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New Vulkan Extensions for Mobile: Maintenance Extensions


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The Samsung Developers team works with many companies in the mobile and gaming ecosystems. We're excited to support our partner, Arm, as they bring timely and relevant content to developers looking to build games and high-performance experiences. This Vulkan Extensions series will help developers get the most out of the new and game-changing Vulkan extensions on Samsung mobile devices.

Android is enabling a host of useful new Vulkan extensions for mobile. These new extensions are set to improve the state of graphics APIs for modern applications, enabling new use cases and changing how developers can design graphics renderers going forward. In particular, in Android R, there has been a whole set of Vulkan extensions added. These extensions will be available across various Android smartphones, including the Samsung Galaxy S21, which was recently launched on 14 January. Existing Samsung Galaxy S models, such as the Samsung Galaxy S20, also allow upgrades to Android R.

One of these new Vulkan extensions for mobile are ‘maintenance extensions’. These plug up various holes in the Vulkan specification. Mostly, a lack of these extensions can be worked around, but it is annoying for application developers to do so. Having these extensions means less friction overall, which is a very good thing.

VK_KHR_uniform_buffer_standard_layout

This extension is a quiet one, but I still feel it has a lot of impact since it removes a fundamental restriction for applications. Getting to data efficiently is the lifeblood of GPU programming.

One thing I have seen trip up developers again and again are the antiquated rules for how uniform buffers (UBO) are laid out in memory. For whatever reason, UBOs have been stuck with annoying alignment rules which go back to ancient times, yet SSBOs have nice alignment rules. Why?

As an example, let us assume we want to send an array of floats to a shader:

#version 450

layout(set = 0, binding = 0, std140) uniform UBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

If you are not used to graphics API idiosyncrasies, this looks fine, but danger lurks around the corner. Any array in a UBO will be padded out to have 16 byte elements, meaning the only way to have a tightly packed UBO is to use vec4 arrays. Somehow, legacy hardware was hardwired for this assumption. SSBOs never had this problem.

std140 vs std430

You might have run into these weird layout qualifiers in GLSL. They reference some rather old GLSL versions. std140 refers to GLSL 1.40, which was introduced in OpenGL 3.1, and it was the version uniform buffers were introduced to OpenGL.

The std140 packing rules define how variables are packed into buffers. The main quirks of std140 are:

  • Vectors are aligned to their size. Notoriously, a vec3 is aligned to 16 bytes, which have tripped up countless programmers over the years, but this is just the nature of vectors in general. Hardware tends to like aligned access to vectors.
  • Array element sizes are aligned to 16 bytes. This one makes it very wasteful to use arrays of float and vec2.

The array quirk mirrors HLSL’s cbuffer. After all, both OpenGL and D3D mapped to the same hardware. Essentially, the assumption I am making here is that hardware was only able to load 16 bytes at a time with 16 byte alignment. To extract scalars, you could always do that after the load.

std430 was introduced in GLSL 4.30 in OpenGL 4.3 and was designed to be used with SSBOs. std430 removed the array element alignment rule, which means that with std430, we can express this efficiently:

#version 450

layout(set = 0, binding = 0, std430) readonly buffer SSBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

Basically, the new extension enables std430 layout for use with UBOs as well.

#version 450
#extension GL_EXT_scalar_block_layout : require

layout(set = 0, binding = 0, std430) uniform UBO
{
    float values[1024];
};

layout(location = 0) out vec4 FragColor;
layout(location = 0) flat in int vIndex;

void main()
{
    FragColor = vec4(values[vIndex]);
}

Why not just use SSBOs then?

On some architectures, yes, that is a valid workaround. However, some architectures also have special caches which are designed specifically for UBOs. Improving memory layouts of UBOs is still valuable.

GL_EXT_scalar_block_layout?

The Vulkan GLSL extension which supports std430 UBOs goes a little further and supports the scalar layout as well. This is a completely relaxed layout scheme where alignment requirements are essentially gone, however, that requires a different Vulkan extension to work.

VK_KHR_separate_depth_stencil_layouts

Depth-stencil images are weird in general. It is natural to think of these two aspects as separate images. However, the reality is that some GPU architectures like to pack depth and stencil together into one image, especially with D24S8 formats.

Expressing image layouts with depth and stencil formats have therefore been somewhat awkward in Vulkan, especially if you want to make one aspect read-only and keep another aspect as read/write, for example.

