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
- Fixes https://github.com/bevyengine/bevy/issues/14036
## Solution
- Add a view space transformation for the skybox
## Testing
- I have tested the newly added `transform` field using the `skybox`
example.
```
diff --git a/examples/3d/skybox.rs b/examples/3d/skybox.rs
index beaf5b268..d16cbe988 100644
--- a/examples/3d/skybox.rs
+++ b/examples/3d/skybox.rs
@@ -81,6 +81,7 @@ fn setup(mut commands: Commands, asset_server: Res<AssetServer>) {
Skybox {
image: skybox_handle.clone(),
brightness: 1000.0,
+ rotation: Quat::from_rotation_x(PI * -0.5),
},
));
```
<img width="1280" alt="image"
src="https://github.com/bevyengine/bevy/assets/6300263/1230a608-58ea-492d-a811-90c54c3b43ef">
## Migration Guide
- Since we have added a new filed to the Skybox struct, users will need
to include `..Default::default()` or some rotation value in their
initialization code.
# Objective
- Using bincode to deserialize binary into a MeshletMesh is expensive
(~77ms for a 5mb file).
## Solution
- Write a custom deserializer using bytemuck's Pod types and slice
casting.
- Total asset load time has gone from ~102ms to ~12ms.
- Change some types I never meant to be public to private and other misc
cleanup.
## Testing
- Ran the meshlet example and added timing spans to the asset loader.
---
## Changelog
- Improved `MeshletMesh` loading speed
- The `MeshletMesh` disk format has changed, and
`MESHLET_MESH_ASSET_VERSION` has been bumped
- `MeshletMesh` fields are now private
- Renamed `MeshletMeshSaverLoad` to `MeshletMeshSaverLoader`
- The `Meshlet`, `MeshletBoundingSpheres`, and `MeshletBoundingSphere`
types are now private
- Removed `MeshletMeshSaveOrLoadError::SerializationOrDeserialization`
- Added `MeshletMeshSaveOrLoadError::WrongFileType`
## Migration Guide
- Regenerate your `MeshletMesh` assets, as the disk format has changed,
and `MESHLET_MESH_ASSET_VERSION` has been bumped
- `MeshletMesh` fields are now private
- `MeshletMeshSaverLoad` is now named `MeshletMeshSaverLoader`
- The `Meshlet`, `MeshletBoundingSpheres`, and `MeshletBoundingSphere`
types are now private
- `MeshletMeshSaveOrLoadError::SerializationOrDeserialization` has been
removed
- Added `MeshletMeshSaveOrLoadError::WrongFileType`, match on this
variant if you match on `MeshletMeshSaveOrLoadError`
This commit creates a new built-in postprocessing shader that's designed
to hold miscellaneous postprocessing effects, and starts it off with
chromatic aberration. Possible future effects include vignette, film
grain, and lens distortion.
[Chromatic aberration] is a common postprocessing effect that simulates
lenses that fail to focus all colors of light to a single point. It's
often used for impact effects and/or horror games. This patch uses the
technique from *Inside* ([Gjøl & Svendsen 2016]), which allows the
developer to customize the particular color pattern to achieve different
effects. Unity HDRP uses the same technique, while Unreal has a
hard-wired fixed color pattern.
A new example, `post_processing`, has been added, in order to
demonstrate the technique. The existing `post_processing` shader has
been renamed to `custom_post_processing`, for clarity.
[Chromatic aberration]:
https://en.wikipedia.org/wiki/Chromatic_aberration
[Gjøl & Svendsen 2016]:
https://github.com/playdeadgames/publications/blob/master/INSIDE/rendering_inside_gdc2016.pdf
## Changelog
### Added
* Chromatic aberration is now available as a built-in postprocessing
effect. To use it, add `ChromaticAberration` to your camera.
# Objective
update the `load_gltf_extras.rs` example to the newest bevy api
## Solution
uses the new type-safe code for loading the scene #0 from the gltf
instead of a path suffix
## Testing
the example runs as expected
# Replace ab_glyph with the more capable cosmic-text
Fixes#7616.
