260 lines
12 KiB
Plaintext
260 lines
12 KiB
Plaintext
shader_type spatial;
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render_mode unshaded, fog_disabled, depth_draw_never, depth_test_disabled, cull_disabled;
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// ── The 3D-to-2D pass ────────────────────────────────────────────────────────
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//
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// One fullscreen quad doing three jobs, in this order:
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//
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// sky repaint the background, because this pass owns those pixels
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// ink screen-space line work from the depth buffer
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// grade the anime split-tone
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//
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// ## Lines come from a SECOND DIFFERENCE of linearised depth
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//
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// This is the change that matters, and it is worth spelling out because the
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// previous version of this file did the usual thing and it was wrong:
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//
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// float ddiff = abs(dl - dr) + abs(du - dd); // <- first difference
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//
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// A first difference measures the SLOPE of the depth buffer, and slope is large
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// wherever a surface is oblique to the camera — which the ground always is. So
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// the road, the pavement, every roof and every long wall seen at an angle all
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// carried ink, and the threshold had to be raised until it smeared rather than
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// drew. Raising it then lost the real silhouettes at distance, which is why
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// `depth_threshold` had to be scaled by `dc` to stop far geometry dissolving
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// into noise: the whole formula was fighting itself.
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//
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// A second difference measures CURVATURE, and curvature is exactly zero across
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// any planar surface no matter how oblique it is to the camera. So it fires on
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// real silhouettes and real creases and on nothing else — a flat road grazing
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// the camera produces literally no signal, and the threshold can therefore be
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// set low enough to catch a distant railing.
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//
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// The two signs are kept apart and drawn differently, which is also from the
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// reference: positive curvature (the near side of a silhouette, a convex ridge)
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// inks strongly, negative curvature (an inside corner, where two surfaces meet
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// away from the viewer) inks faintly. That is what an animator does — the
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// outside line of a shape is heavy, the contact line inside it is light.
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uniform sampler2D screen_tex : hint_screen_texture, filter_linear;
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uniform sampler2D depth_tex : hint_depth_texture, filter_nearest;
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group_uniforms ink;
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uniform vec4 ink_color : source_color = vec4(0.224, 0.196, 0.310, 1.0);
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// How far apart the taps sit, in pixels. This IS the line weight. The reference
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// runs 1.35 at a 1.5-2x internal resolution; this project renders at 1x, and the
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// brief asks for a slightly harder and thicker line than the reference, so it
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// sits at 2.0 — about a two-pixel line at 1080p.
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uniform float ink_thickness : hint_range(0.5, 6.0) = 2.3;
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// Curvature at which a convex edge reaches full ink. Small, because the second
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// difference is already normalised by distance and produces almost nothing on
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// flat ground — this can be sensitive in a way the old first-difference test
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// could never afford to be.
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uniform float ink_sensitivity : hint_range(0.0005, 0.05) = 0.0034;
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uniform float ink_concave : hint_range(0.002, 0.2) = 0.024;
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uniform float ink_concave_amount : hint_range(0.0, 1.0) = 0.45;
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// Hardness: where the ramp to full ink STARTS, as a fraction of the threshold.
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// The reference effectively runs 0.32 — ink begins to appear at a third of the
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// threshold curvature, which is a soft, tapering line. Pushing it toward 1.0
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// gives a harder, more decisive one, which is what the brief asks for.
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//
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// It cannot BE 1.0: that is a step(), and a step on a diagonal edge is a
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// staircase that shimmers the moment anything moves.
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//
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// It also sets the NOISE FLOOR, and that is not a side effect to ignore. A
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// grazing ground plane quantises in the depth buffer into a staircase, and a
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// staircase has a large second difference at every step — at 0.32 those steps
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// ink faintly and the road comes out finely hatched, which is precisely what a
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// first render at a wider tap spacing showed.
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uniform float ink_hardness : hint_range(0.1, 0.95) = 0.62;
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// How much of the surface's own colour survives inside the line. Low but not
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// zero: pure flat ink over every edge reads as pasted on, a whisper of the
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// underlying hue reads as drawn.
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uniform float ink_hue_bleed : hint_range(0.0, 0.6) = 0.14;
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uniform float ink_strength : hint_range(0.0, 1.0) = 1.0;
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// Let the far background dissolve into haze instead of turning into a mess of
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// busy line work.
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uniform float ink_fade_start : hint_range(5.0, 400.0) = 85.0;
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uniform float ink_fade_end : hint_range(10.0, 900.0) = 220.0;
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// Depth taps land on the sky. Clamping rather than special-casing them keeps
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// the silhouette signal huge but bounded, so an object against the sky inks at
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// full weight on BOTH sides of its edge — which is where the reference's early
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// return leaves the line only half as thick as it should be.
