Orkuncakilkaya
b12228c662
Everything before this made the air a COLOUR APPLIED TO A SURFACE. Nothing put light in the space between surfaces, so the basin had no shafts, no pooled mist and no rays off a ridge at any hour, whatever was done to the fog. A half-resolution march from the camera to the depth buffer, asking the same shadow the rest of the frame asks - the cascades, the baked height-field shadow and the cloud mask - so a shaft is cast by the actual trees and the actual ridge and a passing cloud dims its own rays. Henyey-Greenstein scattering, because real air throws light forward. Density and a separate ground-hugging mist layer ride the sun's elevation, so mist forms in the cold at either end of the day and burns off by mid-morning. Composited with the bloom pyramid's own tent upsample under ONE/ONE - what was wanted and already there - and before bloom, so a shaft blooms. Into post_hdr, not post_scene: post_scene is what the water refracts and shafts added there would sit under the lake. The tuning that mattered was the sky term, which is added at every step: at 0.06 it accumulated into a flat grey wash lifting lit and shadowed air equally, which is the contrast a shaft is made of, and the valley came out one pale sheet. At 0.012 the sun dominates and there is light rather than fog. I cut the density and mist three times before the frame looked like air instead of paint. R3D_NOVOL=1 for an A/B; Off in Settings skips the pass whole. 400 frames at 07:00: GL 7.1 -> 7.3 s, VK 7.2 -> 7.4 s. Backends agree to 0.08/255. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
1.9 KiB
bump: minor type: feat Light you can see: sun shafts, and mist that lies in the valley.
Everything before this made the air a COLOUR APPLIED TO A SURFACE. Nothing put light in the space between surfaces, so a basin at dawn had no shafts, no pooled mist and no rays off a ridge at any hour, however the fog was tuned.
A half-resolution march from the camera to the depth buffer, asking the SAME shadow the rest of the frame asks - the cascades, the baked height-field shadow and the cloud mask - so a shaft is cast by the actual trees and the actual ridge, and a passing cloud dims its own rays. Henyey-Greenstein scattering, because real air throws light forward, which is why a low sun fills a valley when you look into it and does almost nothing when you look away. Density and a separate ground-hugging MIST layer ride the sun's elevation from daylight.ludic, so the mist forms in the cold at either end of the day and burns off by mid-morning.
It composites into the HDR scene with the bloom pyramid's own tent upsample under ONE/ONE blending - which is exactly what was wanted and already existed - and before bloom, so a shaft blooms like the bright thing in the air it is. Into post_hdr and not post_scene: post_scene is the copy the water refracts, and shafts added there would sit under the lake.
The tuning that mattered was the SKY term. It is added at every step, so at 0.06 it accumulated into a flat grey wash that lifted lit and shadowed air by the same amount - which is the contrast a shaft is made of. The valley came out as one pale sheet with no rays in it. At 0.012 the sun's term dominates and there is light to see rather than fog.
R3D_NOVOL=1 switches it off for an A/B. Off in Settings skips the pass whole rather than marching once, because a feature is off when it costs nothing.
Measured, 400 frames at 07:00: OpenGL 7.1 -> 7.3 s, Vulkan 7.2 -> 7.4 s. Backends agree to 0.08/255.