In Vulkan 1.0, both depth and stencil needed to be in the same image layout. This means that you are either doing read-only depth-stencil or read/write depth-stencil. This was quickly identified as not being good enough for certain use cases. There are valid use cases where depth is read-only while stencil is read/write in deferred rendering for example.

Eventually, VK_KHR_maintenance2 added support for some mixed image layouts which lets us express read-only depth, read/write stencil, and vice versa:

VK_IMAGE_LAYOUT_DEPTH_ATTACHMENT_STENCIL_READ_ONLY_OPTIMAL_KHR

VK_IMAGE_LAYOUT_DEPTH_READ_ONLY_STENCIL_ATTACHMENT_OPTIMAL_KHR

Usually, this is good enough, but there is a significant caveat to this approach, which is that depth and stencil layouts must be specified and transitioned together. This means that it is not possible to render to a depth aspect, while transitioning the stencil aspect concurrently, since changing image layouts is a write operation. If the engine is not designed to couple depths and stencil together, it causes a lot of friction in implementation.

What this extension does is completely decouple image layouts for depth and stencil aspects and makes it possible to modify the depth or stencil image layouts in complete isolation. For example:

    VkImageMemoryBarrier barrier = {…};

Normally, we would have to specify both DEPTH and STENCIL aspects for depth-stencil images. Now, we can completely ignore what stencil is doing and only modify depth image layout.

    barrier.subresourceRange.aspectMask = VK_IMAGE_ASPECT_DEPTH_BIT;
    barrier.oldLayout = VK_IMAGE_LAYOUT_DEPTH_ATTACHMENT_OPTIMAL_KHR;
    barrier.newLayout = VK_IMAGE_LAYOUT_DEPTH_READ_ONLY_OPTIMAL;

Similarly, in VK_KHR_create_renderpass2, there are extension structures where you can specify stencil layouts separately from the depth layout if you wish.

typedef struct VkAttachmentDescriptionStencilLayout {
    VkStructureType sType;
    void*          pNext;
    VkImageLayout      stencilInitialLayout;
    VkImageLayout      stencilFinalLayout;
} VkAttachmentDescriptionStencilLayout;

typedef struct VkAttachmentReferenceStencilLayout {
    VkStructureType sType;
    void*          pNext;
    VkImageLayout  stencilLayout;
} VkAttachmentReferenceStencilLayout;

Like image memory barriers, it is possible to express layout transitions that only occur in either depth or stencil attachments.

VK_KHR_spirv_1_4

Each core Vulkan version has targeted a specific SPIR-V version. For Vulkan 1.0, we have SPIR-V 1.0. For Vulkan 1.1, we have SPIR-V 1.3, and for Vulkan 1.2 we have SPIR-V 1.5.

SPIR-V 1.4 was an interim version between Vulkan 1.1 and 1.2 which added some nice features, but the usefulness of this extension is largely meant for developers who like to target SPIR-V themselves. Developers using GLSL or HLSL might not find much use for this extension. Some highlights of SPIR-V 1.4 that I think are worth mentioning are listed here.

OpSelect between composite objects

OpSelect before SPIR-V 1.4 only supports selecting between scalars and vectors. SPIR-V 1.4 thus allows you to express this kind of code easily with a simple OpSelect:

    MyStruct s = cond ? MyStruct(1, 2, 3) : MyStruct(4, 5, 6);

OpCopyLogical

There are scenarios in high-level languages where you load a struct from a buffer and then place it in a function variable. If you have ever looked at SPIR-V code for this kind of scenario, glslang would copy each element of the struct one by one, which generates bloated SPIR-V code. This is because the struct type that lives in a buffer and a struct type for a function variable are not necessarily the same. Offset decorations are the major culprits here. Copying objects in SPIR-V only works when the types are exactly the same, not “almost the same”. OpCopyLogical fixes this problem where you can copy objects of types which are the same except for decorations.

Advanced loop control hints

SPIR-V 1.4 adds ways to express partial unrolling, how many iterations are expected, and such advanced hints, which can help a driver optimize better using knowledge it otherwise would not have. There is no way to express these in normal shading languages yet, but it does not seem difficult to add support for it.