Cosmic-text is a more mature text-rendering library that handles scripts
and ligatures better than ab_glyph, it can also handle system fonts
which can be implemented in bevy in the future
Rebase of https://github.com/bevyengine/bevy/pull/8808
## Changelog
Replaces text renderer ab_glyph with cosmic-text
The definition of the font size has changed with the migration to cosmic
text. The behavior is now consistent with other platforms (e.g. the
web), where the font size in pixels measures the height of the font (the
distance between the top of the highest ascender and the bottom of the
lowest descender). Font sizes in your app need to be rescaled to
approximately 1.2x smaller; for example, if you were using a font size
of 60.0, you should now use a font size of 50.0.
## Migration guide
- `Text2dBounds` has been replaced with `TextBounds`, and it now accepts
`Option`s to the bounds, instead of using `f32::INFINITY` to inidicate
lack of bounds
- Textsizes should be changed, dividing the current size with 1.2 will
result in the same size as before.
- `TextSettings` struct is removed
- Feature `subpixel_alignment` has been removed since cosmic-text
already does this automatically
- TextBundles and things rendering texts requires the `CosmicBuffer`
Component on them as well
## Suggested followups:
- TextPipeline: reconstruct byte indices for keeping track of eventual
cursors in text input
- TextPipeline: (future work) split text entities into section entities
- TextPipeline: (future work) text editing
- Support line height as an option. Unitless `1.2` is the default used
in browsers (1.2x font size).
- Support System Fonts and font families
- Example showing of animated text styles. Eg. throbbing hyperlinks
---------
Co-authored-by: tigregalis <anak.harimau@gmail.com>
Co-authored-by: Nico Burns <nico@nicoburns.com>
Co-authored-by: sam edelsten <samedelsten1@gmail.com>
Co-authored-by: Dimchikkk <velo.app1@gmail.com>
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Co-authored-by: Rob Parrett <robparrett@gmail.com>
# Objective
- #14017 changed how `UiImage` and `BackgroundColor` work
- one change was missed in example `color_grading`, another in the
mobile example
## Solution
- Change it in the examples
# Objective
In Bevy 0.13, `BackgroundColor` simply tinted the image of any
`UiImage`. This was confusing: in every other case (e.g. Text), this
added a solid square behind the element. #11165 changed this, but
removed `BackgroundColor` from `ImageBundle` to avoid confusion, since
the semantic meaning had changed.
However, this resulted in a serious UX downgrade / inconsistency, as
this behavior was no longer part of the bundle (unlike for `TextBundle`
or `NodeBundle`), leaving users with a relatively frustrating upgrade
path.
Additionally, adding both `BackgroundColor` and `UiImage` resulted in a
bizarre effect, where the background color was seemingly ignored as it
was covered by a solid white placeholder image.
Fixes#13969.
## Solution
Per @viridia's design:
> - if you don't specify a background color, it's transparent.
> - if you don't specify an image color, it's white (because it's a
multiplier).
> - if you don't specify an image, no image is drawn.
> - if you specify both a background color and an image color, they are
independent.
> - the background color is drawn behind the image (in whatever pixels
are transparent)
As laid out by @benfrankel, this involves:
1. Changing the default `UiImage` to use a transparent texture but a
pure white tint.
2. Adding `UiImage::solid_color` to quickly set placeholder images.
3. Changing the default `BorderColor` and `BackgroundColor` to
transparent.
4. Removing the default overrides for these values in the other assorted
UI bundles.
5. Adding `BackgroundColor` back to `ImageBundle` and `ButtonBundle`.
6. Adding a 1x1 `Image::transparent`, which can be accessed from
`Assets<Image>` via the `TRANSPARENT_IMAGE_HANDLE` constant.
Huge thanks to everyone who helped out with the design in the linked
issue and [the Discord
thread](https://discord.com/channels/691052431525675048/1255209923890118697/1255209999278280844):
this was very much a joint design.
@cart helped me figure out how to set the UiImage's default texture to a
transparent 1x1 image, which is a much nicer fix.
## Testing
I've checked the examples modified by this PR, and the `ui` example as
well just to be sure.
## Migration Guide
- `BackgroundColor` no longer tints the color of images in `ImageBundle`
or `ButtonBundle`. Set `UiImage::color` to tint images instead.
- The default texture for `UiImage` is now a transparent white square.
Use `UiImage::solid_color` to quickly draw debug images.
- The default value for `BackgroundColor` and `BorderColor` is now
transparent. Set the color to white manually to return to previous
behavior.
