[*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
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#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 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.
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
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.
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
# 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
- Add morph targets to `bevy_pbr` (closes#5756) & load them from glTF
- Supersedes #3722
- Fixes#6814
[Morph targets][1] (also known as shape interpolation, shape keys, or
blend shapes) allow animating individual vertices with fine grained
controls. This is typically used for facial expressions. By specifying
multiple poses as vertex offset, and providing a set of weight of each
pose, it is possible to define surprisingly realistic transitions
between poses. Blending between multiple poses also allow composition.
Morph targets are part of the [gltf standard][2] and are a feature of
Unity and Unreal, and babylone.js, it is only natural to implement them
in bevy.
## Solution
This implementation of morph targets uses a 3d texture where each pixel
is a component of an animated attribute. Each layer is a different
target. We use a 2d texture for each target, because the number of
attribute×components×animated vertices is expected to always exceed the
maximum pixel row size limit of webGL2. It copies fairly closely the way
skinning is implemented on the CPU side, while on the GPU side, the
shader morph target implementation is a relatively trivial detail.
We add an optional `morph_texture` to the `Mesh` struct. The
`morph_texture` is built through a method that accepts an iterator over
attribute buffers.
The `MorphWeights` component, user-accessible, controls the blend of
poses used by mesh instances (so that multiple copy of the same mesh may
have different weights), all the weights are uploaded to a uniform
buffer of 256 `f32`. We limit to 16 poses per mesh, and a total of 256
poses.
More literature:
* Old babylone.js implementation (vertex attribute-based):
https://www.eternalcoding.com/dev-log-1-morph-targets/
* Babylone.js implementation (similar to ours):
https://www.youtube.com/watch?v=LBPRmGgU0PE
* GPU gems 3:
https://developer.nvidia.com/gpugems/gpugems3/part-i-geometry/chapter-3-directx-10-blend-shapes-breaking-limits
* Development discord thread
https://discord.com/channels/691052431525675048/1083325980615114772https://user-images.githubusercontent.com/26321040/231181046-3bca2ab2-d4d9-472e-8098-639f1871ce2e.mp4https://github.com/bevyengine/bevy/assets/26321040/d2a0c544-0ef8-45cf-9f99-8c3792f5a258
## Acknowledgements
* Thanks to `storytold` for sponsoring the feature
* Thanks to `superdump` and `james7132` for guidance and help figuring
out stuff
## Future work
- Handling of less and more attributes (eg: animated uv, animated
arbitrary attributes)
- Dynamic pose allocation (so that zero-weighted poses aren't uploaded
to GPU for example, enables much more total poses)
- Better animation API, see #8357
----
## Changelog
- Add morph targets to bevy meshes
- Support up to 64 poses per mesh of individually up to 116508 vertices,
animation currently strictly limited to the position, normal and tangent
attributes.
- Load a morph target using `Mesh::set_morph_targets`
- Add `VisitMorphTargets` and `VisitMorphAttributes` traits to
`bevy_render`, this allows defining morph targets (a fairly complex and
nested data structure) through iterators (ie: single copy instead of
passing around buffers), see documentation of those traits for details
- Add `MorphWeights` component exported by `bevy_render`
- `MorphWeights` control mesh's morph target weights, blending between
various poses defined as morph targets.
- `MorphWeights` are directly inherited by direct children (single level
of hierarchy) of an entity. This allows controlling several mesh
primitives through a unique entity _as per GLTF spec_.
- Add `MorphTargetNames` component, naming each indices of loaded morph
targets.
- Load morph targets weights and buffers in `bevy_gltf`
- handle morph targets animations in `bevy_animation` (previously, it
was a `warn!` log)
- Add the `MorphStressTest.gltf` asset for morph targets testing, taken
from the glTF samples repo, CC0.
- Add morph target manipulation to `scene_viewer`
- Separate the animation code in `scene_viewer` from the rest of the
code, reducing `#[cfg(feature)]` noise
- Add the `morph_targets.rs` example to show off how to manipulate morph
targets, loading `MorpStressTest.gltf`
## Migration Guide
- (very specialized, unlikely to be touched by 3rd parties)
- `MeshPipeline` now has a single `mesh_layouts` field rather than
separate `mesh_layout` and `skinned_mesh_layout` fields. You should
handle all possible mesh bind group layouts in your implementation
- You should also handle properly the new `MORPH_TARGETS` shader def and
mesh pipeline key. A new function is exposed to make this easier:
`setup_moprh_and_skinning_defs`
- The `MeshBindGroup` is now `MeshBindGroups`, cached bind groups are
now accessed through the `get` method.
[1]: https://en.wikipedia.org/wiki/Morph_target_animation
[2]:
https://registry.khronos.org/glTF/specs/2.0/glTF-2.0.html#morph-targets
---------
Co-authored-by: François <mockersf@gmail.com>
Co-authored-by: Carter Anderson <mcanders1@gmail.com>
# Objective
The objective is to be able to load data from "application-specific"
(see glTF spec 3.7.2.1.) vertex attribute semantics from glTF files into
Bevy meshes.