Explicit look-up tables

Describing look-up tables was a bit awkward in SPIR-V. The natural way to do this in SPIR-V 1.3 is to declare an array with private storage scope with an initializer, access chain into it and load from it. However, there was never a way to express that a global variable is const, which relies on compilers to be a little smart. As a case study, let us see what glslang emits when using Vulkan 1.1 target environment:

#version 450

layout(location = 0) out float FragColor;
layout(location = 0) flat in int vIndex;

const float LUT[4] = float[](1.0, 2.0, 3.0, 4.0);

void main()
{
    FragColor = LUT[vIndex];
}

%float_1 = OpConstant %float 1
%float_2 = OpConstant %float 2
%float_3 = OpConstant %float 3
%float_4 = OpConstant %float 4
%16 = OpConstantComposite %_arr_float_uint_4 %float_1 %float_2 %float_3 %float_4

This is super weird code, but it is easy for compilers to promote to a LUT. If the compiler can prove there are no readers before the OpStore, and only one OpStore can statically happen, compiler can optimize it to const LUT.

%indexable = OpVariable %_ptr_Function__arr_float_uint_4 Function
OpStore %indexable %16
%24 = OpAccessChain %_ptr_Function_float %indexable %index
%25 = OpLoad %float %24

In SPIR-V 1.4, the NonWritable decoration can also be used with Private and Function storage variables. Add an initializer, and we get something that looks far more reasonable and obvious:

OpDecorate %indexable NonWritable
%16 = OpConstantComposite %_arr_float_uint_4 %float_1 %float_2 %float_3 %float_4

// Initialize an array with a constant expression and mark it as NonWritable.
// This is trivially a LUT.
%indexable = OpVariable %_ptr_Function__arr_float_uint_4 Function %16
%24 = OpAccessChain %_ptr_Function_float %indexable %index
%25 = OpLoad %float %24

VK_KHR_shader_subgroup_extended_types

This extension fixes a hole in Vulkan subgroup support. When subgroups were introduced, it was only possible to use subgroup operations on 32-bit values. However, with 16-bit arithmetic getting more popular, especially float16, there are use cases where you would want to use subgroup operations on smaller arithmetic types, making this kind of shader possible:

#version 450

// subgroupAdd
#extension GL_KHR_shader_subgroup_arithmetic : require

For FP16 arithmetic:

#extension GL_EXT_shader_explicit_arithmetic_types_float16 : require

For subgroup operations on FP16:

#extension GL_EXT_shader_subgroup_extended_types_float16 : require

layout(location = 0) out f16vec4 FragColor;
layout(location = 0) in f16vec4 vColor;

void main()
{
    FragColor = subgroupAdd(vColor);
}

VK_KHR_imageless_framebuffer

In most engines, using VkFramebuffer objects can feel a bit awkward, since most engine abstractions are based around some idea of:

MyRenderAPI::BindRenderTargets(colorAttachments, depthStencilAttachment)

In this model, VkFramebuffer objects introduce a lot of friction, since engines would almost certainly end up with either one of two strategies:

  • Create a VkFramebuffer for every render pass, free later.
  • Maintain a hashmap of all observed attachment and render-pass combinations.

Unfortunately, there are some … reasons why VkFramebuffer exists in the first place, but VK_KHR_imageless_framebuffer at least removes the largest pain point. This is needing to know the exact VkImageViews that we are going to use before we actually start rendering.

With imageless frame buffers, we can defer the exact VkImageViews we are going to render into until vkCmdBeginRenderPass. However, the frame buffer itself still needs to know about certain metadata ahead of time. Some drivers need to know this information unfortunately.

First, we set the VK_FRAMEBUFFER_CREATE_IMAGELESS_BIT flag in vkCreateFramebuffer. This removes the need to set pAttachments. Instead, we specify some parameters for each attachment. We pass down this structure as a pNext:

typedef struct VkFramebufferAttachmentsCreateInfo {
    VkStructureType                        sType;
    const void*                                pNext;
    uint32_t                                   attachmentImageInfoCount;
    const VkFramebufferAttachmentImageInfo*    pAttachmentImageInfos;
} VkFramebufferAttachmentsCreateInfo;

typedef struct VkFramebufferAttachmentImageInfo {
    VkStructureType   sType;
    const void*       pNext;
    VkImageCreateFlags flags;
    VkImageUsageFlags usage;
    uint32_t          width;
    uint32_t          height;
    uint32_t          layerCount;
    uint32_t          viewFormatCount;
    const VkFormat*   pViewFormats;
} VkFramebufferAttachmentImageInfo;

Essentially, we need to specify almost everything that vkCreateImage would specify. The only thing we avoid is having to know the exact image views we need to use.