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uniform float ink_sky_depth : hint_range(50.0, 4000.0) = 900.0;
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// ── The grade ────────────────────────────────────────────────────────────────
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//
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// A split-tone: cool violet into the darks, warm paper-white into the lights,
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// plus a lift that keeps shadow off the floor. Godot tonemaps and converts to
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// sRGB after this pass, so unlike the reference this stays in linear and does
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// NOT do its own sRGB conversion — doing both would gamma the frame twice.
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group_uniforms grade;
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uniform bool grade_enabled = true;
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uniform vec3 grade_shadow_tint : source_color = vec3(0.678, 0.659, 0.816);
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uniform vec3 grade_light_tint : source_color = vec3(1.0, 0.969, 0.910);
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uniform float grade_saturation : hint_range(0.0, 2.0) = 1.12;
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uniform float grade_lift : hint_range(0.0, 0.2) = 0.028;
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uniform float grade_warmth : hint_range(0.0, 0.3) = 0.05;
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uniform float grade_vignette : hint_range(0.0, 0.6) = 0.15;
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// The fullscreen pass owns the background pixels as well as the geometry ones.
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// Godot's screen copy holds only the viewport clear colour at far depth, so
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// sampling screen_tex there silently erases the real Environment sky — these
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// repaint it with the same palette and law as anime_sky.gdshader, and
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// LevelEnvironment keeps the two materials in sync.
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group_uniforms sky;
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uniform vec3 sky_top_color : source_color = vec3(0.18, 0.40, 0.85);
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uniform vec3 sky_horizon_color : source_color = vec3(0.72, 0.88, 0.98);
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uniform vec3 sky_ground_color : source_color = vec3(0.24, 0.22, 0.30);
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uniform vec3 sky_cloud_color : source_color = vec3(1.0, 0.99, 0.97);
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uniform vec3 sky_cloud_shadow : source_color = vec3(0.72, 0.75, 0.88);
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uniform float sky_cloud_cover : hint_range(0.0, 1.0) = 0.46;
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uniform float sky_cloud_scale : hint_range(0.2, 8.0) = 1.6;
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uniform float sky_cloud_softness : hint_range(0.001, 0.2) = 0.035;
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uniform float sky_drift : hint_range(0.0, 0.02) = 0.0022;
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uniform float sky_horizon_falloff : hint_range(0.1, 2.0) = 0.45;
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uniform vec3 sky_sun_direction = vec3(0.45, 0.34, -0.82);
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uniform vec3 sky_sun_color : source_color = vec3(1.0, 0.91, 0.72);
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uniform float sky_sun_halo : hint_range(0.0, 2.0) = 0.35;
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#include "res://assets/shaders/anime_clouds.gdshaderinc"
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vec3 painted_sky(vec3 dir) {
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float up = clamp(dir.y, 0.0, 1.0);
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float down = clamp(-dir.y, 0.0, 1.0);
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vec3 col = dir.y >= 0.0
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? mix(sky_horizon_color, sky_top_color, pow(up, sky_horizon_falloff))
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: mix(sky_horizon_color, sky_ground_color, pow(down, 0.62));
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float sun = pow(max(dot(dir, normalize(sky_sun_direction)), 0.0), 28.0);
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col += sky_sun_color * sun * sky_sun_halo;
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if (dir.y > 0.005) {
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vec2 uv = dir.xz / (dir.y + 0.18) * sky_cloud_scale
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+ vec2(TIME * sky_drift, 0.0);
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float n = cloud_field(uv);
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float edge = max(sky_cloud_softness, fwidth(n) * 1.35);
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float shape = smoothstep(
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sky_cloud_cover - edge, sky_cloud_cover + edge, n);
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vec3 sun_direction = normalize(sky_sun_direction);
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float facing = cloud_sun_response(uv, sun_direction);
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float core = smoothstep(
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sky_cloud_cover + 0.045 - edge,
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sky_cloud_cover + 0.155 + edge, n);
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float carving = smoothstep(
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0.38, 0.64, cloud_detail(uv + vec2(2.4, 9.7)));
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float lit_face = clamp(
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0.12 + core * 0.25 + facing * 0.58 + carving * 0.05,
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0.0, 1.0);
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vec3 lit_color = mix(sky_cloud_color, sky_sun_color, 0.18);
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vec3 cloud = mix(sky_cloud_shadow, lit_color, lit_face);
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float boundary = 1.0 - smoothstep(
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sky_cloud_cover + edge,
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sky_cloud_cover + 0.105 + edge, n);
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float silver_lining = boundary * facing * facing
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* mix(0.10, 0.24, clamp(sun_direction.y, 0.0, 1.0));
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cloud += sky_sun_color * silver_lining;
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col = mix(col, cloud, shape * smoothstep(0.0, 0.22, dir.y));
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}
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return col;
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}
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// Linear view depth, with the sky pinned to a finite value so the second
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// difference across a silhouette is large but never infinite.