# Objective
In a few examples, we're specifying a font or font size that is the same
as the current default value. Might as well use the default. That'll be
one less thing to worry about if we ever need to change the default font
size. (wink)
In a few others, we were using a value of `25.0` and it didn't seem like
it was different for an important reason, so I switched to the default
there too.
(There are a bunch of examples that use non-default font sizes for
various reasons. Not trying address them all here.)
# Objective
- Implement `Meshable` for `Extrusion<T>`
## Solution
- `Meshable` requires `Meshable::Output: MeshBuilder` now. This means
that all `some_primitive.mesh()` calls now return a `MeshBuilder`. These
were added for primitives that did not have one prior to this.
- A new trait `Extrudable: MeshBuilder` has been added. This trait
allows you to specify the indices of the perimeter of the mesh created
by this `MeshBuilder` and whether they are to be shaded smooth or flat.
- `Extrusion<P: Primitive2d + Meshable>` is now `Meshable` aswell. The
associated `MeshBuilder` is `ExtrusionMeshBuilder` which is generic over
`P` and uses the `MeshBuilder` of its baseshape internally.
- `ExtrusionMeshBuilder` exposes the configuration functions of its
base-shapes builder.
- Updated the `3d_shapes` example to include `Extrusion`s
## Migration Guide
- Depending on the context, you may need to explicitly call
`.mesh().build()` on primitives where you have previously called
`.mesh()`
- The `Output` type of custom `Meshable` implementations must now derive
`MeshBuilder`.
## Additional information
- The extrusions UVs are done so that
- the front face (`+Z`) is in the area between `(0, 0)` and `(0.5,
0.5)`,
- the back face (`-Z`) is in the area between `(0.5, 0)` and `(1, 0.5)`
- the mantle is in the area between `(0, 0.5)` and `(1, 1)`. Each
`PerimeterSegment` you specified in the `Extrudable` implementation will
be allocated an equal portion of this area.
- The UVs of the base shape are scaled to be in the front/back area so
whatever method of filling the full UV-space the base shape used is how
these areas will be filled.
Here is an example of what that looks like on a capsule:
https://github.com/bevyengine/bevy/assets/62256001/425ad288-fbbc-4634-9d3f-5e846cdce85f
This is the texture used:
The `3d_shapes` example now looks like this:
---------
Co-authored-by: Lynn Büttgenbach <62256001+solis-lumine-vorago@users.noreply.github.com>
Co-authored-by: Matty <weatherleymatthew@gmail.com>
Co-authored-by: Matty <2975848+mweatherley@users.noreply.github.com>
This commit implements a large subset of [*subpixel morphological
antialiasing*], better known as SMAA. SMAA is a 2011 antialiasing
technique that detects jaggies in an aliased image and smooths them out.
Despite its age, it's been a continual staple of games for over a
decade. Four quality presets are available: *low*, *medium*, *high*, and
*ultra*. I set the default to *high*, on account of modern GPUs being
significantly faster than they were in 2011.
Like the already-implemented FXAA, SMAA works on an unaliased image.
Unlike FXAA, it requires three passes: (1) edge detection; (2) blending
weight calculation; (3) neighborhood blending. Each of the first two
passes writes an intermediate texture for use by the next pass. The
first pass also writes to a stencil buffer in order to dramatically
reduce the number of pixels that the second pass has to examine. Also
unlike FXAA, two built-in lookup textures are required; I bundle them
into the library in compressed KTX2 format.
The [reference implementation of SMAA] is in HLSL, with abundant use of
preprocessor macros to achieve GLSL compatibility. Unfortunately, the
reference implementation predates WGSL by over a decade, so I had to
translate the HLSL to WGSL manually. As much as was reasonably possible
without sacrificing readability, I tried to translate line by line,
preserving comments, both to aid reviewing and to allow patches to the
HLSL to more easily apply to the WGSL. Most of SMAA's features are
supported, but in the interests of making this patch somewhat less huge,
I skipped a few of the more exotic ones:
* The temporal variant is currently unsupported. This is and has been
used in shipping games, so supporting temporal SMAA would be useful
follow-up work. It would, however, require some significant work on TAA
to ensure compatibility, so I opted to skip it in this patch.