To begin a render pass which uses imageless frame buffer, we pass down this struct in vkCmdBeginRenderPass instead:

typedef struct VkRenderPassAttachmentBeginInfo {
    VkStructureType   sType;
    const void*       pNext;
    uint32_t          attachmentCount;
    const VkImageView* pAttachments;
} VkRenderPassAttachmentBeginInfo;

Conclusions

Overall, I feel like this extension does not really solve the problem of having to know images up front. Knowing the resolution, usage flags of all attachments up front is basically like having to know the image views up front either way. If your engine knows all this information up-front, just not the exact image views, then this extension can be useful. The number of unique VkFramebuffer objects will likely go down as well, but otherwise, there is in my personal view room to greatly improve things.

In the next blog on the new Vulkan extensions, I explore 'legacy support extensions.'

Follow Up

Thanks to Hans-Kristian Arntzen and the team at Arm for bringing this great content to the Samsung Developers community. We hope you find this information about Vulkan extensions useful for developing your upcoming mobile games.

The Samsung Developers site has many resources for developers looking to build for and integrate with Samsung devices and services. Stay in touch with the latest news by creating a free account or by subscribing to our monthly newsletter. Visit the Marketing Resources page for information on promoting and distributing your apps and games. Finally, our developer forum is an excellent way to stay up-to-date on all things related to the Galaxy ecosystem.

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      Q: Traditional art galleries allow viewers to experience paintings in person and fully appreciate the texture, brushstrokes and scale. How do you think digital formats impact the way people engage with art?
       
      I’ve painted more than 3,000 oil pieces in my Open Impressionism style — and truthfully, I struggled to find ways to share my work with fans and collectors. Although I have several coffee table books and many paper prints, the best way to share my collections is through digital formats.
       
      For digital formats, we typically look for compositions that work well on a long, horizontal layout. To obtain such high-resolution images of my paintings, we use a large scanner in my gallery that takes up the entire room. The scanner photographs the paintings from above using five different light angles, so we can control the amount of shadow that is visible in the final images. This variation gives the illusion of three dimensions, so you can almost reach out and feel the brushstrokes.
       
      In addition, we map my oil paintings to produce high-resolution, three-dimensional textured prints. They’re so lifelike that most people can’t tell the difference between the replica and the original.
       
      My dream is to create an immersive Erin Hanson experience where people can step right into my paintings and be surrounded by moving pictures of my artwork. In a digital environment like this, visitors can appreciate a larger quantity of art than the dozen or so pieces they might see hanging in a gallery or festival setting.
       
       
      Q: Do you see technology playing an increasingly significant role in the art world? If so, how do you anticipate this trend to unfold in the years to come?
       
      I am sure technical innovators will continue to find new ways to create and share artwork. For example, bigger The Frame TVs would allow art lovers to display even larger works of art on their walls. I know my pieces are influencing AI models and millions of digital paintings. While I’m not sure where this trend will lead, I do know that original art created by humans will always be the basis of any technology in the future. A computer may be able to alter and combine different paintings to create a new piece, but the original images were all created by individual artists who viewed the world in their own distinct ways.
       
       
      Q: Can you tell us about any upcoming projects?
       
      This year, I am traveling to France to follow in the footsteps of the impressionists and visit all the famously painted locations in Paris, following the Seine to Arles and Le Havre in southern France. I will be visiting the windowsill where Van Gogh sat and painted “Starry Night” and exploring the gardens that Monet so famously painted. This has been a dream of mine for several years, and it is finally coming true. Afterward, I plan to create a collection of French-inspired works in homage to the 150th anniversary of the first impressionist exhibition.
       
      The works from this collection, “Reflections of the Seine,” will be released in September. You can read more here: erinhanson.com/Event/ReflectionsoftheSeine.
      View the full article
    • By Samsung Newsroom
      Samsung Art Store is today welcoming the arrival of 12 of Jean-Michel Basquiat’s most striking works, in partnership with Artestar and The Estate of Jean-Michel Basquiat. This is the first time the iconic artist’s work has been officially released for digital display, and joins works from leading museums, collections and artists around the world available from Samsung Art Store.
       
      ▲ Pez Dispenser (1984), one of Basquiat’s most recognizable artworks, displayed on The Frame
       
      Samsung Art Store is a subscription service that enables owners of The Frame to continuously transform any space with over 2,500 pieces of digital art, including works from the most renowned artists, museums and industry tastemakers.
       
      Jean-Michel Basquiat was a beacon of innovation and social commentary, with his work not only featured in galleries and museums worldwide, but also igniting a powerful conversation on cultural complexities. Artestar and The Estate of Jean-Michel Basquiat continue to honor his prolific legacy by showcasing his art and its underlying messages, striving to engage with audiences worldwide to ensure his visionary work remains accessible and influential.
       
