* Add transforms for ACEScct and enabling/disabling color grading in sample
* Add saturation and contrast adjustments
* Rename ACES to ACES_LEGACY and introduce ACES
ACES_LEGACY is ACES with a brightness boost to match our old
tone mapping operator.
* Add new color grading feature: shadows/mid-tones/highlights
This feature can be used to color correct specific tonal ranges.
The tonal zones can be precisely controlled.
* Add the ability to set a ColorGrading LUT per View
In this change, material_sandbox allows to change the tone mapping
operator at runtime.
* Add Mathematica notebook used to explore white balance
The implementation is meant to reproduce the temperature/tint sliders
founds in Adobe Lightroom. The temperature can be offset from 2,000K
to 50,000K using a slider between -100 and +100 (-1.0 to 1.0 in our
API). The range of tint was modelled after the range used for the
temperature.
* Fix various issues
- A refactoring wrongly remamed the color grading pass
- Setting a View's ColorGrading to null selects the
default color grading options
* Implement white balance in ColorGrading
* Prep work for proper color grading
* Bring back local colorGrading bool to drive that pass
* Fix formatting issue
* Add missing case for the color grading pass
* Fix formatting issues
* Formatting issues
Emissive was previously defined in exposure compensation stops, which
was confusing to many. It is now a value in nits, with the alpha
channel controlling how much the camera exposure affects the emissive.
At 0, the emissive value is just added to the final pixel color, at
1 the emissive value is multiplied by the exposure just like with
regular lights.
The intensity of the emissive property can be computed from an
exposure value (EV) easily with the following formula:
emissive.rgb = emissive.rgb * pow(2.0, EV - 3.0);
This formula is available as Exposure::luminance(float) already
in Filament.
- handle heightFalloff=0 (i.e. fog doesn't depend on height) correctly,
previously, a divide-by-zero on the cpu side would get in the way.
The fix is to clamp heightFalloff to a small-enough value, and to
make sure that this is handled correctly in the shader.
- default fog distance is 0 instead of 1m
- inScatteringSize parameter should be allowed to be large in samples
* Add support for screen-space contact shadows
This CL adds support and always enables it.
toggles and setting in the next CL (same PR).
* Plumb settings for screen-space contact shadows
screen-space contact shadows is handled like a shadow option,
parameters (including on/off) are set in the LightManager, using
the existing ShadowOptions API.
Additionally there is a per-renderable toggle.
Both toggles are off by default.
* Allow contact shadows when shadowing is auto-disabled
Shadowing can be auto-disabled when for instance there are no
shadow casters in the scene. We still allow contact shadows in
that case.
This would allow for instance, to make the vegetation on a terrain
not shadow-casting, and still get some shadowing there by using
contact shadows instead.
* apply micro-shadowing after contact shadows
also, don't compute contact shadows when we know we're fully shadowed.
* Add ground shadow option to gltf_viewer
The shadow is always positioned at the bottom of the loaded object's
bounding box to ground it perfectly.
* Remove unused include
With this PR screen-space refraction is functional.
Caveats:
The blur passes for supporting rough refractive materials is quite
heavy and increases with the resolution.
SSR uses a gaussian approximation for the brdf and therefore doesn’t
match perfectly cubemap-based refraction and IBL.
The use of MSAA with screen-space effects, while working, is going
to incur a large cost, especially on tilers.
Replace with forward declarations if needed and includes in .cpp that
now need them.
The idea here is to have our headers have the least amount of impact as
possible on our clients (e.g. compilation time).
If spherical harmonics are not specified in IndirectLight (i.e.
omitted entirely), we instead use the roughness==1 LOD in the shader.
This produce much better results with absolute HDR environment, and
generally works better more often.
This is now the preferred solution.
For cases where spherical harmonicas are better or preferred, they
can simply be supplied as before.
- we add an 'intensity' parameter that allows to control the strength
of the AO effect. This is useful for aesthetic reasons.
- the default intensity is now 2x that of before this change, which
makes the intensity parameter match AO papers this implementation
is inspired of.
- bias is now z-dependent, which reduces some self shadowing wrt the
depth.
This replaces the previous "curvature to roughness" method. Both are related
and rely on the screen space variance of geometric normals but this new
solution offers more control (the screen space variance and the clamping
threshold can be controlled).
