# Objective
The Custom Material GLSL shader example has an old version of the camera
view uniform structure.
This PR updates the example GLSL custom material shader to have the
latest structure.
## Solution
I was running into issues using the camera world position (it wasn't
changing) and someone in discord pointed me to the source of truth.
`crates/bevy_render/src/view/view.wgsl`
After using this latest uniform structure in my project I'm now able to
work with the camera position in my shader.
## Testing
I tested this change by running the example with:
```bash
cargo run --features shader_format_glsl --example shader_material_glsl
```
<img width="1392" alt="image"
src="https://github.com/user-attachments/assets/39fc82ec-ff3b-4864-ad73-05f3a25db483">
---------
Co-authored-by: Carter Anderson <mcanders1@gmail.com>
# Objective
Fixes#15828
## Solution
Ran the example to generate `load_scene_example-new.scn.ron` and
replaced `load_scene_example.scn.ron` with the contents.
## Testing
`cargo run --example scene`
# Objective
Enhance the [custom skinned mesh
example](https://bevyengine.org/examples/animation/custom-skinned-mesh/)
to show some variety and clarify what the transform does to the mesh.
## Solution
https://github.com/user-attachments/assets/c919db74-6e77-4f33-ba43-0f40a88042b3
Add variety and clarity with the following changes:
- vary transform changes,
- use a UV texture,
- and show transform changes via gizmos.
(Maybe it'd be worth turning on wireframe rendering to show what happens
to the mesh. I think it'd be nice visually but might make the code a
little noisy.)
## Testing
I exercised it on my x86 macOS computer. It'd be good to have it
validated on Windows, Linux, and WASM.
---
## Showcase
- Custom skinned mesh example varies the transforms changes and uses a
UV test texture.
*Additive blending* is an ubiquitous feature in game engines that allows
animations to be concatenated instead of blended. The canonical use case
is to allow a character to hold a weapon while performing arbitrary
poses. For example, if you had a character that needed to be able to
walk or run while attacking with a weapon, the typical workflow is to
have an additive blend node that combines walking and running animation
clips with an animation clip of one of the limbs performing a weapon
attack animation.
This commit adds support for additive blending to Bevy. It builds on top
of the flexible infrastructure in #15589 and introduces a new type of
node, the *add node*. Like blend nodes, add nodes combine the animations
of their children according to their weights. Unlike blend nodes,
however, add nodes don't normalize the weights to 1.0.
The `animation_masks` example has been overhauled to demonstrate the use
of additive blending in combination with masks. There are now controls
to choose an animation clip for every limb of the fox individually.
This patch also fixes a bug whereby masks were incorrectly accumulated
with `insert()` during the graph threading phase, which could cause
corruption of computed masks in some cases.
Note that the `clip` field has been replaced with an `AnimationNodeType`
enum, which breaks `animgraph.ron` files. The `Fox.animgraph.ron` asset
has been updated to the new format.
Closes#14395.
## Showcase
https://github.com/user-attachments/assets/52dfe05f-fdb3-477a-9462-ec150f93df33
## Migration Guide
* The `animgraph.ron` format has changed to accommodate the new
*additive blending* feature. You'll need to change `clip` fields to
instances of the new `AnimationNodeType` enum.
# Objective
Adds a new `Readback` component to request for readback of a
`Handle<Image>` or `Handle<ShaderStorageBuffer>` to the CPU in a future
frame.
## Solution
We track the `Readback` component and allocate a target buffer to write
the gpu resource into and map it back asynchronously, which then fires a
trigger on the entity in the main world. This proccess is asynchronous,
and generally takes a few frames.
## Showcase
```rust
let mut buffer = ShaderStorageBuffer::from(vec![0u32; 16]);
buffer.buffer_description.usage |= BufferUsages::COPY_SRC;
let buffer = buffers.add(buffer);
commands
.spawn(Readback::buffer(buffer.clone()))
.observe(|trigger: Trigger<ReadbackComplete>| {
info!("Buffer data from previous frame {:?}", trigger.event());
});
```
---------
Co-authored-by: Kristoffer Søholm <k.soeholm@gmail.com>
Co-authored-by: IceSentry <IceSentry@users.noreply.github.com>
# Objective
- fixes https://github.com/bevyengine/bevy/issues/13473
## Solution
- When a single mesh is assigned multiple materials, it is divided into
several primitive nodes, with each primitive assigned a unique material.
Presently, these primitives are named using the format Mesh.index, which
complicates querying. To improve this, we can assign a specific name to
each primitive based on the material’s name, since each primitive
corresponds to one material exclusively.
## Testing
- I have included a simple example which shows how to query a material
and mesh part based on the new name component.
## Changelog
- adds `GltfMaterialName` component to the mesh entity of the gltf
primitive node.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
[*Percentage-closer soft shadows*] are a technique from 2004 that allow
shadows to become blurrier farther from the objects that cast them. It
works by introducing a *blocker search* step that runs before the normal
shadow map sampling. The blocker search step detects the difference
between the depth of the fragment being rasterized and the depth of the
nearby samples in the depth buffer. Larger depth differences result in a
larger penumbra and therefore a blurrier shadow.
To enable PCSS, fill in the `soft_shadow_size` value in
`DirectionalLight`, `PointLight`, or `SpotLight`, as appropriate. This
shadow size value represents the size of the light and should be tuned
as appropriate for your scene. Higher values result in a wider penumbra
(i.e. blurrier shadows).
When using PCSS, temporal shadow maps
(`ShadowFilteringMethod::Temporal`) are recommended. If you don't use
`ShadowFilteringMethod::Temporal` and instead use
`ShadowFilteringMethod::Gaussian`, Bevy will use the same technique as
`Temporal`, but the result won't vary over time. This produces a rather
noisy result. Doing better would likely require downsampling the shadow
map, which would be complex and slower (and would require PR #13003 to
land first).
In addition to PCSS, this commit makes the near Z plane for the shadow
map configurable on a per-light basis. Previously, it had been hardcoded
to 0.1 meters. This change was necessary to make the point light shadow
map in the example look reasonable, as otherwise the shadows appeared
far too aliased.
A new example, `pcss`, has been added. It demonstrates the
percentage-closer soft shadow technique with directional lights, point
lights, spot lights, non-temporal operation, and temporal operation. The
assets are my original work.
Both temporal and non-temporal shadows are rather noisy in the example,
and, as mentioned before, this is unavoidable without downsampling the
depth buffer, which we can't do yet. Note also that the shadows don't
look particularly great for point lights; the example simply isn't an
ideal scene for them. Nevertheless, I felt that the benefits of the
ability to do a side-by-side comparison of directional and point lights
outweighed the unsightliness of the point light shadows in that example,
so I kept the point light feature in.
Fixes#3631.
[*Percentage-closer soft shadows*]:
https://developer.download.nvidia.com/shaderlibrary/docs/shadow_PCSS.pdf
## Changelog
### Added
* Percentage-closer soft shadows (PCSS) are now supported, allowing
shadows to become blurrier as they stretch away from objects. To use
them, set the `soft_shadow_size` field in `DirectionalLight`,
`PointLight`, or `SpotLight`, as applicable.
* The near Z value for shadow maps is now customizable via the
`shadow_map_near_z` field in `DirectionalLight`, `PointLight`, and
`SpotLight`.
## Screenshots
PCSS off:
PCSS on:
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Co-authored-by: Torstein Grindvik <52322338+torsteingrindvik@users.noreply.github.com>
# Objective
There aren't any examples of how to draw a ui material with borders.
## Solution
Add border rendering to the `ui_material` example's shader.
## Showcase
<img width="395" alt="bordermat"
src="https://github.com/user-attachments/assets/109c59c1-f54b-4542-96f7-acff63f5057f">
---------
Co-authored-by: charlotte <charlotte.c.mcelwain@gmail.com>
# Objective
Fixes#15032
## Solution
Reimplement support for the `flip_x` and `flip_y` fields.
This doesn't flip the border geometry, I'm not really sure whether that
is desirable or not.
Also fixes a bug that was causing the side and center slices to tile
incorrectly.
### Testing
```
cargo run --example ui_texture_slice_flip_and_tile
```
## Showcase
<img width="787" alt="nearest"
src="https://github.com/user-attachments/assets/bc044bae-1748-42ba-92b5-0500c87264f6">
With tiling need to use nearest filtering to avoid bleeding between the
slices.
---------
Co-authored-by: Jan Hohenheim <jan@hohenheim.ch>
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
This commit adds support for *masks* to the animation graph. A mask is a
set of animation targets (bones) that neither a node nor its descendants
are allowed to animate. Animation targets can be assigned one or more
*mask group*s, which are specific to a single graph. If a node masks out
any mask group that an animation target belongs to, animation curves for
that target will be ignored during evaluation.
The canonical use case for masks is to support characters holding
objects. Typically, character animations will contain hand animations in
the case that the character's hand is empty. (For example, running
animations may close a character's fingers into a fist.) However, when
the character is holding an object, the animation must be altered so
that the hand grips the object.
