resulted in major improvements in 3D graphics and rendering techniques in interactive entertainment. In this article we focus on the scenelighting process, which we define as configuring the number of lights in a scene, their properties (e.g., range and attenuation), positions, angles, and colors. Lighting design is well known among designers, directors, and visual artists for its vital role in influencing viewers\u27 perception by evoking moods, directing their gaze to important areas (i.e., providing visual focus), and conveying visual tension. It is, however, difficult to set positions, angles, or colors for lights within interactive scenes to accommodate these goals because an interactive scene?s spatial and dramatic configuration, including mood, dramatic intensity, and the relative importance of different characters, change unpredictably in real-time. There are several techniques developed by the game industry that establish spectacular real-time lighting effects within 3D interactive environments. These techniques are often time- and labor-intensive. In addition, they are not easily used to dynamically mold the visual design to convey communicative, dramatic, and aesthetic functions as addressed in creative disciplines such as art, film, and theatre. In this article we present a new real-time lighting design model based on cinematic and theatric lighting design theory. The proposed model is designed to automatically, and in realtime, adjust lighting in an interactive scene to accommodate the dramatic, aesthetic, and communicative functions described by traditional lighting design theories, while taking artistic constraints on style, visual continuity, and aesthetic function into account

Techniques de mise en scène pour le jeu vidéo et l'animation

Eurographics State of the Art Report (STAR).International audienceOver the last forty years, researchers in computer graphics have proposed a large variety of theoretical models and computer implementations of a virtual film director, capable of creating movies from minimal input such as a screenplay or storyboard. The underlying film directing techniques are also in high demand to assist and automate the generation of movies in computer games and animation. The goal of this survey is to characterize the spectrum of applications that require film directing, to present a historical and up-to-date summary of research in algorithmic film directing, and to identify promising avenues and hot topics for future research.Depuis quarante ans, les chercheurs en informatique graphique ont proposé une grande variété de modèles théoriques et d'implémentations de réalisateurs virtuels, capables de créer des films automatiquement à partir de scénarios ou de storyboards. Les techniques de mise en scène sous-jacentes peuvent également être très utiles pour assister et automatiser la création de films dans le jeu vidéo et l'animation. Le but de cet état de l'art est de caractériser le spectre des applications qui peuvent bénéficier des techniques de mise en scène, de donner un compte rendu historique de la recherche en mise en scène algorithmique, et d'identifier les tendances et perspectives du domaine