Frostbite empowers games like Battlefield: Hardline and Dragon Age Inquisition, and at E3 2015, EA showed off a suite of upcoming titles that’ll run on engine. From first-person shooters in a galaxy far, far away, to racing and sports titles much closer to home, Frostbite is shaping the future of gaming.
Here’s a glimpse of what Frostbite is bringing to you in the coming months.
Star Wars Battlefront
Mirror’s Edge Catalyst
Need for Speed
Plants vs Zombies Garden Warfare 2
The Frostbite team is really excited for the upcoming lineup of titles running the engine, and we can’t wait to show you more!
Rendering convincing participating media for real time applications, e.g. games, has always been a difficult problem. Particles are often used as a fast approximation for local effects such as dust behind cars or explosions. Additionally, large scale participating media such as depth fog are usually achieved with simple post-process techniques. It is difficult to have all these elements efficiently interacting with each other according to the lights in the scene.
The authors propose a way to unify these different volumetric representations using physically based parameters: a cascaded volume representing extinction, voxelization method to project particles into that extinction volume, a simple volumetric shadow map that can then be used to cast shadow from any light, according to every volumetric element in the scene, and finally a solution to render the final participating media.
The presented set of techniques and optimizations form the physically based volumetric rendering framework that will be used for all games powered by Frostbite in the future.
Note: Prefer viewing the PowerPoint slides with proper videos & animations over the embedded slides above!
Frostbite is not only the heart of the Battlefield games on PC and console – it’s also pushing technical boundaries on mobile. Kristoffer Benjaminsson, Product Owner for Mobile at Frostbite, tells you about the team’s greatest mobile challenge yet – getting parts of Battlefield 4 running on iOS.
Frostbite is known for being cutting edge. Everything from rendering to destruction to the scale of our worlds is constantly pushing the boundaries for video games. Highly detailed and dynamic environments are key pillars to any Frostbite game – and mobile is no difference. Whatever you can do on console should be doable on mobile as well!
The Frostbite engine has already explored mobile gaming with the Battlefield 4 Commander App, and at the Apple WWDC event earlier this year we showcased a Plants vs. Zombies: Garden Warfare tech demo running on an iPad Air. 1.3 million triangles showing up on screen simultaneously showed what the engine was capable of.
The next step? We wanted to get parts of Battlefield 4 running on iOS.
It has been quite a challenge. To handle dynamic features such as destruction or moving light sources, most things in the Frostbite engine happen in realtime. This puts extra demand on performance to be able to deliver large, highly detailed worlds with superb visual quality. We were making great progress feature-wise, but hardware and software limitations forced us to either scale down the number of objects and their complexity to retain visual fidelity, or accept lower visual fidelity to cope with a larger number of objects.
This all changed when Apple introduced Metal, their new low-level graphics API, which allowed us to make full use of the hardware. Together with the latest range of hardware, Metal has created possibilities previously out of reach and for the first time we can include both high visual fidelity and a large number of objects.
So to see exactly how far we could take the engine on mobile we set ourselves up for a real challenge: getting selected parts of the Battlefield 4 – truly a visually demanding game – running on iOS! I want to stress that this has been a tech demo to test the engine capabilities, and nothing else.
There is still much to do, but we’re very happy with the results so far. It’s a great feeling porting a system, get it running, and discover that there’s actually performance left. Even though we have much room for performance improvements on our end, we’re pleasantly surprised of the performance we’re getting from the hardware.
We’ll wait for future posts to dig into more details about this, but we are ready to share some screenshots of our work in progress. We hope you find them as exciting as we do.
Until next time!
Product Owner Mobile, Frostbite Stockholm
This talk will go through and give an overview of what some of the major challenges are with the advanced real-time rendering pipelines in modern game engines and discuss what potential next steps and potential solutions & ideas to improve on it, both from a software development and hardware perspective to help future developments. Key themes covered include scalability, reducing complexity and trying to take steps towards a more unified rendering pipeline.
The following is a guest blog post written by Jacques Lebrun, Technical Director at Bioware working on Dragon Age Inquisition. As time goes by, we will try to bring you more input from the developers behind the Frostbite engine, but also from all the teams using it to create great games.