Bevy currently has no convenient way to handle this. The only workaround
that I can see is to have entirely separate animation clips for
characters' hands and bodies and keep them in sync, which is burdensome
and doesn't match artists' expectations from other engines, which all
effectively have support for masks. However, with mask group support,
this task is simple. We assign each hand to a mask group and parent all
character animations to a node. When a character grasps an object in
hand, we position the fingers as appropriate and then enable the mask
group for that hand in that node. This allows the character's animations
to run normally, while the object remains correctly attached to the
hand.
Note that even with this PR, we won't have support for running separate
animations for a character's hand and the rest of the character. This is
because we're missing additive blending: there's no way to combine the
two masked animations together properly. I intend that to be a follow-up
PR.
The major engines all have support for masks, though the workflow varies
from engine to engine:
* Unity has support for masks [essentially as implemented here], though
with layers instead of a tree. However, when using the Mecanim
("Humanoid") feature, precise control over bones is lost in favor of
predefined muscle groups.
* Unreal has a feature named [*layered blend per bone*]. This allows for
separate blend weights for different bones, effectively achieving masks.
I believe that the combination of blend nodes and masks make Bevy's
animation graph as expressible as that of Unreal, once we have support
for additive blending, though you may have to use more nodes than you
would in Unreal. Moreover, separating out the concepts of "blend weight"
and "which bones this node applies to" seems like a cleaner design than
what Unreal has.
* Godot's `AnimationTree` has the notion of [*blend filters*], which are
essentially the same as masks as implemented in this PR.
Additionally, this patch fixes a bug with weight evaluation whereby
weights weren't properly propagated down to grandchildren, because the
weight evaluation for a node only checked its parent's weight, not its
evaluated weight. I considered submitting this as a separate PR, but
given that this PR refactors that code entirely to support masks and
weights under a unified "evaluated node" concept, I simply included the
fix here.
A new example, `animation_masks`, has been added. It demonstrates how to
toggle masks on and off for specific portions of a skin.
This is part of #14395, but I'm going to defer closing that issue until
we have additive blending.
[essentially as implemented here]:
https://docs.unity3d.com/560/Documentation/Manual/class-AvatarMask.html
[*layered blend per bone*]:
https://dev.epicgames.com/documentation/en-us/unreal-engine/using-layered-animations-in-unreal-engine
[*blend filters*]:
https://docs.godotengine.org/en/stable/tutorials/animation/animation_tree.html
## Migration Guide
* The serialized format of animation graphs has changed with the
addition of animation masks. To upgrade animation graph RON files, add
`mask` and `mask_groups` fields as appropriate. (They can be safely set
to zero.)
Adds a new `Handle<Storage>` asset type that can be used as a render
asset, particularly for use with `AsBindGroup`.
Closes: #13658
# Objective
Allow users to create storage buffers in the main world without having
to access the `RenderDevice`. While this resource is technically
available, it's bad form to use in the main world and requires mixing
rendering details with main world code. Additionally, this makes storage
buffers easier to use with `AsBindGroup`, particularly in the following
scenarios:
- Sharing the same buffers between a compute stage and material shader.
We already have examples of this for storage textures (see game of life
example) and these changes allow a similar pattern to be used with
storage buffers.
- Preventing repeated gpu upload (see the previous easier to use `Vec`
`AsBindGroup` option).
- Allow initializing custom materials using `Default`. Previously, the
lack of a `Default` implement for the raw `wgpu::Buffer` type made
implementing a `AsBindGroup + Default` bound difficult in the presence
of buffers.
## Solution
Adds a new `Handle<Storage>` asset type that is prepared into a
`GpuStorageBuffer` render asset. This asset can either be initialized
with a `Vec<u8>` of properly aligned data or with a size hint. Users can
modify the underlying `wgpu::BufferDescriptor` to provide additional
usage flags.
## Migration Guide
The `AsBindGroup` `storage` attribute has been modified to reference the
new `Handle<Storage>` asset instead. Usages of Vec` should be converted
into assets instead.
---------
Co-authored-by: IceSentry <IceSentry@users.noreply.github.com>
# Objective
- The goal of this PR is to make it possible to move the density texture
of a `FogVolume` over time in order to create dynamic effects like fog
moving in the wind.
- You could theoretically move the `FogVolume` itself, but this is not
ideal, because the `FogVolume` AABB would eventually leave the area. If
you want an area to remain foggy while also creating the impression that
the fog is moving in the wind, a scrolling density texture is a better
solution.
## Solution
- The PR adds a `density_texture_offset` field to the `FogVolume`
component. This offset is in the UVW coordinates of the density texture,
meaning that a value of `(0.5, 0.0, 0.0)` moves the 3d texture by half
along the x-axis.
- Values above 1.0 are wrapped, a 1.5 offset is the same as a 0.5
offset. This makes it so that the density texture wraps around on the
other side, meaning that a repeating 3d noise texture can seamlessly
scroll forever. It also makes it easy to move the density texture over
time by simply increasing the offset every frame.
## Testing
- A `scrolling_fog` example has been added to demonstrate the feature.
It uses the offset to scroll a repeating 3d noise density texture to
create the impression of fog moving in the wind.
- The camera is looking at a pillar with the sun peaking behind it. This
highlights the effect the changing density has on the volumetric
lighting interactions.
- Temporal anti-aliasing combined with the `jitter` option of
`VolumetricFogSettings` is used to improve the quality of the effect.
---
## Showcase
https://github.com/user-attachments/assets/3aa50ebd-771c-4c99-ab5d-255c0c3be1a8
# Objective
- A lot of mid-level rendering apis are hard to figure out because they
don't have any examples
- SpecializedMeshPipeline can be really useful in some cases when you
want more flexibility than a Material without having to go to low level
apis.
## Solution
- Add an example showing how to make a custom `SpecializedMeshPipeline`.
## Testing
- Did you test these changes? If so, how?
- Are there any parts that need more testing?
- How can other people (reviewers) test your changes? Is there anything
specific they need to know?
- If relevant, what platforms did you test these changes on, and are
there any important ones you can't test?
---
## Showcase
The examples just spawns 3 triangles in a triangle pattern.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Currently, volumetric fog is global and affects the entire scene
uniformly. This is inadequate for many use cases, such as local smoke
effects. To address this problem, this commit introduces *fog volumes*,
which are axis-aligned bounding boxes (AABBs) that specify fog
parameters inside their boundaries. Such volumes can also specify a
*density texture*, a 3D texture of voxels that specifies the density of
the fog at each point.
To create a fog volume, add a `FogVolume` component to an entity (which
is included in the new `FogVolumeBundle` convenience bundle). Like light
probes, a fog volume is conceptually a 1×1×1 cube centered on the
origin; a transform can be used to position and resize this region. Many
of the fields on the existing `VolumetricFogSettings` have migrated to
the new `FogVolume` component. `VolumetricFogSettings` on a camera is
still needed to enable volumetric fog. However, by itself
`VolumetricFogSettings` is no longer sufficient to enable volumetric
fog; a `FogVolume` must be present. Applications that wish to retain the
old global fog behavior can simply surround the scene with a large fog
volume.
By way of implementation, this commit converts the volumetric fog shader
from a full-screen shader to one applied to a mesh. The strategy is
different depending on whether the camera is inside or outside the fog
volume. If the camera is inside the fog volume, the mesh is simply a
plane scaled to the viewport, effectively falling back to a full-screen
pass. If the camera is outside the fog volume, the mesh is a cube
transformed to coincide with the boundaries of the fog volume's AABB.
Importantly, in the latter case, only the front faces of the cuboid are
rendered. Instead of treating the boundaries of the fog as a sphere
centered on the camera position, as we did prior to this patch, we
raytrace the far planes of the AABB to determine the portion of each ray
contained within the fog volume. We then raymarch in shadow map space as
usual. If a density texture is present, we modulate the fixed density
value with the trilinearly-interpolated value from that texture.
Furthermore, this patch introduces optional jitter to fog volumes,
intended for use with TAA. This modifies the position of the ray from
frame to frame using interleaved gradient noise, in order to reduce
aliasing artifacts. Many implementations of volumetric fog in games use
this technique. Note that this patch makes no attempt to write a motion
vector; this is because when a view ray intersects multiple voxels
there's no single direction of motion. Consequently, fog volumes can
have ghosting artifacts, but because fog is "ghostly" by its nature,
these artifacts are less objectionable than they would be for opaque
objects.
A new example, `fog_volumes`, has been added. It demonstrates a single
fog volume containing a voxelized representation of the Stanford bunny.
The existing `volumetric_fog` example has been updated to use the new
local volumetrics API.
## Changelog
### Added
* Local `FogVolume`s are now supported, to localize fog to specific
regions. They can optionally have 3D density voxel textures for precise
control over the distribution of the fog.
### Changed
* `VolumetricFogSettings` on a camera no longer enables volumetric fog;
instead, it simply enables the processing of `FogVolume`s within the
scene.
## Migration Guide
* A `FogVolume` is now necessary in order to enable volumetric fog, in
addition to `VolumetricFogSettings` on the camera. Existing uses of
volumetric fog can be migrated by placing a large `FogVolume`
surrounding the scene.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Co-authored-by: François Mockers <mockersf@gmail.com>
# Objective
- Some people have asked how to do image masking in UI. It's pretty easy
to do using a `UiMaterial` assuming you know how to write shaders.
