@driftengine/core 4.1.2 → 4.1.4

package/dist/render/shaders/flat/pointShadow.d.ts

@@ -1 +1 @@
-export declare const POINTSHADOW_GLSL = "float pointShadow(\n  highp sampler2DArray maps,\n  float layer,\n  vec3 toFrag,\n  float far,\n  float near,\n  float sourceRadius\n) {\n  /*\n   * The receiver's own distance, and it is the *radius* now rather than a cube face's local Z.\n   *\n   * That difference removes two things. Every tap of an angular disk shares this one number,\n   * where a cube needed each tap's own face-local Z recomputed \u2014 offsets changed it, and\n   * comparing them all against the centre ray drew repeated wedges on large receivers. And the\n   * stored value converts with a multiply instead of the perspective divide, which used to\n   * magnify whatever error the sample arrived with, worst near the far plane.\n   */\n  float dist = length(toFrag);\n\n  /*\n   * A receiver nearer than the near plane is not shadowed at all.\n   *\n   * The near plane already says \"nothing this close to the source is rendered into the\n   * map\", and a caller raises it so a fixture does not shadow its own housing. That was\n   * only ever applied to *casters*, so a surface inside the same distance still went\n   * through the comparison \u2014 against a map that, by the caller's own instruction, holds\n   * nothing about anything near it.\n   *\n   * Reported on a ceiling with recessed strip lights hung a hand's width below it: shadows\n   * that \"go on and off\" as the camera moves. The seams that made it unmissable are gone;\n   * the gate stays, because comparing against a map that holds nothing is still wrong.\n   *\n   * The gate is the caller's own number rather than a new constant. A consumer that wants\n   * the surface right beside its lamp to take a shadow can lower it, which is the same\n   * knob and the same meaning it has always had for the other side of the transaction.\n   */\n  if (dist <= near) return 1.0;\n\n  // Modest depth bias only. The heavy lifting is done by offsetting the\n  // sample position along the surface normal before this is called \u2014 see the\n  // call site \u2014 which is the cure for grazing receivers that depth bias alone\n  // cannot fix without peter-panning.\n  float bias = 0.04 + dist * 0.015;\n\n  /*\n   * Penumbra from the emitter's actual size.\n   *\n   * A shadow's softness is not a constant: it is set by how large the source is\n   * and how far the caster stands from the surface it falls on. Find the\n   * occluder with a centre tap, then widen the filter by\n   * sourceRadius * (receiver - occluder) / occluder \u2014 the real geometry of a\n   * penumbra. A bulb stays crisp; a flame goes soft with distance, which is\n   * what makes a fire read as a fire rather than a large lamp.\n   *\n   * textureLod(..., 0.0), not the implicit-derivative texture() call this replaced.\n   * pointShadowArray.ts allocates the array with texStorage3D at one storage level,\n   * NEAREST both filters \u2014 there is no mip to select, so the two calls fetch the\n   * identical texel. Not a quality trade; the output is bit-for-bit the same.\n   *\n   * It matters because implicit derivatives are only well-defined under *uniform*\n   * control flow, and this sits inside the light loop below. See AGENTS.md, 2026-08-07.\n   */\n  float centreStored = textureLod(maps, vec3(octEncode(toFrag), layer), 0.0).r;\n  float occluderDistance = centreStored >= 0.9999 ? dist : centreStored * far;\n  float spread = max(dist - occluderDistance, 0.0) / max(occluderDistance, 0.05);\n  /*\n   * Softness comes from *fading the shadow*, not from widening the filter.\n   *\n   * Four attempts went into widening it, and the fourth is what identified why\n   * none of them worked. The decisive observation was that the light pool looked\n   * right until a column entered it. With no occluder the penumbra estimate is zero,\n   * the filter stays at its floor, and the light pool is clean. The instant a\n   * column is found the filter widens \u2014 and a wide angular filter on a *cube*\n   * map is what crossed face seams. The artefact was never the columns' shadows;\n   * it was the search for their penumbra.