As I write this, the Dragon Age team is only a couple of months away from putting the finishing touches on Inquisition, so it’s appropriate to look back at the long and arduous journey of getting to this point. Shortly after the launch of Dragon Age II, with a new generation of gaming on the horizon, we knew we needed to stretch our ambition and deliver a game well beyond anything BioWare had done before, which meant a major shift in technology and in the way we develop our games.
We started with an independent evaluation of engine technologies. We looked at an upgrade to our own Eclipse engine, at third-party game engines, and at game engines developed within EA, including DICE’s Frostbite. After a three-month evaluation, we chose Frostbite as our preferred technology for BioWare’s next generation of titles. There was no corporate mandate; this was decided unanimously within our studio. The timing was perfect because the Frostbite team was already making plans to break out into an independent engine team.
Many other teams in EA were coming to the same conclusions. We were suddenly part of a growing community of developers able to share ideas, share code, and collaborate on common interests. This will open up all kinds of opportunities for BioWare since we’ve traditionally developed our games in a vacuum. (Until now, every BioWare title has made their own technology assessments, which has prevented us from collaborating on improvements.)
Frostbite gives us best-of-class visuals, far more advanced than anything seen in a BioWare title. We typically focus our technology efforts on improving storytelling and gameplay, so pairing up with a team obsessed with physically accurate rendering was a great fit. We were also impressed by Frostbite’s capabilities for creating massive environments, with powerful terrain generation tools and flexible streaming options.
Frostbite is also highly scalable, letting games optimize quality settings to suit the capabilities of a wide range of hardware. We faced the significant challenge of developing a game that would target the old and new generations of game consoles. We wanted to develop Inquisition for the new consoles first and foremost, and the scalability of the engine let us get as much as we could out of the previous generation while still providing a gameplay experience on par with the new generation’s offerings.
While Frostbite solved one set of problems for us, we were facing with a completely different set in building a story-focused RPG in the engine. It was initially designed for shooters, and we identified a number of additions required to support an RPG.
BioWare games are known for developing its characters and story through cinematics and interactive dialogue. We’ve spent years developing a powerful suite of tools for writing and scripting conversations into a cinematic experience that interacts with a complex plot structure, while feeding into the pipeline for voice-over recording and localization. Many of these tools wouldn’t integrate with the Frostbite tool chain, so we rewrote them for the new framework. It was a massive undertaking we wanted to do only once for all of our future games. Accordingly, we collaborated with the Frostbite animation team to develop engine improvements that would support rapid creation of cinematic content. We also worked with the teams for the next Mass Effect game and the unannounced IP to incorporate the cinematic authoring tools into the workflows for conversation scripting and localization.
Another major undertaking was creating a next-generation RPG combat system. We created new workflows in the Frostbite toolset for visualizing animations with visual effects, sound effects, and gameplay scripts. This visual workflow has allowed our designers to create hundreds of unique spells and abilities along with a wide variety of interesting and challenging enemies. The dragons that you’ll encounter emphasize the complexity that we can now get from our combat systems. These apex predators showcase targetable limbs and a component system that lets designers reconfigure each dragon to take on a unique set of behaviors.
The Frostbite engine is designed to let game teams make modular extensions that other games can then use. Collaborating on common modules means that we could do the tedious work once and leverage it in our future titles. Cinematics and combat are only a fraction of the many additions we needed to make to the engine. If you look at the Venn diagram of everything you put into a fantasy RPG that isn’t in a modern shooter, the list is daunting: character statistics, character customization, melee combat, magical effects, items, crafting. Even a concept as simple as pausing the game during combat represented a difficult problem that hadn’t been solved in Frostbite yet.
From the get-go, we didn’t want to simply take the engine and branch off a BioWare version. Instead, we wanted to work with the Frostbite team to keep up with the latest improvements and, at the same time, contribute the improvements we were making. That’s easier said than done while the engine is undergoing major enhancements and we’re making major additions. We needed the discipline to resist design patterns developed from our previous titles and the rigor to carefully review every modification to engine code. Keeping our code in sync with the Frostbite development code required a massive effort, but it paid off in the critical updates we received from the Frostbite team: the majority of the next-generation platform code, continuous improvements to the toolset, and hundreds of cool features, such as terrain that can have caves built into it.