## Solution
- Update the ui_material example to show the bevy banner slowly being
revealed like a progress bar
## Notes
I'm not entirely sure if we want this or not. For people that would be
comfortable to use this for their own games they would probably have
already figured out how to do it and for people that aren't familiar
with shaders this isn't really enough to make an actual slider/progress
bar.
---------
Co-authored-by: François Mockers <francois.mockers@vleue.com>
As reported in #14004, many third-party plugins, such as Hanabi, enqueue
entities that don't have meshes into render phases. However, the
introduction of indirect mode added a dependency on mesh-specific data,
breaking this workflow. This is because GPU preprocessing requires that
the render phases manage indirect draw parameters, which don't apply to
objects that aren't meshes. The existing code skips over binned entities
that don't have indirect draw parameters, which causes the rendering to
be skipped for such objects.
To support this workflow, this commit adds a new field,
`non_mesh_items`, to `BinnedRenderPhase`. This field contains a simple
list of (bin key, entity) pairs. After drawing batchable and unbatchable
objects, the non-mesh items are drawn one after another. Bevy itself
doesn't enqueue any items into this list; it exists solely for the
application and/or plugins to use.
Additionally, this commit switches the asset ID in the standard bin keys
to be an untyped asset ID rather than that of a mesh. This allows more
flexibility, allowing bins to be keyed off any type of asset.
This patch adds a new example, `custom_phase_item`, which simultaneously
serves to demonstrate how to use this new feature and to act as a
regression test so this doesn't break again.
Fixes#14004.
## Changelog
### Added
* `BinnedRenderPhase` now contains a `non_mesh_items` field for plugins
to add custom items to.
# Objective
The documentation for
[`Transform::align`](https://docs.rs/bevy/0.14.0-rc.3/bevy/transform/components/struct.Transform.html#method.align)
mentions a hypothetical ship model. Showing this concretely would be a
nice improvement over using a cube.
> For example, if a spaceship model has its nose pointing in the
X-direction in its own local coordinates and its dorsal fin pointing in
the Y-direction, then align(Dir3::X, v, Dir3::Y, w) will make the
spaceship’s nose point in the direction of v, while the dorsal fin does
its best to point in the direction w.
## Solution
This commit makes the ship less hypothetical by using a kenney ship
model in the example.
The local axes for the ship needed to change to accommodate the gltf, so
the hypothetical in the documentation and this example's local axes
don't necessarily match. Docs use `align(Dir3::X, v, Dir3::Y, w)` and
this example now uses `(Vec3::NEG_Z, *first, Vec3::X, *second)`.
I manually modified the `craft_speederD` Node's `translation` to be
0,0,0 in the gltf file, which means it now differs from kenney's
original model.
Original ship from: https://kenney.nl/assets/space-kit
## Testing
```
cargo run --example align
```
This commit implements support for physically-based anisotropy in Bevy's
`StandardMaterial`, following the specification for the
[`KHR_materials_anisotropy`] glTF extension.
[*Anisotropy*] (not to be confused with [anisotropic filtering]) is a
PBR feature that allows roughness to vary along the tangent and
bitangent directions of a mesh. In effect, this causes the specular
light to stretch out into lines instead of a round lobe. This is useful
for modeling brushed metal, hair, and similar surfaces. Support for
anisotropy is a common feature in major game and graphics engines;
Unity, Unreal, Godot, three.js, and Blender all support it to varying
degrees.
Two new parameters have been added to `StandardMaterial`:
`anisotropy_strength` and `anisotropy_rotation`. Anisotropy strength,
which ranges from 0 to 1, represents how much the roughness differs
between the tangent and the bitangent of the mesh. In effect, it
controls how stretched the specular highlight is. Anisotropy rotation
allows the roughness direction to differ from the tangent of the model.
In addition to these two fixed parameters, an *anisotropy texture* can
be supplied. Such a texture should be a 3-channel RGB texture, where the
red and green values specify a direction vector using the same
conventions as a normal map ([0, 1] color values map to [-1, 1] vector
values), and the the blue value represents the strength. This matches
the format that the [`KHR_materials_anisotropy`] specification requires.
Such textures should be loaded as linear and not sRGB. Note that this
texture does consume one additional texture binding in the standard
material shader.
The glTF loader has been updated to properly parse the
`KHR_materials_anisotropy` extension.
A new example, `anisotropy`, has been added. This example loads and
displays the barn lamp example from the [`glTF-Sample-Assets`]
repository. Note that the textures were rather large, so I shrunk them
down and converted them to a mixture of JPEG and KTX2 format, in the
interests of saving space in the Bevy repository.
[*Anisotropy*]:
https://google.github.io/filament/Filament.md.html#materialsystem/anisotropicmodel
[anisotropic filtering]:
https://en.wikipedia.org/wiki/Anisotropic_filtering
[`KHR_materials_anisotropy`]:
https://github.com/KhronosGroup/glTF/blob/main/extensions/2.0/Khronos/KHR_materials_anisotropy/README.md
[`glTF-Sample-Assets`]:
https://github.com/KhronosGroup/glTF-Sample-Assets/
## Changelog
### Added
* Physically-based anisotropy is now available for materials, which
enhances the look of surfaces such as brushed metal or hair. glTF scenes
can use the new feature with the `KHR_materials_anisotropy` extension.
## Screenshots
With anisotropy:
Without anisotropy:
# Objective
- Fixes#10909
- Fixes#8492
## Solution
- Name all matrices `x_from_y`, for example `world_from_view`.
## Testing
- I've tested most of the 3D examples. The `lighting` example
particularly should hit a lot of the changes and appears to run fine.
---
## Changelog
- Renamed matrices across the engine to follow a `y_from_x` naming,
making the space conversion more obvious.
## Migration Guide
- `Frustum`'s `from_view_projection`, `from_view_projection_custom_far`
and `from_view_projection_no_far` were renamed to
`from_clip_from_world`, `from_clip_from_world_custom_far` and
`from_clip_from_world_no_far`.
- `ComputedCameraValues::projection_matrix` was renamed to
`clip_from_view`.
- `CameraProjection::get_projection_matrix` was renamed to
`get_clip_from_view` (this affects implementations on `Projection`,
`PerspectiveProjection` and `OrthographicProjection`).
- `ViewRangefinder3d::from_view_matrix` was renamed to
`from_world_from_view`.
- `PreviousViewData`'s members were renamed to `view_from_world` and
`clip_from_world`.
- `ExtractedView`'s `projection`, `transform` and `view_projection` were
renamed to `clip_from_view`, `world_from_view` and `clip_from_world`.
- `ViewUniform`'s `view_proj`, `unjittered_view_proj`,
`inverse_view_proj`, `view`, `inverse_view`, `projection` and
`inverse_projection` were renamed to `clip_from_world`,
`unjittered_clip_from_world`, `world_from_clip`, `world_from_view`,
`view_from_world`, `clip_from_view` and `view_from_clip`.
- `GpuDirectionalCascade::view_projection` was renamed to
`clip_from_world`.
- `MeshTransforms`' `transform` and `previous_transform` were renamed to
`world_from_local` and `previous_world_from_local`.
- `MeshUniform`'s `transform`, `previous_transform`,
`inverse_transpose_model_a` and `inverse_transpose_model_b` were renamed
to `world_from_local`, `previous_world_from_local`,
`local_from_world_transpose_a` and `local_from_world_transpose_b` (the
`Mesh` type in WGSL mirrors this, however `transform` and
`previous_transform` were named `model` and `previous_model`).
- `Mesh2dTransforms::transform` was renamed to `world_from_local`.
- `Mesh2dUniform`'s `transform`, `inverse_transpose_model_a` and
`inverse_transpose_model_b` were renamed to `world_from_local`,
`local_from_world_transpose_a` and `local_from_world_transpose_b` (the
`Mesh2d` type in WGSL mirrors this).
- In WGSL, in `bevy_pbr::mesh_functions`, `get_model_matrix` and
`get_previous_model_matrix` were renamed to `get_world_from_local` and
`get_previous_world_from_local`.
- In WGSL, `bevy_sprite::mesh2d_functions::get_model_matrix` was renamed
to `get_world_from_local`.
# Objective
- fixes#4823
## Solution
As outlined in the discussion in the linked issue as the best current
solution, this PR adds specific GltfExtras for
- scenes
- meshes
- materials
- As it is , it is not a breaking change, I hesitated to rename the
current "GltfExtras" component to "PrimitiveGltfExtras", but that would
result in a breaking change and might be a bit confusing as to what
"primitive" that refers to.
## Testing
- I included a bare-bones example & asset (exported gltf file from
Blender) with gltf extras at all the relevant levels : scene, mesh,
material
---
## Changelog
- adds "SceneGltfExtras" injected at the scene level if any
- adds "MeshGltfExtras", injected at the mesh level if any
- adds "MaterialGltfExtras", injected at the mesh level if any: ie if a
mesh has a material that has gltf extras, the component will be injected
there.
This commit, a revamp of #12959, implements screen-space reflections
(SSR), which approximate real-time reflections based on raymarching
through the depth buffer and copying samples from the final rendered
frame. This patch is a relatively minimal implementation of SSR, so as
to provide a flexible base on which to customize and build in the
future. However, it's based on the production-quality [raymarching code
by Tomasz
Stachowiak](https://gist.github.com/h3r2tic/9c8356bdaefbe80b1a22ae0aaee192db).