      “The ability to bring Basquiat’s iconic artwork directly into your home with Samsung Art Store is an exciting opportunity for global audiences to experience his work in a new and powerful way,” said David Stark, Founder and President of Artestar, the international brand licensing and consulting agency representing the Estate of Jean-Michel Basquiat. “Basquiat’s work continues to spark important conversations and encourages us to look at our worlds differently. This partnership on The Frame’s digital canvas allows his pieces to be experienced in anyone’s home, helping to share his work and honor his legacy.”
       
      The new collection features unique pieces from throughout Basquiat’s career. Among the works available to Art Store subscribers are Bird on Money (1982), a stunning tribute to Charlie Parker. Also included is Boy and Dog in a Johnnypump (1982), King Zulu (1986), which offers a large color block of blue in his more refined late style; and a dual portrait with Andy Warhol, Dos Cabezas (1982), which like many of his works pulls inspiration from his Puerto Rican heritage.
       
      This body of work was curated specifically for Samsung Art Store, adapted for a 16×9 format and were chosen based on their ability to be reproduced accurately, in keeping with Basquiat’s legacy.
       
      Jean-Michel Basquiat emerged as one of the most significant artists of the 20th century, his work rich with themes of heritage, identity and the human experience. Beginning his career as a graffiti artist in New York City under the pseudonym SAMO, Basquiat later transitioned to canvas to express his unique blend of symbolic, abstract and figurative styles. His art, characterized by intense colors, dynamic figures and cryptic texts, delves into topics such as societal power structures, racial inequality and the quest for identity. Basquiat’s impact was monumental, leaving a lasting legacy in the art world that explores social issues through his interest in pop culture and his own deeply refined neo-expressionist style.
       
      ▲ Mitchell Crew (1983), shown on The Frame via Samsung Art Store
       
      Since its founding in 2019, Samsung Art Store has been committed to bringing art from the world’s most renowned museums and important artists into homes across the world. The addition of the Basquiat collection significantly broadens the range of contemporary American artists whose works are now globally accessible for display.
       
      “Jean-Michel Basquiat’s work stands completely alone in the history of contemporary art, which is why it was essential that some of his most brilliant pieces were represented in Samsung Art Store,” said Daria Greene, Global Curator at Samsung Art Store. “Basquiat’s preeminent place in our culture and unique message to the world is as necessary today as it ever was, and we’re so proud to help share that message and expand on his legacy.”
       
      Basquiat’s work has been celebrated with numerous retrospectives and is held in prestigious collections globally, including those of the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Whitney Museum of American Art, New York; The Menil Collection, Houston; and the Museum of Contemporary Art, Los Angeles. His work continues to inspire new generations, embodying a bridge between street art and high art and challenging societal norms.
       
       
      Explore Thousands of Works From Artists and Institutions Around the World
      Alongside these new Basquiat pieces, viewers can explore thousands of additional artworks from masters such as Dalí and Van Gogh in Samsung Art Store,1 available for instant display on The Frame. Additionally, in Samsung’s Art Store you will find work from major global institutions including The Metropolitan Museum of Art, Tate Collection, the National Palace Museum in Taiwan, the Prado Museum in Madrid and the Belvedere Museum in Vienna.
       
      Samsung also recently refreshed The Frame line-up, with the new series now available for purchase. The 2024 line-up offers Pantone Art Validated Colors, so that every piece of art appears even more realistic, plus new Samsung Art Store – Streams, a complimentary set of regularly curated artworks sampled from Samsung Art Store. The Frame is even more energy efficient when in Art Mode, automatically adjusting the refresh rate so you can enjoy high-quality art, while conserving energy.2
       
       
      ABOUT JEAN-MICHEL BASQUIAT
      Jean-Michel Basquiat is one of the best-known artists of his generation and is widely considered one of the most important artists of the 20th century. His career in art spanned the last 1970s through the 1980s until his death in 1988 at the age of 27. Basquiat’s works are edgy and raw, and through a bold sense of color and composition, he maintains a fine balance between seemingly contradictory forces such as control and spontaneity, menace and wit, urban imagery, and primitivism.
       
      ABOUT ARTESTAR
      This partnership was done in collaboration with Artestar, a global licensing agency and creative consultancy representing high-profile artists, photographers, designers and creatives. Artestar connects brands with artists — curating and managing some of the world’s most recognizable creative collaborations. Learn more at artestar.com.
       
       
      1 A single user subscription for Art Store costs $4.99/month or $49.90/year.
      2 This feature applies to the 55’’ display and above.
      View the full article





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