* Depth- and chroma-based edge detection are unimplemented; only luma
is. Depth is lower-quality, but faster; chroma is higher-quality, but
slower. Luma is the suggested default edge detection algorithm. (Note
that depth-based edge detection wouldn't work on WebGL 2 anyway, because
of the Naga bug whereby depth sampling is miscompiled in GLSL. This is
the same bug that prevents depth of field from working on that
platform.)
* Predicated thresholding is currently unsupported.
* My implementation is incompatible with SSAA and MSAA, unlike the
original; MSAA must be turned off to use SMAA in Bevy. I believe this
feature was rarely used in practice.
The `anti_aliasing` example has been updated to allow experimentation
with and testing of the different SMAA quality presets. Along the way, I
refactored the example's help text rendering code a bit to eliminate
code repetition.
SMAA is fully supported on WebGL 2.
Fixes#9819.
[*subpixel morphological antialiasing*]: https://www.iryoku.com/smaa/
[reference implementation of SMAA]: https://github.com/iryoku/smaa
## Changelog
### Added
* Subpixel morphological antialiasing, or SMAA, is now available. To use
it, add the `SmaaSettings` component to your `Camera`.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
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
- Plane subdivision was removed without providing an alternative
## Solution
- Add subdivision to the PlaneMeshBuilder
---
## Migration Guide
If you were using `Plane` `subdivisions`, you now need to use
`Plane3d::default().mesh().subdivisions(10)`
fixes https://github.com/bevyengine/bevy/issues/13258
# 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.
# Objective
- Followup to #13548
- It added a list of all possible labels to documentation. This seems
hard to keep up and doesn't stop people from making spelling mistake
## Solution
- Add an enum that can create all the labels possible, and encourage its
use rather than manually typed labels
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
Co-authored-by: Rob Parrett <robparrett@gmail.com>
# Objective
- The default font size is too small to be useful in examples or for
debug text.
- Fixes#13587
## Solution
- Updated the default font size value in `TextStyle` from 12px to 24px.
- Resorted to Text defaults in examples to use the default font size in
most of them.
## Testing
- WIP
---
## Migration Guide
- The default font size has been increased to 24px from 12px. Make sure
you set the font to the appropriate values in places you were using
`Default` text style.
# Objective
- In #13542 I broke example `color_grading`: the UI is not updated to
reflect changed camera settings
- Fixes#13590.
## Solution
- Update the UI when changing color grading
## Objective
Use the "standard" text size / placement for the new text in these
examples.
Continuation of an effort started here:
https://github.com/bevyengine/bevy/pull/8478
This is definitely not comprehensive. I did the ones that were easy to
find and relatively straightforward updates. I meant to just do
`3d_shapes` and `2d_shapes`, but one thing lead to another.
## Solution
Use `font_size: 20.0`, the default (built-in) font, `Color::WHITE`
(default), and `Val::Px(12.)` from the edges of the screen.
There are a few little drive-by cleanups of defaults not being used,
etc.
## Testing
Ran the changed examples, verified that they still look reasonable.
# Objective
- In particularly dark scenes, auto-exposure would lead to an unexpected
darkening of the view.
- Fixes#13446.
## Solution
The average luminance should default to something else than 0.0 instead,
when there are no samples. We set it to `settings.min_log_lum`.
## Testing
I was able to reproduce the problem on the `auto_exposure` example by
setting the point light intensity to 2000 and looking into the
right-hand corner. There was a sudden darkening.
Now, the discontinuity is gone.
---------
Co-authored-by: Alice Cecile <alice.i.cecil@gmail.com>
Co-authored-by: Bram Buurlage <brambuurlage@gmail.com>
# Objective
- Fixes#13521
## Solution
Set `ambient_intensity` to 0.0 in volumetric_fog example.
I chose setting it explicitly over changing the default in order to make
it clear that this needs to be set depending on whether you have an
`EnvironmentMapLight`. See documentation for `ambient_intensity` and
related members.
## Testing
- Run the volumetric_fog example and notice how the light shown in
#13521 is not there anymore, as expected.
---------
Co-authored-by: Alice Cecile <alice.i.cecile@gmail.com>
# Objective
- Small improvements on the `color_grading` example
## Solution
- Simplify button creation by creating them in the default state, the
selected one is automatically selected
- Don't update the UI if not needed
- Also invert the border of the selected button
- Simplify text update
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.