\n   *\n   * The map has no seams now, so the cap could open. It has not, in this change:\n   * the storage moved and nothing else did, and the widening is a picture decision\n   * taken against a tree that already renders correctly.\n   */\n  float radius = clamp(sourceRadius * spread, 0.01, MAX_FILTER_RADIUS) + 0.012;\n\n  /*\n   * How much of a shadow survives, as well as how soft it is.\n   *\n   * This is the half that was missing, and it is why widening the filter never\n   * fixed anything. A penumbra does not merely blur with distance from its\n   * caster \u2014 it *takes over*. Far enough from the occluder, relative to how big\n   * the source is, every point on the receiver can see part of the flame and\n   * there is no umbra left at all: the shadow is gone, not blurry.\n   *\n   * Without it, two columns lit by a brazier threw full-strength edges fifteen\n   * metres across the terrace, and the gap between them read as a spotlight cone\n   * with straight sides rather than as a fire. Three attempts in, the note that\n   * unlocked it was that the pool should still fade naturally at its rim \u2014 a\n   * description of the falloff, not of the blur.\n   */\n  float penumbra = clamp(sourceRadius * spread * PENUMBRA_FADE, 0.0, 1.0);\n  float strength = 1.0 - penumbra * penumbra;\n\n  /*\n   * Taps are placed on a disk *perpendicular to the light ray*, rotated per\n   * fragment.\n   *\n   * Offsetting the ray by fixed 3D vectors was the earlier approach and it has\n   * two faults that only show on a wide filter. The offsets are not\n   * perpendicular to the ray, so part of each one moves the sample along its own\n   * depth instead of across the shadow; and twelve *fixed* taps at a large\n   * radius align, so the penumbra breaks into hard straight bands following the\n   * tap pattern \u2014 reported, on a brazier behind a rank of columns, as strange\n   * straight lines across the light pool.\n   *\n   * A per-fragment rotation turns that banding into a fine dither, which the eye\n   * reads as smooth \u2014 the standard cure, and it costs one hash.\n   *\n   * **Unchanged by the move to an octahedral map, and that is the point.** The offsets are\n   * angular perturbations of a direction, so every tap is still a direction and octEncode is\n   * defined on all of them. Nothing offsets in UV, so the map's border needs no wrap\n   * arithmetic and a tap that would have crossed a cube join lands on the adjacent texel.\n   */\n  vec3 fwd = normalize(toFrag);\n  vec3 up = abs(fwd.y) < 0.9 ? vec3(0.0, 1.0, 0.0) : vec3(1.0, 0.0, 0.0);\n  vec3 tu = normalize(cross(up, fwd));\n  vec3 tv = cross(fwd, tu);\n  // Interleaved gradient noise: cheap, and stable enough per pixel that the\n  // dither does not crawl while the camera moves.\n  float angle = fract(52.9829189 * fract(dot(gl_FragCoord.xy, vec2(0.06711056, 0.00583715))))\n    * 6.28318530718;\n  float ca = cos(angle);\n  float sa = sin(angle);\n\n  float lit = 0.0;\n  for (int i = 0; i < 12; i++) {\n    if (i >= uShadowFilterTaps) break;\n    vec2 disk = PCF_OFFSETS[i].xy;\n    vec2 turned = vec2(disk.x * ca - disk.y * sa, disk.x * sa + disk.y * ca);\n    // Perpendicular to the ray, and *not* scaled by its length: the offsets are\n    // an angular perturbation of a direction, which is what the encoding takes.\n    vec3 sampleDir = toFrag + (tu * turned.x + tv * turned.y) * radius;\n    float stored = textureLod(maps, vec3(octEncode(sampleDir), layer), 0.0).r;\n    if (stored >= 0.9999) {\n      // Beyond the far plane nothing was rendered: treat as lit.\n      lit += 1.0;\n      continue;\n    }\n    float storedDistance = stored * far;\n    if (dist - bias > storedDistance) {\n      // A point shadow cannot outlive the finite light that casts it, so its\n      // occlusion fades smoothly before the light's far plane.\n      lit += 1.0 - shadowReach(max(dist - storedDistance, 0.0), far);\n    } else {\n      lit += 1.0;\n    }\n  }\n  float shaded = lit / float(max(uShadowFilterTaps, 1));\n  // Fade the whole shadow toward lit as the penumbra swallows it.\n  return mix(1.0, shaded, strength);\n}\n\n/**\n * The same filter for a source that has a *shape* rather than a radius.