Dragon Age: Inquisition represents BioWare’s first next-generation RPG on the Frostbite engine, and the games we’re developing now will only build on this foundation. Several years ago, we placed a few big bets on moving to the Frostbite engine and changing our development methodologies. It’s exciting to be able to finally soon lay down our hand.
Technical Director, Dragon Age: Inquisition
Talk by Tomasz Stachowiak at SIGGRAPH 2015 in the Advances in Real-time Rendering course.
We present an algorithm for efficiently calculating glossy screenspace reflections in real-time. Our technique robustly handles spatially-varying material properties, such as roughness and normals. It faithfully reproduces specular elongation of microfacet BRDFs, and seamlessly blends with other physically-based rendering techniques. To accomplish this, we use Monte Carlo importance sampling, and reduce the resultant noise using specialized spatial and temporal filtering methods. In order to reduce the number of rays needed, we ray-trace at half-resolution, and reuse the rays shot from adjacent pixels in Monte Carlo integration. We can resolve to full resolution using several rays per pixel, but pay a small fraction of the ray-tracing.
Developed by EA Tiburon, EA PGA TOUR will be the first sports game to take advantage of the unique technology from Frostbite 3, letting you enjoy golf just the way you like it!
By using Frostbite 3, the developers of EA PGA TOUR are able to create complex, lifelike environments in order to recreate some of the authentic courses for you to play on. These fully rendered environments will let you explore every inch of the varied courses offered, from TPC Sawgrass to fantasy courses such as the Paracel Storm map from Battlefield 4.
Delving further into the actual gameplay side, EA SPORTS PGA TOUR will enable you to stream an entire 18-hole course at once.
Welcome to golf without limits!
One of this year’s E3 showcase had a special taste for us at Frostbite: it was Bioware showcasing Dragon Age Inquisition, the very first RPG game powered by Frostbite, but also talking about the upcoming Mass Effect game and a mysterious new IP, both developed with the Frostbite Engine.
Bioware’s legacy has always been about giving choices to the players which have an impact on the universe around them. Impact on the world is a key element of Dragon Age: Inquisition that is reinforced by Frostbite providing not only fluid combat, better animations, but also allowing for more interactions between the character and the environment around them, increasing the amount of possibilities offered for the player.
Speaking of possibilities, during E3 we did get receive confirmation that the Mass Effect team is taking into account the players request for new planets to explore, new characters, and so many more new experiences for players to enjoy and immerse themselves in. We did catch a glimpse of a Krogan in their conceptual prototype, and it will be interesting to see what’s next for them. On top of that, a new IP was also mentioned to be in the works over in Bioware Edmonton and was mentioned to be aiming for contemporary storytelling. Oh yes.
Master thesis by Andreas Tarandi (KTH Royal Institute of Technology) done at DICE.
We implement, combine, and evaluate the work by H.Schäfer (2012) in ”Multiresolution attributes for tessellated meshes” and C.Yuksel (2010) in ”Mesh Colors” for storing surface data such as colors, normals and displacement directly on the surface for 3D geometry in a topology-independent way.
We provide implementation details missing in the original papers and propose and evaluate possible optimizations to the techniques, with a focus on usage in real-time applications.
The technique of storing data directly on the surface provides advantages over the commonly used texture mapping such as the eliminations of discontinuities and seams. The proposed technique is also useful on dynamic topologies where texture mapping is difficult.
We also evaluate the performance of these techniques in a real time application where they perform resonably well, but not better than traditional techniques, leading to the conclusion that they are only suitable to use in situation where traditional techniques fall short.
Picking up from where we left off from last night, there was quite the line up of Frostbite titles showed during the EA Conference. Amongst those are two highly anticipated titles that are currently in production over at DICE here in Stockholm. Two titles that, if you happened to miss yesterday, we will gladly show and tell you more about them.