# Objective
The `ConicalFrustum` primitive should support meshing.
## Solution
Implement meshing for the `ConicalFrustum` primitive. The implementation
is nearly identical to `Cylinder` meshing, but supports two radii.
The default conical frustum is equivalent to a cone with a height of 1
and a radius of 0.5, truncated at half-height.
# Objective
Allow the `Tetrahedron` primitive to be used for mesh generation. This
is part of ongoing work to bring unify the capabilities of `bevy_math`
primitives.
## Solution
`Tetrahedron` implements `Meshable`. Essentially, each face is just
meshed as a `Triangle3d`, but first there is an inversion step when the
signed volume of the tetrahedron is negative to ensure that the faces
all actually point outward.
## Testing
I loaded up some examples and hackily exchanged existing meshes with the
new one to see that it works as expected.
# Objective
- in example `render_to_texture`, #13317 changed the comment on the
existing light saying lights don't work on multiple layers, then add a
light on multiple layers explaining that it will work. it's confusing
## Solution
- Keep the original light, with the updated comment
## Testing
- Run example `render_to_texture`, lighting is correct
# Objective
`parallax_mapping` and `deferred_rendering` both use a roundabout way of
manually overriding the srgbness of their normal map textures.
This can now be done with `load_with_settings` in one line of code.
## Solution
- Delete the override systems and use `load_with_settings` instead
- Make `deferred_rendering`'s instruction text style consistent with
other examples while I'm in there.
(see #8478)
## Testing
Tested by running with `load` instead of `load_settings` and confirming
that lighting looks bad when `is_srgb` is not configured, and good when
it is.
## Discussion
It would arguably make more sense to configure this in a `.meta` file,
but I used `load_with_settings` because that's how it was done in the
`clearcoat` example and it does seem nice for documentation purposes to
call this out explicitly in code.
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
# Objective
Remove the limit of `RenderLayer` by using a growable mask using
`SmallVec`.
Changes adopted from @UkoeHB's initial PR here
https://github.com/bevyengine/bevy/pull/12502 that contained additional
changes related to propagating render layers.
Changes
## Solution
The main thing needed to unblock this is removing `RenderLayers` from
our shader code. This primarily affects `DirectionalLight`. We are now
computing a `skip` field on the CPU that is then used to skip the light
in the shader.
## Testing
Checked a variety of examples and did a quick benchmark on `many_cubes`.
There were some existing problems identified during the development of
the original pr (see:
https://discord.com/channels/691052431525675048/1220477928605749340/1221190112939872347).
This PR shouldn't change any existing behavior besides removing the
layer limit (sans the comment in migration about `all` layers no longer
being possible).
---
## Changelog
Removed the limit on `RenderLayers` by using a growable bitset that only
allocates when layers greater than 64 are used.
## Migration Guide
- `RenderLayers::all()` no longer exists. Entities expecting to be
visible on all layers, e.g. lights, should compute the active layers
that are in use.
---------
Co-authored-by: robtfm <50659922+robtfm@users.noreply.github.com>
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>
# Objective
The `Cone` primitive should support meshing.
## Solution
Implement meshing for the `Cone` primitive. The default cone has a
height of 1 and a base radius of 0.5, and is centered at the origin.
An issue with cone meshes is that the tip does not really have a normal
that works, even with duplicated vertices. This PR uses only a single
vertex for the tip, with a normal of zero; this results in an "invalid"
normal that gets ignored by the fragment shader. This seems to be the
only approach we have for perfectly smooth cones. For discussion on the
topic, see #10298 and #5891.
Another thing to note is that the cone uses polar coordinates for the
UVs:
<img
src="https://github.com/bevyengine/bevy/assets/57632562/e101ded9-110a-4ac4-a98d-f1e4d740a24a"
alt="cone" width="400" />
This way, textures are applied as if looking at the cone from above:
<img
src="https://github.com/bevyengine/bevy/assets/57632562/8dea00f1-a283-4bc4-9676-91e8d4adb07a"
alt="texture" width="200" />
<img
src="https://github.com/bevyengine/bevy/assets/57632562/d9d1b5e6-a8ba-4690-b599-904dd85777a1"
alt="cone" width="200" />
# Objective
Fixes#13097 and other issues preventing the motion blur example from
working on wasm
## Solution
- Use a vec2 for padding
- Fix error initializing the `MotionBlur` struct on wasm+webgl2
- Disable MSAA on wasm+webgl2
- Fix `GlobalsUniform` padding getting added on the shader side for
webgpu builds
## Notes
The motion blur example now runs, but with artifacts. In addition to the
obvious black artifacts, the motion blur or dithering seem to just look
worse in a way I can't really describe. That may be expected.