\n *\n * **One map from the rectangle's centre, and the rectangle's own extent as the filter's shape.**\n * That is the whole difference from `pointShadow` above, and it is what makes the result read as\n * one wide emitter rather than as a lamp: a bulb's penumbra is round, so a row of nine of them\n * gives nine round shadows that pile up darker where they overlap, and a strip's penumbra is a\n * strip \u2014 soft along the cable, tight across it, one shadow with one soft edge.\n *\n * **The taps land on the emitter's silhouette as this fragment sees it**, which is the part a\n * scalar radius cannot express. The rectangle's two axes are projected onto the plane across the\n * light ray and each keeps its own width, so the sample pattern is an ellipse rather than a disk,\n * and a rectangle seen edge-on along one axis has no penumbra in that direction \u2014 which is correct\n * and is what a strip light actually does. Four dot products and two square roots more than the\n * round filter.\n *\n * **The fade is driven by the *narrower* projected half extent, and the reason is a strip.** A\n * penumbra does not only blur a shadow, it takes over: past the point where every part of the\n * receiver can see part of the emitter there is no umbra left. Driven by the wider extent, a\n * three-metre cable would delete its own shadow at a metre of caster clearance \u2014 but across the\n * cable the source is nearly a line, so an umbra band survives there and only the length is\n * smeared. `min` keeps that band; `max` would erase it.\n *\n * **What it costs** is a second copy of the tap loop, about 30 lines, compiled into the eight\n * permutations that carry point shadows. Folding the two into one loop was the alternative and was\n * not taken: the shared form has to multiply the disk offset by a width before scaling the axis\n * rather than after, which is a different rounding order on every tap of the *point* path \u2014 so the\n * saving is paid for by perturbing eight scenes that currently gate at zero pixels, in a change\n * about area lights. `docs/IMPROVEMENTS.md` carries the row.\n *\n * **What would make it wrong** is a rectangle much wider than its distance to the caster, where\n * different points on the emitter genuinely see different silhouettes and no single map from the\n * centre stands in for all of them \u2014 a ceiling-wide panel a hand's width above a table. The honest\n * answer there is several maps across the emitter, which is several bakes.\n */\nfloat areaShadow(\n  highp sampler2DArray maps,\n  float layer,\n  vec3 toFrag,\n  float far,\n  float near,\n  vec3 right,\n  vec3 up,\n  vec2 halfSize\n) {\n  float dist = length(toFrag);\n  /* The near plane says nothing this close to the emitter was rendered; see `pointShadow`. */\n  if (dist <= near) return 1.0;\n\n  float bias = 0.04 + dist * 0.015;\n\n  /*\n   * The blocker search, one tap along the centre ray, exactly as the round filter does it. Similar\n   * triangles turn the two distances into how much wider than the emitter the penumbra is.\n   *\n   * `textureLod(..., 0.0)` rather than `texture()`: the array carries one storage level and\n   * NEAREST both filters, so the two fetch the identical texel \u2014 and this sits inside the area\n   * light loop, which is not provably uniform control flow. See AGENTS.md, 2026-08-07.\n   */\n  float centreStored = textureLod(maps, vec3(octEncode(toFrag), layer), 0.0).r;\n  float occluderDistance = centreStored >= 0.9999 ? dist : centreStored * far;\n  float spread = max(dist - occluderDistance, 0.0) / max(occluderDistance, 0.05);\n\n  vec3 fwd = toFrag / dist;\n  /*\n   * Each axis with its along-the-ray component removed: the rectangle's outline flattened onto the\n   * plane the taps move in. The lengths that come back are the foreshortening \u2014 1 for a rectangle\n   * seen face-on, 0 for one seen exactly edge-on along that axis \u2014 so the two widths below carry\n   * both the emitter's size and how much of it this fragment can see.\n   */\n  vec3 acrossX = right - fwd * dot(right, fwd);\n  vec3 acrossY = up - fwd * dot(up, fwd);\n  float seenX = length(acrossX);\n  float seenY = length(acrossY);\n  /*\n   * A collapsed axis offsets nothing rather than offsetting along an arbitrary direction. Both\n   * cannot collapse at once: `right` and `up` are perpendicular, so a ray parallel to one of\n   * them is perpendicular to the other.