For a general basic overview of screen-space reflections, see
[1](https://lettier.github.io/3d-game-shaders-for-beginners/screen-space-reflection.html).
The raymarching shader uses the basic algorithm of tracing forward in
large steps, refining that trace in smaller increments via binary
search, and then using the secant method. No temporal filtering or
roughness blurring, is performed at all; for this reason, SSR currently
only operates on very shiny surfaces. No acceleration via the
hierarchical Z-buffer is implemented (though note that
https://github.com/bevyengine/bevy/pull/12899 will add the
infrastructure for this). Reflections are traced at full resolution,
which is often considered slow. All of these improvements and more can
be follow-ups.
SSR is built on top of the deferred renderer and is currently only
supported in that mode. Forward screen-space reflections are possible
albeit uncommon (though e.g. *Doom Eternal* uses them); however, they
require tracing from the previous frame, which would add complexity.
This patch leaves the door open to implementing SSR in the forward
rendering path but doesn't itself have such an implementation.
Screen-space reflections aren't supported in WebGL 2, because they
require sampling from the depth buffer, which Naga can't do because of a
bug (`sampler2DShadow` is incorrectly generated instead of `sampler2D`;
this is the same reason why depth of field is disabled on that
platform).
To add screen-space reflections to a camera, use the
`ScreenSpaceReflectionsBundle` bundle or the
`ScreenSpaceReflectionsSettings` component. In addition to
`ScreenSpaceReflectionsSettings`, `DepthPrepass` and `DeferredPrepass`
must also be present for the reflections to show up. The
`ScreenSpaceReflectionsSettings` component contains several settings
that artists can tweak, and also comes with sensible defaults.
A new example, `ssr`, has been added. It's loosely based on the
[three.js ocean
sample](https://threejs.org/examples/webgl_shaders_ocean.html), but all
the assets are original. Note that the three.js demo has no screen-space
reflections and instead renders a mirror world. In contrast to #12959,
this demo tests not only a cube but also a more complex model (the
flight helmet).
## Changelog
### Added
* Screen-space reflections can be enabled for very smooth surfaces by
adding the `ScreenSpaceReflections` component to a camera. Deferred
rendering must be enabled for the reflections to appear.
This commit implements a more physically-accurate, but slower, form of
fog than the `bevy_pbr::fog` module does. Notably, this *volumetric fog*
allows for light beams from directional lights to shine through,
creating what is known as *light shafts* or *god rays*.
To add volumetric fog to a scene, add `VolumetricFogSettings` to the
camera, and add `VolumetricLight` to directional lights that you wish to
be volumetric. `VolumetricFogSettings` has numerous settings that allow
you to define the accuracy of the simulation, as well as the look of the
fog. Currently, only interaction with directional lights that have
shadow maps is supported. Note that the overhead of the effect scales
directly with the number of directional lights in use, so apply
`VolumetricLight` sparingly for the best results.
The overall algorithm, which is implemented as a postprocessing effect,
is a combination of the techniques described in [Scratchapixel] and
[this blog post]. It uses raymarching in screen space, transformed into
shadow map space for sampling and combined with physically-based
modeling of absorption and scattering. Bevy employs the widely-used
[Henyey-Greenstein phase function] to model asymmetry; this essentially
allows light shafts to fade into and out of existence as the user views
them.
Volumetric rendering is a huge subject, and I deliberately kept the
scope of this commit small. Possible follow-ups include:
1. Raymarching at a lower resolution.
2. A post-processing blur (especially useful when combined with (1)).
3. Supporting point lights and spot lights.
4. Supporting lights with no shadow maps.
5. Supporting irradiance volumes and reflection probes.
6. Voxel components that reuse the volumetric fog code to create voxel
shapes.
7. *Horizon: Zero Dawn*-style clouds.
These are all useful, but out of scope of this patch for now, to keep
things tidy and easy to review.
A new example, `volumetric_fog`, has been added to demonstrate the
effect.
## Changelog
### Added
* A new component, `VolumetricFog`, is available, to allow for a more
physically-accurate, but more resource-intensive, form of fog.
* A new component, `VolumetricLight`, can be placed on directional
lights to make them interact with `VolumetricFog`. Notably, this allows
such lights to emit light shafts/god rays.
[Scratchapixel]:
https://www.scratchapixel.com/lessons/3d-basic-rendering/volume-rendering-for-developers/intro-volume-rendering.html
[this blog post]: https://www.alexandre-pestana.com/volumetric-lights/
[Henyey-Greenstein phase function]:
https://www.pbr-book.org/4ed/Volume_Scattering/Phase_Functions#TheHenyeyndashGreensteinPhaseFunction
This commit implements the [depth of field] effect, simulating the blur
of objects out of focus of the virtual lens. Either the [hexagonal
bokeh] effect or a faster Gaussian blur may be used. In both cases, the
implementation is a simple separable two-pass convolution. This is not
the most physically-accurate real-time bokeh technique that exists;
Unreal Engine has [a more accurate implementation] of "cinematic depth
of field" from 2018. However, it's simple, and most engines provide
something similar as a fast option, often called "mobile" depth of
field.
The general approach is outlined in [a blog post from 2017]. We take
advantage of the fact that both Gaussian blurs and hexagonal bokeh blurs
are *separable*. This means that their 2D kernels can be reduced to a
small number of 1D kernels applied one after another, asymptotically
reducing the amount of work that has to be done. Gaussian blurs can be
accomplished by blurring horizontally and then vertically, while
hexagonal bokeh blurs can be done with a vertical blur plus a diagonal
blur, plus two diagonal blurs. In both cases, only two passes are
needed. Bokeh requires the first pass to have a second render target and
requires two subpasses in the second pass, which decreases its
performance relative to the Gaussian blur.
The bokeh blur is generally more aesthetically pleasing than the
Gaussian blur, as it simulates the effect of a camera more accurately.
The shape of the bokeh circles are determined by the number of blades of
the aperture. In our case, we use a hexagon, which is usually considered
specific to lower-quality cameras. (This is a downside of the fast
hexagon approach compared to the higher-quality approaches.) The blur
amount is generally specified by the [f-number], which we use to compute
the focal length from the film size and FOV. By default, we simulate
standard cinematic cameras of f/1 and [Super 35]. The developer can
customize these values as desired.
A new example has been added to demonstrate depth of field. It allows
customization of the mode (Gaussian vs. bokeh), focal distance and
f-numbers. The test scene is inspired by a [blog post on depth of field
in Unity]; however, the effect is implemented in a completely different
way from that blog post, and all the assets (textures, etc.) are
original.
Bokeh depth of field:
Gaussian depth of field:
No depth of field:
[depth of field]: https://en.wikipedia.org/wiki/Depth_of_field
[hexagonal bokeh]:
https://colinbarrebrisebois.com/2017/04/18/hexagonal-bokeh-blur-revisited/
[a more accurate implementation]:
https://epicgames.ent.box.com/s/s86j70iamxvsuu6j35pilypficznec04
[a blog post from 2017]:
https://colinbarrebrisebois.com/2017/04/18/hexagonal-bokeh-blur-revisited/
[f-number]: https://en.wikipedia.org/wiki/F-number
[Super 35]: https://en.wikipedia.org/wiki/Super_35
[blog post on depth of field in Unity]:
https://catlikecoding.com/unity/tutorials/advanced-rendering/depth-of-field/
## Changelog
### Added
* A depth of field postprocessing effect is now available, to simulate
objects being out of focus of the camera. To use it, add
`DepthOfFieldSettings` to an entity containing a `Camera3d` component.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Co-authored-by: Bram Buurlage <brambuurlage@gmail.com>
Clearcoat is a separate material layer that represents a thin
translucent layer of a material. Examples include (from the [Filament
spec]) car paint, soda cans, and lacquered wood. This commit implements
support for clearcoat following the Filament and Khronos specifications,
marking the beginnings of support for multiple PBR layers in Bevy.
The [`KHR_materials_clearcoat`] specification describes the clearcoat
support in glTF. In Blender, applying a clearcoat to the Principled BSDF
node causes the clearcoat settings to be exported via this extension. As
of this commit, Bevy parses and reads the extension data when present in
glTF. Note that the `gltf` crate has no support for
`KHR_materials_clearcoat`; this patch therefore implements the JSON
semantics manually.
Clearcoat is integrated with `StandardMaterial`, but the code is behind
a series of `#ifdef`s that only activate when clearcoat is present.
Additionally, the `pbr_feature_layer_material_textures` Cargo feature
must be active in order to enable support for clearcoat factor maps,
clearcoat roughness maps, and clearcoat normal maps. This approach
mirrors the same pattern used by the existing transmission feature and
exists to avoid running out of texture bindings on platforms like WebGL
and WebGPU. Note that constant clearcoat factors and roughness values
*are* supported in the browser; only the relatively-less-common maps are
disabled on those platforms.
This patch refactors the lighting code in `StandardMaterial`
significantly in order to better support multiple layers in a natural
way. That code was due for a refactor in any case, so this is a nice
improvement.
