System for Automated Interactive Lighting (SAIL)

Abstract

Successful lighting in video games is more than a physically accurate illumination model. Aesthetics and function are of equal or greater importance. Lighting designers may deviate from physical accuracy to help a player identify an important object or to more powerfully evoke a desired emotion. Under the assumption that fulfilling the pipeline needs of interactive lighting design requires more than solving the computer rendering equation, we set out to develop a System for Automated Interactive Lighting (SAIL). The goal for SAIL was to develop an adaptive system that maintains lighting design goals (aesthetic and functional) in the context of unpredictable, interactive experiences. This paper presents SAIL and the results of a qualitative evaluation of SAIL's contributions. We describe the algorithms of SAIL, where it succeeds, and where it fails. We conclude with a plan for future work.

Directing the Photography: Combining Cinematic Rules, Indirect Light Controls and Lighting‐by‐Example

“…Their central idea is that the desired lighting is provided as a reference image (a real image or a render of another 3D scene) or directly as another, already lit, 3D scene. Zupko and El-Nasr [ZEN09] ask the user to choose an image of an illuminated sphere that describe their desired image aesthetics. The target image is thus independent of the scene but limited to an image of a single sphere in front of a uniform background.…”

Visual Communication in Interactive Multimedia

“…We attempt to incorporate the non-linear nature of interactive media actively influenced by users which requires the connection of graphical artwork with dynamic processes, done by utilization of AI concepts. There is already research on adaption techniques for bringing methods of cinematography to interactive media [4] which deals with separate aspects like camera management [5,6,7], lighting [8,9,10] and soundtrack adjustments [11]. Starting from these study results visual dramaturgy methods as inspired by Shim and Kang [12] can be used in interactive applications that deal with non-linear, interactive dramaturgy and emotion in influencing or perceptive ways.…”

Adaptive Art – A Shape Language Driven Approach to Communicate Dramaturgy and Mood

“…They are found not only in the content manifestation of bodies in space, but also for example in the frame composition as such which is a key principle of filmmaking as described by van Sijll [2] and others. Some research was done by Seif and Zupko [3,4] and by Olivier, Ha and Christie [5] on how different aspects of that area could be applied to gaming and interactive media. While they focus a lot on light and camera work, we present a scenario in which, at runtime, the shapes of objects adapt to dramaturgical values.…”