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