A new demo, `clearcoat`, has been added. It's based on [the
corresponding three.js demo], but all the assets (aside from the skybox
and environment map) are my original work.
[Filament spec]:
https://google.github.io/filament/Filament.html#materialsystem/clearcoatmodel
[`KHR_materials_clearcoat`]:
https://github.com/KhronosGroup/glTF/blob/main/extensions/2.0/Khronos/KHR_materials_clearcoat/README.md
[the corresponding three.js demo]:
https://threejs.org/examples/webgl_materials_physical_clearcoat.html
## Changelog
### Added
* `StandardMaterial` now supports a clearcoat layer, which represents a
thin translucent layer over an underlying material.
* The glTF loader now supports the `KHR_materials_clearcoat` extension,
representing materials with clearcoat layers.
## Migration Guide
* The lighting functions in the `pbr_lighting` WGSL module now have
clearcoat parameters, if `STANDARD_MATERIAL_CLEARCOAT` is defined.
* The `R` reflection vector parameter has been removed from some
lighting functions, as it was unused.
# Objective
`bevy_pbr/utils.wgsl` shader file contains mathematical constants and
color conversion functions. Both of those should be accessible without
enabling `bevy_pbr` feature. For example, tonemapping can be done in non
pbr scenario, and it uses color conversion functions.
Fixes#13207
## Solution
* Move mathematical constants (such as PI, E) from
`bevy_pbr/src/render/utils.wgsl` into `bevy_render/src/maths.wgsl`
* Move color conversion functions from `bevy_pbr/src/render/utils.wgsl`
into new file `bevy_render/src/color_operations.wgsl`
## Testing
Ran multiple examples, checked they are working:
* tonemapping
* color_grading
* 3d_scene
* animated_material
* deferred_rendering
* 3d_shapes
* fog
* irradiance_volumes
* meshlet
* parallax_mapping
* pbr
* reflection_probes
* shadow_biases
* 2d_gizmos
* light_gizmos
---
## Changelog
* Moved mathematical constants (such as PI, E) from
`bevy_pbr/src/render/utils.wgsl` into `bevy_render/src/maths.wgsl`
* Moved color conversion functions from `bevy_pbr/src/render/utils.wgsl`
into new file `bevy_render/src/color_operations.wgsl`
## Migration Guide
In user's shader code replace usage of mathematical constants from
`bevy_pbr::utils` to the usage of the same constants from
`bevy_render::maths`.
# Objective
- Add auto exposure/eye adaptation to the bevy render pipeline.
- Support features that users might expect from other engines:
- Metering masks
- Compensation curves
- Smooth exposure transitions
This PR is based on an implementation I already built for a personal
project before https://github.com/bevyengine/bevy/pull/8809 was
submitted, so I wasn't able to adopt that PR in the proper way. I've
still drawn inspiration from it, so @fintelia should be credited as
well.
## Solution
An auto exposure compute shader builds a 64 bin histogram of the scene's
luminance, and then adjusts the exposure based on that histogram. Using
a histogram allows the system to ignore outliers like shadows and
specular highlights, and it allows to give more weight to certain areas
based on a mask.
---
## Changelog
- Added: AutoExposure plugin that allows to adjust a camera's exposure
based on it's scene's luminance.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Implement visibility ranges, also known as hierarchical levels of detail
(HLODs).
This commit introduces a new component, `VisibilityRange`, which allows
developers to specify camera distances in which meshes are to be shown
and hidden. Hiding meshes happens early in the rendering pipeline, so
this feature can be used for level of detail optimization. Additionally,
this feature is properly evaluated per-view, so different views can show
different levels of detail.
This feature differs from proper mesh LODs, which can be implemented
later. Engines generally implement true mesh LODs later in the pipeline;
they're typically more efficient than HLODs with GPU-driven rendering.
However, mesh LODs are more limited than HLODs, because they require the
lower levels of detail to be meshes with the same vertex layout and
shader (and perhaps the same material) as the original mesh. Games often
want to use objects other than meshes to replace distant models, such as
*octahedral imposters* or *billboard imposters*.
The reason why the feature is called *hierarchical level of detail* is
that HLODs can replace multiple meshes with a single mesh when the
camera is far away. This can be useful for reducing drawcall count. Note
that `VisibilityRange` doesn't automatically propagate down to children;
it must be placed on every mesh.
Crossfading between different levels of detail is supported, using the
standard 4x4 ordered dithering pattern from [1]. The shader code to
compute the dithering patterns should be well-optimized. The dithering
code is only active when visibility ranges are in use for the mesh in
question, so that we don't lose early Z.
Cascaded shadow maps show the HLOD level of the view they're associated
with. Point light and spot light shadow maps, which have no CSMs,
display all HLOD levels that are visible in any view. To support this
efficiently and avoid doing visibility checks multiple times, we
precalculate all visible HLOD levels for each entity with a
`VisibilityRange` during the `check_visibility_range` system.
A new example, `visibility_range`, has been added to the tree, as well
as a new low-poly version of the flight helmet model to go with it. It
demonstrates use of the visibility range feature to provide levels of
detail.
[1]: https://en.wikipedia.org/wiki/Ordered_dithering#Threshold_map
[^1]: Unreal doesn't have a feature that exactly corresponds to
visibility ranges, but Unreal's HLOD system serves roughly the same
purpose.
## Changelog
### Added
* A new `VisibilityRange` component is available to conditionally enable
entity visibility at camera distances, with optional crossfade support.
This can be used to implement different levels of detail (LODs).
## Screenshots
High-poly model:
Low-poly model up close:
Crossfading between the two:
---------
Co-authored-by: Carter Anderson <mcanders1@gmail.com>
This commit expands Bevy's existing tonemapping feature to a complete
set of filmic color grading tools, matching those of engines like Unity,
Unreal, and Godot. The following features are supported:
* White point adjustment. This is inspired by Unity's implementation of
the feature, but simplified and optimized. *Temperature* and *tint*
control the adjustments to the *x* and *y* chromaticity values of [CIE
1931]. Following Unity, the adjustments are made relative to the [D65
standard illuminant] in the [LMS color space].
* Hue rotation. This simply converts the RGB value to [HSV], alters the
hue, and converts back.
* Color correction. This allows the *gamma*, *gain*, and *lift* values
to be adjusted according to the standard [ASC CDL combined function].
* Separate color correction for shadows, midtones, and highlights.
Blender's source code was used as a reference for the implementation of
this. The midtone ranges can be adjusted by the user. To avoid abrupt
color changes, a small crossfade is used between the different sections
of the image, again following Blender's formulas.
A new example, `color_grading`, has been added, offering a GUI to change
all the color grading settings. It uses the same test scene as the
existing `tonemapping` example, which has been factored out into a
shared glTF scene.
[CIE 1931]: https://en.wikipedia.org/wiki/CIE_1931_color_space
[D65 standard illuminant]:
https://en.wikipedia.org/wiki/Standard_illuminant#Illuminant_series_D
[LMS color space]: https://en.wikipedia.org/wiki/LMS_color_space
[HSV]: https://en.wikipedia.org/wiki/HSL_and_HSV
[ASC CDL combined function]:
https://en.wikipedia.org/wiki/ASC_CDL#Combined_Function
## Changelog
### Added
* Many new filmic color grading options have been added to the
`ColorGrading` component.
## Migration Guide
* `ColorGrading::gamma` and `ColorGrading::pre_saturation` are now set
separately for the `shadows`, `midtones`, and `highlights` sections. You
can migrate code with the `ColorGrading::all_sections` and
`ColorGrading::all_sections_mut` functions, which access and/or update
all sections at once.
* `ColorGrading::post_saturation` and `ColorGrading::exposure` are now
fields of `ColorGrading::global`.
## Screenshots
# Objective
- Example `compute_shader_game_of_life` is random and not following the
rules of the game of life: at each steps, it randomly reads some pixel
of the current step and some of the previous step instead of only from
the previous step
- Fixes#9353
## Solution
- Adopted from #9678
- Added a switch of the texture displayed every frame otherwise the game
of life looks wrong
- Added a way to display the texture bigger so that I could manually
check everything was right
---------
Co-authored-by: Sludge <96552222+SludgePhD@users.noreply.github.com>
Co-authored-by: IceSentry <IceSentry@users.noreply.github.com>
# Objective
- It's pretty common for users to want to read data back from the gpu
and into the main world
## Solution
- Add a simple example that shows how to read data back from the gpu and
send it to the main world using a channel.
- The example is largely based on this wgpu example but adapted to bevy
-
fb305b85f6/examples/src/repeated_compute/mod.rs
---------
Co-authored-by: stormy <120167078+stowmyy@users.noreply.github.com>
Co-authored-by: Torstein Grindvik <52322338+torsteingrindvik@users.noreply.github.com>
Created soundtrack example, fade-in and fade-out features, added new
assets, and updated credits.
# Objective
- Fixes#12651
## Solution
- Created a resource to hold the track list.
- The audio assets are then loaded by the asset server and added to the
track list.
- Once the game is in a specific state, an `AudioBundle` is spawned and
plays the appropriate track.
- The audio volume starts at zero and is then incremented gradually
until it reaches full volume.