Let’s begin by discussing a long awaited game in the works that all walks of life have been waiting for after being absent from the public eye for almost 10 years now. That’s right, we’re talking about Star Wars Battlefront! As you might able to tell by the trailer below, the team at DICE are giving this game their all. ‘’We at DICE have the opportunity of a lifetime to make the Star Wars game that as fans, we’ve all dreamt of playing.’’ Is a quote from the Design Director of the game, Niklas Fegraeus that in a single sentence says so much about the passion and dedication that is going in to making this an unforgettable game. Just the intricate early in-engine footage shown during E3 blew so many of us away shows that what was shown during E3 has yet to even scratch the surface of what the Battlefront team at DICE has in store for us. As far as dates go, what we do know is that more is to be revealed during Spring of 2015. Until then, may the force be with them.
Next up we tid bits of news regarding the second half the bundle of awesome DICE has to offer. 7 years ago we were introduced to Mirror’s Edge, but more importantly the main protagonist: Faith. We were introduced to one of the most fluid and graceful implementations of parkour so far in the gaming world, the physics alone were impressive enough. But even past that, the stunning yet minimalistic design of the game was a topic adored by many. Now, during the EA Conference at E3 2014, our faith was restored once again when more news regarding the next installment of the game arose (awful pun intended). This news entails the actual team behind Mirror’s Edge discussing the new possibilities, as well as a deeper understanding of who Faith is and her purpose behind her actions. All of these topics are touched upon while also providing a run through a conceptual prototype of the new game. When we will receive more news about the game is currently unclear, but until then you can always check out the official Mirror’s Edge page to keep yourselves up to date.
This is just a taste of what is to come with these upcoming titles, and as we are with every game using the Frostbite engine, we too look forward to seeing more and eventually covering more around the tech behind these epic creations. How do the physics behind the hair particles on Faiths head during movement work? How are the teams using the Frostbite engine to amplify the power of the force in various environments? Stay tuned for more cool stuff.
Master thesis by Johan Beck-Norén (Linköping University) done at DICE in Frostbite.
We investigate the mesh colors method for per-face parameterization for texture-mapping of geometry, implemented in the game engine Frostbite 3, for the purpose of evaluating the method compared to traditional texture-mapping in a real-time application.
Traditional UV-mapping often causes discontinuities which commonly results in visible seams in the end results. If any change is done to the vertex positions or the topology, a remapping of the UV-map has the be done. Mesh colors aims to avoid these problems by skipping the transformation to 2D space as in UV-mapping, and associating color samples directly with the geometry of a mesh.
The implementation was done in Frostbite 3 in C++ and HLSL shader code, and rendered with the DirectX graphics API. The results show that mesh colors is a viable alternative in a real-time renderer. Though not as fast as regular UV-mapped textures due to lack of hardware accelerated filtering operations, mesh colors is a realistic alternative for special cases where regular texture-mapping would be cumbersome to work with or produce sub-par results.
Possible areas of future research are efficient data structures suitable to handle data inseration dynamically, compression of mesh colors data, and mesh colors in the context of mesh LOD generation.
It’s been a great first day of E3, and we have seen lots of titles to look forward to!
We’re proud to be working together with Visceral games to bring you Battlefield Hardline. From grappling hooks to zip lines, Battlefield Hardline is guaranteed to bring the fight to a whole other level by enabling players to immerse themselves in a different type of battlefield.
By giving players the opportunity to choose between living a life of crime or lawfulness, we are thrilled to keep you guys up to date as more details surface regarding this exciting new title, and hope to see you all during the closed beta which you can find here.
Stay tuned for more information on these awesome future titles powered by Frostbite!
Course presentation at SIGGRAPH 2014 by Charles de Rousiers & Sébastian Lagarde about transitioning Frostbite to physically-based rendering.
Over the course of the past few months, we have been re-evaluating our entire approach to image quality in Frostbite. Our overall goal has been to achieve a coherent and cinematic look while simplifying high-quality content creation for our game teams and artists. Moving to physically based rendering (PBR) was the natural way for us to achieve this.
This talk & detailed course notes covers what we’ve learnt during this R&D process and transition that we’ve gone through together with multiple game teams within Electronic Arts – all the different concepts & steps needed to transition a production game engine to PBR, including details that are often bypassed in the literature.