\n   */\n  vec3 alongX = seenX > 1e-5 ? acrossX / seenX : vec3(0.0);\n  vec3 alongY = seenY > 1e-5 ? acrossY / seenY : vec3(0.0);\n\n  float halfX = halfSize.x * seenX;\n  float halfY = halfSize.y * seenY;\n  /* The same ceiling and the same floor the round filter uses, per axis. See MAX_FILTER_RADIUS. */\n  float widthX = min(halfX * spread, MAX_FILTER_RADIUS) + 0.012;\n  float widthY = min(halfY * spread, MAX_FILTER_RADIUS) + 0.012;\n\n  /* The narrower half extent, for the reason in the header: it is what keeps a strip's umbra. */\n  float penumbra = clamp(min(halfX, halfY) * spread * PENUMBRA_FADE, 0.0, 1.0);\n  float strength = 1.0 - penumbra * penumbra;\n\n  /*\n   * Rotated per fragment inside the unit disk *before* the ellipse maps it, so the dither that\n   * breaks up twelve aligned taps survives the anisotropy. Interleaved gradient noise, one hash;\n   * without it a wide filter bands along the tap pattern \u2014 reported on a brazier behind a rank of\n   * columns as straight lines across the light pool.\n   */\n  float angle = fract(52.9829189 * fract(dot(gl_FragCoord.xy, vec2(0.06711056, 0.00583715))))\n    * 6.28318530718;\n  float ca = cos(angle);\n  float sa = sin(angle);\n\n  float lit = 0.0;\n  for (int i = 0; i < 12; i++) {\n    if (i >= uShadowFilterTaps) break;\n    vec2 disk = PCF_OFFSETS[i].xy;\n    vec2 turned = vec2(disk.x * ca - disk.y * sa, disk.x * sa + disk.y * ca);\n    vec3 sampleDir = toFrag + alongX * (turned.x * widthX) + alongY * (turned.y * widthY);\n    float stored = textureLod(maps, vec3(octEncode(sampleDir), layer), 0.0).r;\n    if (stored >= 0.9999) {\n      /* Beyond the far plane nothing was rendered: treat as lit. */\n      lit += 1.0;\n      continue;\n    }\n    float storedDistance = stored * far;\n    if (dist - bias > storedDistance) {\n      /* An area light's occlusion cannot outlive the map that carries it either. */\n      lit += 1.0 - shadowReach(max(dist - storedDistance, 0.0), far);\n    } else {\n      lit += 1.0;\n    }\n  }\n  float shaded = lit / float(max(uShadowFilterTaps, 1));\n  return mix(1.0, shaded, strength);\n}\n#endif\n\nout vec4 outColor;\n\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB. See renderQuality.ts. */\nuniform int uOutputTransform;\n/** Scales the scene into the tone curve. 1 is the reference grade. See renderQuality.ts. */\nuniform float uOutputExposure;\n\n/*\n * ACES: the reference fit, not the cheap one.\n *\n * This was Narkowicz's single rational function, on the argument that the difference from\n * the reference curve is invisible next to the gain. That argument holds for a look and\n * fails for a *match*, which is what this option is for \u2014 aces exists so a world ported\n * from three.js reads the same, and three.js applies the full fit: into AP1 through\n * ACESInputMat, the RRT and ODT together, then back out through ACESOutputMat.\n *\n * The two curves are not a shade apart. Narkowicz is markedly brighter through the\n * midtones, which is exactly where an interior scene lives, and it is a large part of a\n * measured ~1.7x that survived correcting the colour space and the missing Lambert pi.\n * An approximation of a standard is the wrong thing to hold when the standard is the\n * specification.\n */\nvec3 rrtAndOdtFit(vec3 v) {\n  vec3 a = v * (v + 0.0245786) - 0.000090537;\n  vec3 b = v * (0.983729 * v + 0.4329510) + 0.238081;\n  return a / b;\n}\n\nvec3 acesFilmic(vec3 x) {\n  /*\n   * Exposure first, because a tone curve is only defined relative to one.\n   *\n   * The reference RRT and ODT are graded for a dark cinema. Every renderer that ships ACES\n   * scales its input to suit whatever it is actually shown on, and the factor each one\n   * picks is a *look*, not a standard - so this engine takes no position and reads it from\n   * the caller. Neutral by default, which is the reference grade unmodified. three.js's own\n   * pick is 1 / 0.6, for a consumer matching one.\n   */\n  x *= uOutputExposure;\n  // Columns, as GLSL reads them: sRGB -> XYZ -> D65_2_D60 -> AP1 -> RRT_SAT.