- Once the game state changes, the current track fades out, and a new
one fades in at the same time, offering a relatively seamless
transition.
- Once a track is completely faded out, it is despawned from the app.
- Game state changes are simulated through a `Timer` for simplicity.
- Track change system is only run if there is a change in the
`GameState` resource.
- All tracks are used according to their respective licenses.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
This is an implementation of RFC #51:
https://github.com/bevyengine/rfcs/blob/main/rfcs/51-animation-composition.md
Note that the implementation strategy is different from the one outlined
in that RFC, because two-phase animation has now landed.
# Objective
Bevy needs animation blending. The RFC for this is [RFC 51].
## Solution
This is an implementation of the RFC. Note that the implementation
strategy is different from the one outlined there, because two-phase
animation has now landed.
This is just a draft to get the conversation started. Currently we're
missing a few things:
- [x] A fully-fleshed-out mechanism for transitions
- [x] A serialization format for `AnimationGraph`s
- [x] Examples are broken, other than `animated_fox`
- [x] Documentation
---
## Changelog
### Added
* The `AnimationPlayer` has been reworked to support blending multiple
animations together through an `AnimationGraph`, and as such will no
longer function unless a `Handle<AnimationGraph>` has been added to the
entity containing the player. See [RFC 51] for more details.
* Transition functionality has moved from the `AnimationPlayer` to a new
component, `AnimationTransitions`, which works in tandem with the
`AnimationGraph`.
## Migration Guide
* `AnimationPlayer`s can no longer play animations by themselves and
need to be paired with a `Handle<AnimationGraph>`. Code that was using
`AnimationPlayer` to play animations will need to create an
`AnimationGraph` asset first, add a node for the clip (or clips) you
want to play, and then supply the index of that node to the
`AnimationPlayer`'s `play` method.
* The `AnimationPlayer::play_with_transition()` method has been removed
and replaced with the `AnimationTransitions` component. If you were
previously using `AnimationPlayer::play_with_transition()`, add all
animations that you were playing to the `AnimationGraph`, and create an
`AnimationTransitions` component to manage the blending between them.
[RFC 51]:
https://github.com/bevyengine/rfcs/blob/main/rfcs/51-animation-composition.md
---------
Co-authored-by: Rob Parrett <robparrett@gmail.com>
# Objective
Follow up to #11600 and #10588https://github.com/bevyengine/bevy/issues/11944 made clear that some
people want to use slicing with texture atlases
## Changelog
* Added support for `TextureAtlas` slicing and tiling.
`SpriteSheetBundle` and `AtlasImageBundle` can now use `ImageScaleMode`
* Added new `ui_texture_atlas_slice` example using a texture sheet
<img width="798" alt="Screenshot 2024-02-23 at 11 58 35"
src="https://github.com/bevyengine/bevy/assets/26703856/47a8b764-127c-4a06-893f-181703777501">
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Co-authored-by: Pablo Reinhardt <126117294+pablo-lua@users.noreply.github.com>
# Objective
- Fixes#9670
- Avoid a crash in CI due to
```
thread 'Compute Task Pool (0)' panicked at /Users/runner/.cargo/registry/src/index.crates.io-6f17d22bba15001f/wgpu-0.19.1/src/backend/wgpu_core.rs:3009:5:
wgpu error: Validation Error
Caused by:
In Device::create_bind_group
The adapter does not support read access for storages texture of format Rgba8Unorm
```
## Solution
- Use an `R32Float` texture instead of an `Rgba8Unorm` as it's a tier 1
texture format https://github.com/gpuweb/gpuweb/issues/3838 and is more
supported
- This should also improve support for webgpu in the next wgpu version
> Follow up to #10588
> Closes#11749 (Supersedes #11756)
Enable Texture slicing for the following UI nodes:
- `ImageBundle`
- `ButtonBundle`
<img width="739" alt="Screenshot 2024-01-29 at 13 57 43"
src="https://github.com/bevyengine/bevy/assets/26703856/37675681-74eb-4689-ab42-024310cf3134">
I also added a collection of `fantazy-ui-borders` from
[Kenney's](www.kenney.nl) assets, with the appropriate license (CC).
If it's a problem I can use the same textures as the `sprite_slice`
example
# Work done
Added the `ImageScaleMode` component to the targetted bundles, most of
the logic is directly reused from `bevy_sprite`.
The only additional internal component is the UI specific
`ComputedSlices`, which does the same thing as its spritee equivalent
but adapted to UI code.
Again the slicing is not compatible with `TextureAtlas`, it's something
I need to tackle more deeply in the future
# Fixes
* [x] I noticed that `TextureSlicer::compute_slices` could infinitely
loop if the border was larger that the image half extents, now an error
is triggered and the texture will fallback to being stretched
* [x] I noticed that when using small textures with very small *tiling*
options we could generate hundred of thousands of slices. Now I set a
minimum size of 1 pixel per slice, which is already ridiculously small,
and a warning will be sent at runtime when slice count goes above 1000
* [x] Sprite slicing with `flip_x` or `flip_y` would give incorrect
results, correct flipping is now supported to both sprites and ui image
nodes thanks to @odecay observation
# GPU Alternative
I create a separate branch attempting to implementing 9 slicing and
tiling directly through the `ui.wgsl` fragment shader. It works but
requires sending more data to the GPU:
- slice border
- tiling factors
And more importantly, the actual quad *scale* which is hard to put in
the shader with the current code, so that would be for a later iteration
# Objective
Bevy could benefit from *irradiance volumes*, also known as *voxel
global illumination* or simply as light probes (though this term is not
preferred, as multiple techniques can be called light probes).
Irradiance volumes are a form of baked global illumination; they work by
sampling the light at the centers of each voxel within a cuboid. At
runtime, the voxels surrounding the fragment center are sampled and
interpolated to produce indirect diffuse illumination.
## Solution
This is divided into two sections. The first is copied and pasted from
the irradiance volume module documentation and describes the technique.
The second part consists of notes on the implementation.
### Overview
An *irradiance volume* is a cuboid voxel region consisting of
regularly-spaced precomputed samples of diffuse indirect light. They're
ideal if you have a dynamic object such as a character that can move
about
static non-moving geometry such as a level in a game, and you want that
dynamic object to be affected by the light bouncing off that static
geometry.
To use irradiance volumes, you need to precompute, or *bake*, the
indirect
light in your scene. Bevy doesn't currently come with a way to do this.
Fortunately, [Blender] provides a [baking tool] as part of the Eevee
renderer, and its irradiance volumes are compatible with those used by
Bevy.
The [`bevy-baked-gi`] project provides a tool, `export-blender-gi`, that
can
extract the baked irradiance volumes from the Blender `.blend` file and
package them up into a `.ktx2` texture for use by the engine. See the
documentation in the `bevy-baked-gi` project for more details as to this
workflow.
Like all light probes in Bevy, irradiance volumes are 1×1×1 cubes that
can
be arbitrarily scaled, rotated, and positioned in a scene with the
[`bevy_transform::components::Transform`] component. The 3D voxel grid
will
be stretched to fill the interior of the cube, and the illumination from
the
irradiance volume will apply to all fragments within that bounding
region.
Bevy's irradiance volumes are based on Valve's [*ambient cubes*] as used
in
*Half-Life 2* ([Mitchell 2006], slide 27). These encode a single color
of
light from the six 3D cardinal directions and blend the sides together
according to the surface normal.
The primary reason for choosing ambient cubes is to match Blender, so
that
its Eevee renderer can be used for baking. However, they also have some
advantages over the common second-order spherical harmonics approach:
ambient cubes don't suffer from ringing artifacts, they are smaller (6
colors for ambient cubes as opposed to 9 for spherical harmonics), and
evaluation is faster. A smaller basis allows for a denser grid of voxels
with the same storage requirements.
If you wish to use a tool other than `export-blender-gi` to produce the
irradiance volumes, you'll need to pack the irradiance volumes in the
following format. The irradiance volume of resolution *(Rx, Ry, Rz)* is
expected to be a 3D texture of dimensions *(Rx, 2Ry, 3Rz)*. The
unnormalized
texture coordinate *(s, t, p)* of the voxel at coordinate *(x, y, z)*
with
side *S* ∈ *{-X, +X, -Y, +Y, -Z, +Z}* is as follows:
```text
s = x
t = y + ⎰ 0 if S ∈ {-X, -Y, -Z}
⎱ Ry if S ∈ {+X, +Y, +Z}
⎧ 0 if S ∈ {-X, +X}
p = z + ⎨ Rz if S ∈ {-Y, +Y}
⎩ 2Rz if S ∈ {-Z, +Z}
```
Visually, in a left-handed coordinate system with Y up, viewed from the
right, the 3D texture looks like a stacked series of voxel grids, one
for
each cube side, in this order:
| **+X** | **+Y** | **+Z** |
| ------ | ------ | ------ |
| **-X** | **-Y** | **-Z** |
A terminology note: Other engines may refer to irradiance volumes as
*voxel
global illumination*, *VXGI*, or simply as *light probes*. Sometimes
*light
probe* refers to what Bevy calls a reflection probe. In Bevy, *light
probe*
is a generic term that encompasses all cuboid bounding regions that
capture
indirect illumination, whether based on voxels or not.
