Orkuncakilkaya
18d23ca20d
layer_flutter's mask was the vertex's height alone, so on a ten metre aspen every part of the trunk above 1.2 m trembled with the leaves and the bole read as cloth. What separates a leaf from a bole is distance from the model's centre line, not height; the mask is radial now, and small plants keep the old one because a flower is all leaf. NEAR_FADE dithers tree foliage out inside arm's length of the camera, in the depth prepass, so the lit pass never sees those pixels and the equal-depth optimisation is untouched. gl_Position.w is the view depth, so it costs one varying and no uniform. Blades, cards and flowers are excluded - they live at the player's feet - and the shadow pass keeps every leaf. daylight_hand takes a reach in metres. The falloff was an inverse square windowed between 26 and 6 with both numbers hard-coded: two per cent of its own near field at ten metres, so a torch lit your boots. It is a gentle power out to the reach now. Measured in Maroon Lake, twice per side: the crown mask moves 1.7% of an aspen frame and nothing at all in the meadow under it; the near fade moves 7.1% of a first-person frame at a conifer and 0% where there is no foliage in the lens; the torch's reach lifts the lit ground 20 to 45% and leaves the sky bit-identical. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2.2 KiB
bump: minor type: feat Three things a crown and a hand light were getting wrong.
An aspen's trunk quaked with its leaves. layer_flutter's mask was the vertex's
HEIGHT alone — anything more than 1.2 m up trembled — so on a ten metre aspen the whole
bole moved, and a tree that is supposed to shiver read as a column of cloth. What
separates a leaf from a bole is not height, it is distance from the model's own centre
line: the leaves are out at the edge of the crown and the trunk is on the axis. The mask
is radial now, and small plants keep the old one, because a flower is all leaf.
Foliage in the camera's face. A third-person camera walks into a crown and the branch
between it and the body is an opaque wall a metre from the lens; in first person it is the
whole screen. #define NEAR_FADE dithers tree foliage out inside arm's length of the
camera — in the depth PREPASS, so the lit pass never sees those pixels either and the
equal-depth optimisation is untouched. gl_Position.w is the view depth for a perspective
projection, so it costs one varying and no uniform. Blades, cards and flowers are left
alone on purpose: they live at the player's feet, they are always that close, and fading
them opens a hole in the meadow. Nor is the BOLE ever faded: a trunk and its needle cards
are one mesh drawn by one program, so the first cut dissolved the trunk into a dither
pattern as you walked up to it - a solid tree you can see through reads as a fault, where
a branch getting out of your way reads as the camera being polite. The mask is the same
signal the quake uses. The shadow pass keeps every leaf, or a tree would stop shading the
ground it stands on as you walked up to it.
A hand light had the reach of a candle, whatever it was meant to be. handLight's
falloff was an inverse square windowed off between 26 and 6 metres, with both numbers
hard-coded: two per cent of its own near field by ten metres out, so carrying a torch at
night lit your boots and nothing else. daylight_hand takes a reach in metres now and
the falloff is a gentle power out to it — about nine tenths at a metre, half at half the
reach, a tenth at nine tenths of it, nothing past it. A pool of light with a gradient in
it rather than a hotspot with a cliff.