\n  const mat3 ACES_INPUT = mat3(\n    0.59719, 0.07600, 0.02840,\n    0.35458, 0.90834, 0.13383,\n    0.04823, 0.01566, 0.83777\n  );\n  // ODT_SAT -> XYZ -> D60_2_D65 -> sRGB.\n  const mat3 ACES_OUTPUT = mat3(\n     1.60475, -0.10208, -0.00327,\n    -0.53108,  1.10813, -0.07276,\n    -0.07367, -0.00605,  1.07602\n  );\n  return clamp(ACES_OUTPUT * rrtAndOdtFit(ACES_INPUT * x), 0.0, 1.0);\n}\n\n/*\n * Linear to sRGB. The piecewise form rather than a plain pow: the linear toe near black\n * is where banding lives in an 8-bit buffer, and the cheap approximation puts it in the\n * wrong place.\n */\nvec3 linearToSrgb(vec3 c) {\n  vec3 low = c * 12.92;\n  vec3 high = 1.055 * pow(max(c, vec3(0.0)), vec3(1.0 / 2.4)) - 0.055;\n  return mix(high, low, step(c, vec3(0.0031308)));\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  return linearToSrgb(c);\n}\n\n\n/**\n * A fixed Poisson disk avoids the grid-shaped edge left by square 3x3 PCF.\n * Directional and point shadows consume the same maximum filter-tap budget;\n * their texture sizes differ because one is a 2D projection of a frustum and one\n * is an octahedral projection of the whole sphere, not because one is a lower\n * quality tier.\n */\n#if DIRECTIONAL_SHADOWS\nconst vec2 DIRECTIONAL_PCF_OFFSETS[12] = vec2[12](\n  vec2(-0.326, -0.406), vec2( 0.519,  0.767), vec2( 0.962, -0.195), vec2(-0.696,  0.457),\n  vec2(-0.840, -0.074), vec2( 0.185, -0.893), vec2( 0.896,  0.412), vec2(-0.203,  0.621),\n  vec2( 0.473, -0.480), vec2( 0.507,  0.064), vec2(-0.322, -0.933), vec2(-0.792, -0.598)\n);\n\n/** Anything outside the light frustum or beyond its far plane counts as lit. */";
+export declare const POINTSHADOW_GLSL = "float pointShadow(\n  highp sampler2DArray maps,\n  float layer,\n  vec3 toFrag,\n  float far,\n  float near,\n  float sourceRadius\n) {\n  /*\n   * The receiver's own distance, and it is the *radius* now rather than a cube face's local Z.\n   *\n   * That difference removes two things. Every tap of an angular disk shares this one number,\n   * where a cube needed each tap's own face-local Z recomputed \u2014 offsets changed it, and\n   * comparing them all against the centre ray drew repeated wedges on large receivers. And the\n   * stored value converts with a multiply instead of the perspective divide, which used to\n   * magnify whatever error the sample arrived with, worst near the far plane.\n   */\n  float dist = length(toFrag);\n\n  /*\n   * A receiver nearer than the near plane is not shadowed at all.\n   *\n   * The near plane already says \"nothing this close to the source is rendered into the\n   * map\", and a caller raises it so a fixture does not shadow its own housing. That was\n   * only ever applied to *casters*, so a surface inside the same distance still went\n   * through the comparison \u2014 against a map that, by the caller's own instruction, holds\n   * nothing about anything near it.\n   *\n   * Reported on a ceiling with recessed strip lights hung a hand's width below it: shadows\n   * that \"go on and off\" as the camera moves. The seams that made it unmissable are gone;\n   * the gate stays, because comparing against a map that holds nothing is still wrong.\n   *\n   * The gate is the caller's own number rather than a new constant. A consumer that wants\n   * the surface right beside its lamp to take a shadow can lower it, which is the same\n   * knob and the same meaning it has always had for the other side of the transaction.\n   */\n  if (dist <= near) return 1.0;\n\n  // Modest depth bias only. The heavy lifting is done by offsetting the\n  // sample position along the surface normal before this is called \u2014 see the\n  // call site \u2014 which is the cure for grazing receivers that depth bias alone\n  // cannot fix without peter-panning.\n  float bias = 0.04 + dist * 0.015;\n\n  /*\n   * Penumbra from the emitter's actual size.\n   *\n   * A shadow's softness is not a constant: it is set by how large the source is\n   * and how far the caster stands from the surface it falls on. Find the\n   * occluder with a centre tap, then widen the filter by\n   * sourceRadius * (receiver - occluder) / occluder \u2014 the real geometry of a\n   * penumbra. A bulb stays crisp; a flame goes soft with distance, which is\n   * what makes a fire read as a fire rather than a large lamp.