## Solution
Rather than probe the glTF for the specific attributes supported by
Bevy, this PR changes the loader to iterate through all the attributes
and map them onto `MeshVertexAttribute`s. This mapping includes all the
previously supported attributes, plus it is now possible to add mappings
using the `add_custom_vertex_attribute()` method on `GltfPlugin`.
## Changelog
- Add support for loading custom vertex attributes from glTF files.
- Add the `custom_gltf_vertex_attribute.rs` example to illustrate
loading custom vertex attributes.
## Migration Guide
- If you were instantiating `GltfPlugin` using the unit-like struct
syntax, you must instead use `GltfPlugin::default()` as the type is no
longer unit-like.
<img width="1392" alt="image" src="https://user-images.githubusercontent.com/418473/203873533-44c029af-13b7-4740-8ea3-af96bd5867c9.png">
<img width="1392" alt="image" src="https://user-images.githubusercontent.com/418473/203873549-36be7a23-b341-42a2-8a9f-ceea8ac7a2b8.png">
# Objective
- Add support for the “classic” distance fog effect, as well as a more advanced atmospheric fog effect.
## Solution
This PR:
- Introduces a new `FogSettings` component that controls distance fog per-camera.
- Adds support for three widely used “traditional” fog falloff modes: `Linear`, `Exponential` and `ExponentialSquared`, as well as a more advanced `Atmospheric` fog;
- Adds support for directional light influence over fog color;
- Extracts fog via `ExtractComponent`, then uses a prepare system that sets up a new dynamic uniform struct (`Fog`), similar to other mesh view types;
- Renders fog in PBR material shader, as a final adjustment to the `output_color`, after PBR is computed (but before tone mapping);
- Adds a new `StandardMaterial` flag to enable fog; (`fog_enabled`)
- Adds convenience methods for easier artistic control when creating non-linear fog types;
- Adds documentation around fog.
---
## Changelog
### Added
- Added support for distance-based fog effects for PBR materials, controllable per-camera via the new `FogSettings` component;
- Added `FogFalloff` enum for selecting between three widely used “traditional” fog falloff modes: `Linear`, `Exponential` and `ExponentialSquared`, as well as a more advanced `Atmospheric` fog;
# Objective
Load skeletal weights and indices from GLTF files. Animate meshes.
## Solution
- Load skeletal weights and indices from GLTF files.
- Added `SkinnedMesh` component and ` SkinnedMeshInverseBindPose` asset
- Added `extract_skinned_meshes` to extract joint matrices.
- Added queue phase systems for enqueuing the buffer writes.
Some notes:
- This ports part of # #2359 to the current main.
- This generates new `BufferVec`s and bind groups every frame. The expectation here is that the number of `Query::get` calls during extract is probably going to be the stronger bottleneck, with up to 256 calls per skinned mesh. Until that is optimized, caching buffers and bind groups is probably a non-concern.
- Unfortunately, due to the uniform size requirements, this means a 16KB buffer is allocated for every skinned mesh every frame. There's probably a few ways to get around this, but most of them require either compute shaders or storage buffers, which are both incompatible with WebGL2.
Co-authored-by: james7132 <contact@jamessliu.com>
Co-authored-by: François <mockersf@gmail.com>
Co-authored-by: James Liu <contact@jamessliu.com>
adds an example using UI for something more related to a game than the current UI examples.
Example with a game menu:
* new game - will display settings for 5 seconds before returning to menu
* preferences - can modify the settings, with two sub menus
* quit - will quit the game
I wanted a more complex UI example before starting the UI rewrite to have ground for comparison
Co-authored-by: François <8672791+mockersf@users.noreply.github.com>
I have run the VSCode Extension [markdownlint](https://marketplace.visualstudio.com/items?itemName=DavidAnson.vscode-markdownlint) on all Markdown Files in the Repo.
The provided Rules are documented here: https://github.com/DavidAnson/markdownlint/blob/v0.23.1/doc/Rules.md
Rules I didn't follow/fix:
* MD024/no-duplicate-heading
* Changelog: Here Heading will always repeat.
* Examples Readme: Platform-specific documentation should be symmetrical.
* MD025/single-title
* MD026/no-trailing-punctuation
* Caused by the ! in "Hello, World!".
* MD033/no-inline-html
* The plugins_guidlines file does need HTML, so the shown badges aren't downscaled too much.
* ~~MD036/no-emphasis-as-heading:~~
* ~~This Warning only Appears in the Github Issue Templates and can be ignored.~~
* ~~MD041/first-line-heading~~
* ~~Only appears in the Readme for the AlienCake example Assets, which is unimportant.~~
---
I also sorted the Examples in the Readme and Cargo.toml in this order/Priority:
* Topic/Folder
* Introductionary Examples
* Alphabetical Order
The explanation for each case, where it isn't Alphabetical :
* Diagnostics
* log_diagnostics: The usage of inbuild Diagnostics is more important than creating your own.
* ECS (Entity Component System)
* ecs_guide: The guide should be read, before diving into other Features.
* Reflection
* reflection: Basic Explanation should be read, before more advanced Topics.
* WASM Examples
* hello_wasm: It's "Hello, World!".