```
AdapterInfo { name: "ANGLE (Apple, ANGLE Metal Renderer: Apple M1 Max, Unspecified Version)", vendor: 4203, device: 0, device_type: IntegratedGpu, driver: "", driver_info: "", backend: Gl }
```
<img width="1276" alt="Screenshot 2024-04-25 at 6 51 21 AM"
src="https://github.com/bevyengine/bevy/assets/200550/65401d4f-92fe-454b-9dbc-a2d89d3ad963">
Switched the return type from `Vec3` to `Dir3` for directional axis
methods within the `GlobalTransform` component.
## Migration Guide
The `GlobalTransform` component's directional axis methods (e.g.,
`right()`, `left()`, `up()`, `down()`, `back()`, `forward()`) have been
updated from returning `Vec3` to `Dir3`.
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
- 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>
# Objective
- #12755 introduced the need to download a file to run an example
- This means the example fails to run in CI without downloading that
file
## Solution
- Add a new metadata to examples "setup" that provides setup
instructions
- Replace the URL in the meshlet example to one that can actually be
downloaded
- example-showcase execute the setup before running an example
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
This commit implements opt-in GPU frustum culling, built on top of the
infrastructure in https://github.com/bevyengine/bevy/pull/12773. To
enable it on a camera, add the `GpuCulling` component to it. To
additionally disable CPU frustum culling, add the `NoCpuCulling`
component. Note that adding `GpuCulling` without `NoCpuCulling`
*currently* does nothing useful. The reason why `GpuCulling` doesn't
automatically imply `NoCpuCulling` is that I intend to follow this patch
up with GPU two-phase occlusion culling, and CPU frustum culling plus
GPU occlusion culling seems like a very commonly-desired mode.
Adding the `GpuCulling` component to a view puts that view into
*indirect mode*. This mode makes all drawcalls indirect, relying on the
mesh preprocessing shader to allocate instances dynamically. In indirect
mode, the `PreprocessWorkItem` `output_index` points not to a
`MeshUniform` instance slot but instead to a set of `wgpu`
`IndirectParameters`, from which it allocates an instance slot
dynamically if frustum culling succeeds. Batch building has been updated
to allocate and track indirect parameter slots, and the AABBs are now
supplied to the GPU as `MeshCullingData`.
A small amount of code relating to the frustum culling has been borrowed
from meshlets and moved into `maths.wgsl`. Note that standard Bevy
frustum culling uses AABBs, while meshlets use bounding spheres; this
means that not as much code can be shared as one might think.
This patch doesn't provide any way to perform GPU culling on shadow
maps, to avoid making this patch bigger than it already is. That can be
a followup.
## Changelog
### Added
* Frustum culling can now optionally be done on the GPU. To enable it,
add the `GpuCulling` component to a camera.
* To disable CPU frustum culling, add `NoCpuCulling` to a camera. Note
that `GpuCulling` doesn't automatically imply `NoCpuCulling`.
Keeping track of explicit visibility per cluster between frames does not
work with LODs, and leads to worse culling (using the final depth buffer
from the previous frame is more accurate).
Instead, we need to generate a second depth pyramid after the second
raster pass, and then use that in the first culling pass in the next
frame to test if a cluster would have been visible last frame or not.
As part of these changes, the write_index_buffer pass has been folded
into the culling pass for a large performance gain, and to avoid
tracking a lot of extra state that would be needed between passes.
Prepass previous model/view stuff was adapted to work with meshlets as
well.
Also fixed a bug with materials, and other misc improvements.
---------
Co-authored-by: François <mockersf@gmail.com>
Co-authored-by: atlas dostal <rodol@rivalrebels.com>
Co-authored-by: vero <email@atlasdostal.com>
Co-authored-by: Patrick Walton <pcwalton@mimiga.net>
Co-authored-by: Robert Swain <robert.swain@gmail.com>