Note that, if binding arrays aren't supported (e.g. on WebGPU or WebGL
2),
then only the closest irradiance volume to the view will be taken into
account during rendering.
[*ambient cubes*]:
https://advances.realtimerendering.com/s2006/Mitchell-ShadingInValvesSourceEngine.pdf
[Mitchell 2006]:
https://advances.realtimerendering.com/s2006/Mitchell-ShadingInValvesSourceEngine.pdf
[Blender]: http://blender.org/
[baking tool]:
https://docs.blender.org/manual/en/latest/render/eevee/render_settings/indirect_lighting.html
[`bevy-baked-gi`]: https://github.com/pcwalton/bevy-baked-gi
### Implementation notes
This patch generalizes light probes so as to reuse as much code as
possible between irradiance volumes and the existing reflection probes.
This approach was chosen because both techniques share numerous
similarities:
1. Both irradiance volumes and reflection probes are cuboid bounding
regions.
2. Both are responsible for providing baked indirect light.
3. Both techniques involve presenting a variable number of textures to
the shader from which indirect light is sampled. (In the current
implementation, this uses binding arrays.)
4. Both irradiance volumes and reflection probes require gathering and
sorting probes by distance on CPU.
5. Both techniques require the GPU to search through a list of bounding
regions.
6. Both will eventually want to have falloff so that we can smoothly
blend as objects enter and exit the probes' influence ranges. (This is
not implemented yet to keep this patch relatively small and reviewable.)
To do this, we generalize most of the methods in the reflection probes
patch #11366 to be generic over a trait, `LightProbeComponent`. This
trait is implemented by both `EnvironmentMapLight` (for reflection
probes) and `IrradianceVolume` (for irradiance volumes). Using a trait
will allow us to add more types of light probes in the future. In
particular, I highly suspect we will want real-time reflection planes
for mirrors in the future, which can be easily slotted into this
framework.
## Changelog
> This section is optional. If this was a trivial fix, or has no
externally-visible impact, you can delete this section.
### Added
* A new `IrradianceVolume` asset type is available for baked voxelized
light probes. You can bake the global illumination using Blender or
another tool of your choice and use it in Bevy to apply indirect
illumination to dynamic objects.
# Objective
- Address #10338
## Solution
- When implementing specular and diffuse transmission, I inadvertently
introduced a performance regression. On high-end hardware it is barely
noticeable, but **for lower-end hardware it can be pretty brutal**. If I
understand it correctly, this is likely due to use of masking by the GPU
to implement control flow, which means that you still pay the price for
the branches you don't take;
- To avoid that, this PR introduces new shader defs (controlled via
`StandardMaterialKey`) that conditionally include the transmission
logic, that way the shader code for both types of transmission isn't
even sent to the GPU if you're not using them;
- This PR also renames ~~`STANDARDMATERIAL_NORMAL_MAP`~~ to
`STANDARD_MATERIAL_NORMAL_MAP` for consistency with the naming
convention used elsewhere in the codebase. (Drive-by fix)
---
## Changelog
- Added new shader defs, set when using transmission in the
`StandardMaterial`:
- `STANDARD_MATERIAL_SPECULAR_TRANSMISSION`;
- `STANDARD_MATERIAL_DIFFUSE_TRANSMISSION`;
- `STANDARD_MATERIAL_SPECULAR_OR_DIFFUSE_TRANSMISSION`.
- Fixed performance regression caused by the introduction of
transmission, by gating transmission shader logic behind the newly
introduced shader defs;
- Renamed ~~`STANDARDMATERIAL_NORMAL_MAP`~~ to
`STANDARD_MATERIAL_NORMAL_MAP` for consistency;
## Migration Guide
- If you were using `#ifdef STANDARDMATERIAL_NORMAL_MAP` on your shader
code, make sure to update the name to `STANDARD_MATERIAL_NORMAL_MAP`;
(with an underscore between `STANDARD` and `MATERIAL`)
# Objective
- Addresses **Support processing and loading files without extensions**
from #9714
- Addresses **More runtime loading configuration** from #9714
- Fixes#367
- Fixes#10703
## Solution
`AssetServer::load::<A>` and `AssetServer::load_with_settings::<A>` can
now use the `Asset` type parameter `A` to select a registered
`AssetLoader` without inspecting the provided `AssetPath`. This change
cascades onto `LoadContext::load` and `LoadContext::load_with_settings`.
This allows the loading of assets which have incorrect or ambiguous file
extensions.
```rust
// Allow the type to be inferred by context
let handle = asset_server.load("data/asset_no_extension");
// Hint the type through the handle
let handle: Handle<CustomAsset> = asset_server.load("data/asset_no_extension");
// Explicit through turbofish
let handle = asset_server.load::<CustomAsset>("data/asset_no_extension");
```
Since a single `AssetPath` no longer maps 1:1 with an `Asset`, I've also
modified how assets are loaded to permit multiple asset types to be
loaded from a single path. This allows for two different `AssetLoaders`
(which return different types of assets) to both load a single path (if
requested).
```rust
// Uses GltfLoader
let model = asset_server.load::<Gltf>("cube.gltf");
// Hypothetical Blob loader for data transmission (for example)
let blob = asset_server.load::<Blob>("cube.gltf");
```
As these changes are reflected in the `LoadContext` as well as the
`AssetServer`, custom `AssetLoaders` can also take advantage of this
behaviour to create more complex assets.
---
## Change Log
- Updated `custom_asset` example to demonstrate extension-less assets.
- Added `AssetServer::get_handles_untyped` and Added
`AssetServer::get_path_ids`
## Notes
As a part of that refactor, I chose to store `AssetLoader`s (within
`AssetLoaders`) using a `HashMap<TypeId, ...>` instead of a `Vec<...>`.
My reasoning for this was I needed to add a relationship between `Asset`
`TypeId`s and the `AssetLoader`, so instead of having a `Vec` and a
`HashMap`, I combined the two, removing the `usize` index from the
adjacent maps.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Since #9907 the generation starts at `1` instead of `0` so
`Entity::to_bits` now returns `4294967296` (ie. `u32::MAX + 1`) as the
lowest number instead of `0`.
Without this change scene loading fails with this error message:
`ERROR bevy_asset::server: Failed to load asset
'scenes/load_scene_example.scn.ron' with asset loader
'bevy_scene::scene_loader::SceneLoader': Could not parse RON: 8:6:
Invalid generation bits`
This pull request re-submits #10057, which was backed out for breaking
macOS, iOS, and Android. I've tested this version on macOS and Android
and on the iOS simulator.
# Objective
This pull request implements *reflection probes*, which generalize
environment maps to allow for multiple environment maps in the same
scene, each of which has an axis-aligned bounding box. This is a
standard feature of physically-based renderers and was inspired by [the
corresponding feature in Blender's Eevee renderer].
## Solution
This is a minimal implementation of reflection probes that allows
artists to define cuboid bounding regions associated with environment
maps. For every view, on every frame, a system builds up a list of the
nearest 4 reflection probes that are within the view's frustum and
supplies that list to the shader. The PBR fragment shader searches
through the list, finds the first containing reflection probe, and uses
it for indirect lighting, falling back to the view's environment map if
none is found. Both forward and deferred renderers are fully supported.
A reflection probe is an entity with a pair of components, *LightProbe*
and *EnvironmentMapLight* (as well as the standard *SpatialBundle*, to
position it in the world). The *LightProbe* component (along with the
*Transform*) defines the bounding region, while the
*EnvironmentMapLight* component specifies the associated diffuse and
specular cubemaps.
A frequent question is "why two components instead of just one?" The
advantages of this setup are:
1. It's readily extensible to other types of light probes, in particular
*irradiance volumes* (also known as ambient cubes or voxel global
illumination), which use the same approach of bounding cuboids. With a
single component that applies to both reflection probes and irradiance
volumes, we can share the logic that implements falloff and blending
between multiple light probes between both of those features.
2. It reduces duplication between the existing *EnvironmentMapLight* and
these new reflection probes. Systems can treat environment maps attached
to cameras the same way they treat environment maps applied to
reflection probes if they wish.
Internally, we gather up all environment maps in the scene and place
them in a cubemap array. At present, this means that all environment
maps must have the same size, mipmap count, and texture format. A
warning is emitted if this restriction is violated. We could potentially
relax this in the future as part of the automatic mipmap generation
work, which could easily do texture format conversion as part of its
preprocessing.
An easy way to generate reflection probe cubemaps is to bake them in
Blender and use the `export-blender-gi` tool that's part of the
[`bevy-baked-gi`] project. This tool takes a `.blend` file containing
baked cubemaps as input and exports cubemap images, pre-filtered with an
embedded fork of the [glTF IBL Sampler], alongside a corresponding
`.scn.ron` file that the scene spawner can use to recreate the
reflection probes.
Note that this is intentionally a minimal implementation, to aid
reviewability. Known issues are:
* Reflection probes are basically unsupported on WebGL 2, because WebGL
2 has no cubemap arrays. (Strictly speaking, you can have precisely one
reflection probe in the scene if you have no other cubemaps anywhere,
but this isn't very useful.)