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float linear_depth(vec2 uv, mat4 inv_proj) {
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float d = texture(depth_tex, uv).r;
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// Godot 4.3+ is reverse-Z: the far plane and the sky read exactly 0.
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if (d <= 0.000001) {
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return ink_sky_depth;
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}
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vec4 ndc = vec4(uv * 2.0 - 1.0, d, 1.0);
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vec4 view = inv_proj * ndc;
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return min(-view.z / view.w, ink_sky_depth);
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}
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vec3 apply_grade(vec3 c, vec2 uv) {
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if (!grade_enabled) {
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return c;
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}
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float l = dot(c, vec3(0.2126, 0.7152, 0.0722));
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// Split-tone: cool violet in the darks, warm paper white in the lights.
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float k = smoothstep(0.02, 0.55, l);
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c *= mix(grade_shadow_tint, grade_light_tint, k);
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// A gentle overall warmth, like late afternoon light through blossom.
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c += vec3(grade_warmth, grade_warmth * 0.45, 0.0) * l * 0.35;
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// Keep the shadows readable — never crushed to black.
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c += grade_lift * (1.0 - k);
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c = mix(vec3(l), c, grade_saturation);
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float r = length(uv - 0.5) * 1.42;
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c *= 1.0 - grade_vignette * pow(clamp(r, 0.0, 1.0), 2.6);
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return max(c, vec3(0.0));
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}
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void vertex() {
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POSITION = vec4(VERTEX.xy, 1.0, 1.0);
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}
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void fragment() {
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vec2 px = 1.0 / VIEWPORT_SIZE;
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vec2 uv = SCREEN_UV;
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// Background first: where the depth buffer has no geometry the screen copy
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// holds nothing but the clear colour, so those pixels are painted rather
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// than sampled. They still go through the ink test below — an object read
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// against the sky should be inked on the sky side of its edge too, which is
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// what makes the silhouette the heaviest line in the frame.
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float raw_depth = texture(depth_tex, uv).r;
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vec3 col;
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if (raw_depth <= 0.000001) {
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vec4 far_view = INV_PROJECTION_MATRIX * vec4(uv * 2.0 - 1.0, 0.0, 1.0);
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vec3 view_dir = normalize(far_view.xyz / far_view.w);
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vec3 world_dir = normalize((INV_VIEW_MATRIX * vec4(view_dir, 0.0)).xyz);
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col = painted_sky(world_dir);
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} else {
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col = texture(screen_tex, uv).rgb;
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}
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vec2 t = px * ink_thickness;
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float dc = linear_depth(uv, INV_PROJECTION_MATRIX);
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float dl = linear_depth(uv - vec2(t.x, 0.0), INV_PROJECTION_MATRIX);
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float dr = linear_depth(uv + vec2(t.x, 0.0), INV_PROJECTION_MATRIX);
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float du = linear_depth(uv + vec2(0.0, t.y), INV_PROJECTION_MATRIX);
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float dd = linear_depth(uv - vec2(0.0, t.y), INV_PROJECTION_MATRIX);
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// Second difference of linear depth, normalised by distance so that a given
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// real-world crease inks with the same weight near and far.
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float sx = (dl + dr - 2.0 * dc) / dc;
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float sy = (du + dd - 2.0 * dc) / dc;
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float convex = max(0.0, sx) + max(0.0, sy);
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float concave = max(0.0, -sx) + max(0.0, -sy);
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float edge = smoothstep(
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ink_sensitivity * ink_hardness, ink_sensitivity, convex);
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edge = max(edge, smoothstep(
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ink_concave, ink_concave * 3.4, concave) * ink_concave_amount);
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// Fade on the nearest real surface involved in the edge, not on dc: a sky
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// pixel beside a nearby roof would otherwise be measured at 900 m and its
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// half of the silhouette would fade out while the roof's half did not.
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float near_d = min(dc, min(min(dl, dr), min(du, dd)));
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edge *= 1.0 - smoothstep(ink_fade_start, ink_fade_end, near_d);
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edge *= ink_strength;
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vec3 line = mix(ink_color.rgb, col * 0.42, ink_hue_bleed);
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col = mix(col, line, clamp(edge, 0.0, 1.0));
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ALBEDO = apply_grade(col, uv);
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}
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