* Reflection probes have no falloff, so reflections will abruptly change
when objects move from one bounding region to another.
* As mentioned before, all cubemaps in the world of a given type
(diffuse or specular) must have the same size, format, and mipmap count.
Future work includes:
* Blending between multiple reflection probes.
* A falloff/fade-out region so that reflected objects disappear
gradually instead of vanishing all at once.
* Irradiance volumes for voxel-based global illumination. This should
reuse much of the reflection probe logic, as they're both GI techniques
based on cuboid bounding regions.
* Support for WebGL 2, by breaking batches when reflection probes are
used.
These issues notwithstanding, I think it's best to land this with
roughly the current set of functionality, because this patch is useful
as is and adding everything above would make the pull request
significantly larger and harder to review.
---
## Changelog
### Added
* A new *LightProbe* component is available that specifies a bounding
region that an *EnvironmentMapLight* applies to. The combination of a
*LightProbe* and an *EnvironmentMapLight* offers *reflection probe*
functionality similar to that available in other engines.
[the corresponding feature in Blender's Eevee renderer]:
https://docs.blender.org/manual/en/latest/render/eevee/light_probes/reflection_cubemaps.html
[`bevy-baked-gi`]: https://github.com/pcwalton/bevy-baked-gi
[glTF IBL Sampler]: https://github.com/KhronosGroup/glTF-IBL-Sampler
> Replaces #5213
# Objective
Implement sprite tiling and [9 slice
scaling](https://en.wikipedia.org/wiki/9-slice_scaling) for
`bevy_sprite`.
Allowing slice scaling and texture tiling.
Basic scaling vs 9 slice scaling:
Slicing example:
<img width="481" alt="Screenshot 2022-07-05 at 15 05 49"
src="https://user-images.githubusercontent.com/26703856/177336112-9e961af0-c0af-4197-aec9-430c1170a79d.png">
Tiling example:
<img width="1329" alt="Screenshot 2023-11-16 at 13 53 32"
src="https://github.com/bevyengine/bevy/assets/26703856/14db39b7-d9e0-4bc3-ba0e-b1f2db39ae8f">
# Solution
- `SpriteBundlue` now has a `scale_mode` component storing a
`SpriteScaleMode` enum with three variants:
- `Stretched` (default)
- `Tiled` to have sprites tile horizontally and/or vertically
- `Sliced` allowing 9 slicing the texture and optionally tile some
sections with a `Textureslicer`.
- `bevy_sprite` has two extra systems to compute a
`ComputedTextureSlices` if necessary,:
- One system react to changes on `Sprite`, `Handle<Image>` or
`SpriteScaleMode`
- The other listens to `AssetEvent<Image>` to compute slices on sprites
when the texture is ready or changed
- I updated the `bevy_sprite` extraction stage to extract potentially
multiple textures instead of one, depending on the presence of
`ComputedTextureSlices`
- I added two examples showcasing the slicing and tiling feature.
The addition of `ComputedTextureSlices` as a cache is to avoid querying
the image data, to retrieve its dimensions, every frame in a extract or
prepare stage. Also it reacts to changes so we can have stuff like this
(tiling example):
https://github.com/bevyengine/bevy/assets/26703856/a349a9f3-33c3-471f-8ef4-a0e5dfce3b01
# Related
- [ ] Once #5103 or #10099 is merged I can enable tiling and slicing for
texture sheets as ui
# To discuss
There is an other option, to consider slice/tiling as part of the asset,
using the new asset preprocessing but I have no clue on how to do it.
Also, instead of retrieving the Image dimensions, we could use the same
system as the sprite sheet and have the user give the image dimensions
directly (grid). But I think it's less user friendly
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Co-authored-by: ickshonpe <david.curthoys@googlemail.com>
Co-authored-by: Alice Cecile <alice.i.cecil@gmail.com>
# Objective
This pull request implements *reflection probes*, which generalize
environment maps to allow for multiple environment maps in the same
scene, each of which has an axis-aligned bounding box. This is a
standard feature of physically-based renderers and was inspired by [the
corresponding feature in Blender's Eevee renderer].
## Solution
This is a minimal implementation of reflection probes that allows
artists to define cuboid bounding regions associated with environment
maps. For every view, on every frame, a system builds up a list of the
nearest 4 reflection probes that are within the view's frustum and
supplies that list to the shader. The PBR fragment shader searches
through the list, finds the first containing reflection probe, and uses
it for indirect lighting, falling back to the view's environment map if
none is found. Both forward and deferred renderers are fully supported.
A reflection probe is an entity with a pair of components, *LightProbe*
and *EnvironmentMapLight* (as well as the standard *SpatialBundle*, to
position it in the world). The *LightProbe* component (along with the
*Transform*) defines the bounding region, while the
*EnvironmentMapLight* component specifies the associated diffuse and
specular cubemaps.
A frequent question is "why two components instead of just one?" The
advantages of this setup are:
1. It's readily extensible to other types of light probes, in particular
*irradiance volumes* (also known as ambient cubes or voxel global
illumination), which use the same approach of bounding cuboids. With a
single component that applies to both reflection probes and irradiance
volumes, we can share the logic that implements falloff and blending
between multiple light probes between both of those features.
2. It reduces duplication between the existing *EnvironmentMapLight* and
these new reflection probes. Systems can treat environment maps attached
to cameras the same way they treat environment maps applied to
reflection probes if they wish.
Internally, we gather up all environment maps in the scene and place
them in a cubemap array. At present, this means that all environment
maps must have the same size, mipmap count, and texture format. A
warning is emitted if this restriction is violated. We could potentially
relax this in the future as part of the automatic mipmap generation
work, which could easily do texture format conversion as part of its
preprocessing.
An easy way to generate reflection probe cubemaps is to bake them in
Blender and use the `export-blender-gi` tool that's part of the
[`bevy-baked-gi`] project. This tool takes a `.blend` file containing
baked cubemaps as input and exports cubemap images, pre-filtered with an
embedded fork of the [glTF IBL Sampler], alongside a corresponding
`.scn.ron` file that the scene spawner can use to recreate the
reflection probes.
Note that this is intentionally a minimal implementation, to aid
reviewability. Known issues are:
* Reflection probes are basically unsupported on WebGL 2, because WebGL
2 has no cubemap arrays. (Strictly speaking, you can have precisely one
reflection probe in the scene if you have no other cubemaps anywhere,
but this isn't very useful.)
* Reflection probes have no falloff, so reflections will abruptly change
when objects move from one bounding region to another.
* As mentioned before, all cubemaps in the world of a given type
(diffuse or specular) must have the same size, format, and mipmap count.
Future work includes:
* Blending between multiple reflection probes.
* A falloff/fade-out region so that reflected objects disappear
gradually instead of vanishing all at once.
* Irradiance volumes for voxel-based global illumination. This should
reuse much of the reflection probe logic, as they're both GI techniques
based on cuboid bounding regions.
* Support for WebGL 2, by breaking batches when reflection probes are
used.
These issues notwithstanding, I think it's best to land this with
roughly the current set of functionality, because this patch is useful
as is and adding everything above would make the pull request
significantly larger and harder to review.
---
## Changelog
### Added
* A new *LightProbe* component is available that specifies a bounding
region that an *EnvironmentMapLight* applies to. The combination of a
*LightProbe* and an *EnvironmentMapLight* offers *reflection probe*
functionality similar to that available in other engines.
[the corresponding feature in Blender's Eevee renderer]:
https://docs.blender.org/manual/en/latest/render/eevee/light_probes/reflection_cubemaps.html
[`bevy-baked-gi`]: https://github.com/pcwalton/bevy-baked-gi
[glTF IBL Sampler]: https://github.com/KhronosGroup/glTF-IBL-Sampler
# Objective
Lightmaps, textures that store baked global illumination, have been a
mainstay of real-time graphics for decades. Bevy currently has no
support for them, so this pull request implements them.
## Solution
The new `Lightmap` component can be attached to any entity that contains
a `Handle<Mesh>` and a `StandardMaterial`. When present, it will be
applied in the PBR shader. Because multiple lightmaps are frequently
packed into atlases, each lightmap may have its own UV boundaries within
its texture. An `exposure` field is also provided, to control the
brightness of the lightmap.
Note that this PR doesn't provide any way to bake the lightmaps. That
can be done with [The Lightmapper] or another solution, such as Unity's
Bakery.
---
## Changelog
### Added
* A new component, `Lightmap`, is available, for baked global
illumination. If your mesh has a second UV channel (UV1), and you attach
this component to the entity with that mesh, Bevy will apply the texture
referenced in the lightmap.
[The Lightmapper]: https://github.com/Naxela/The_Lightmapper
---------
Co-authored-by: Carter Anderson <mcanders1@gmail.com>
# Objective
Provide an example of how to achieve pixel-perfect "grid snapping" in 2D
via rendering to a texture. This is a common use case in retro pixel art
game development.
## Solution
Render sprites to a canvas via a Camera, then use another (scaled up)
Camera to render the resulting canvas to the screen. This example is
based on the `3d/render_to_texture.rs` example. Furthermore, this
example demonstrates mixing retro-style graphics with high-resolution
graphics, as well as pixel-snapped rendering of a
`MaterialMesh2dBundle`.