\n   *\n   * textureLod(..., 0.0), not the implicit-derivative texture() call this replaced.\n   * pointShadowArray.ts allocates the array with texStorage3D at one storage level,\n   * NEAREST both filters \u2014 there is no mip to select, so the two calls fetch the\n   * identical texel. Not a quality trade; the output is bit-for-bit the same.\n   *\n   * It matters because implicit derivatives are only well-defined under *uniform*\n   * control flow, and this sits inside the light loop below. See AGENTS.md, 2026-08-07.\n   */\n  float centreStored = textureLod(maps, vec3(octEncode(toFrag), layer), 0.0).r;\n  float occluderDistance = centreStored >= 0.9999 ? dist : centreStored * far;\n  float spread = max(dist - occluderDistance, 0.0) / max(occluderDistance, 0.05);\n  /*\n   * Softness comes from *fading the shadow*, not from widening the filter.\n   *\n   * Four attempts went into widening it, and the fourth is what identified why\n   * none of them worked. The decisive observation was that the light pool looked\n   * right until a column entered it. With no occluder the penumbra estimate is zero,\n   * the filter stays at its floor, and the light pool is clean. The instant a\n   * column is found the filter widens \u2014 and a wide angular filter on a *cube*\n   * map is what crossed face seams. The artefact was never the columns' shadows;\n   * it was the search for their penumbra.\n   *\n   * The map has no seams now, so the cap could open. It has not, in this change:\n   * the storage moved and nothing else did, and the widening is a picture decision\n   * taken against a tree that already renders correctly.\n   */\n  float radius = clamp(sourceRadius * spread, 0.01, MAX_FILTER_RADIUS) + 0.012;\n\n  /*\n   * How much of a shadow survives, as well as how soft it is.\n   *\n   * This is the half that was missing, and it is why widening the filter never\n   * fixed anything. A penumbra does not merely blur with distance from its\n   * caster \u2014 it *takes over*. Far enough from the occluder, relative to how big\n   * the source is, every point on the receiver can see part of the flame and\n   * there is no umbra left at all: the shadow is gone, not blurry.\n   *\n   * Without it, two columns lit by a brazier threw full-strength edges fifteen\n   * metres across the terrace, and the gap between them read as a spotlight cone\n   * with straight sides rather than as a fire. Three attempts in, the note that\n   * unlocked it was that the pool should still fade naturally at its rim \u2014 a\n   * description of the falloff, not of the blur.\n   */\n  float penumbra = clamp(sourceRadius * spread * PENUMBRA_FADE, 0.0, 1.0);\n  float strength = 1.0 - penumbra * penumbra;\n\n  /*\n   * Taps are placed on a disk *perpendicular to the light ray*, turned by half a golden\n   * angle on every other column of pixels.\n   *\n   * Offsetting the ray by fixed 3D vectors was the earlier approach and it has\n   * two faults that only show on a wide filter. The offsets are not\n   * perpendicular to the ray, so part of each one moves the sample along its own\n   * depth instead of across the shadow; and twelve *fixed* taps at a large\n   * radius align, so the penumbra breaks into hard straight bands following the\n   * tap pattern \u2014 reported, on a brazier behind a rank of columns, as strange\n   * straight lines across the light pool.\n   *\n   * **The cure for that was a per-fragment hash, and it is what made the penumbra\n   * stipple.** Twelve taps are a coarse estimate of how much of the emitter this point can\n   * see; turning them by an unrelated angle at every pixel makes each pixel's error\n   * independent of its neighbour's, which is the definition of noise. Something has to\n   * average that back out, and this engine's lit pass is the last thing to touch the frame \u2014\n   * there is no blur and no temporal resolve behind it, so the noise reached the screen. Two\n   * games reported the same coarse cross-hatch across a light pool.\n   *\n   * **So the turn comes from a two-pixel tile instead, and the pair is averaged afterwards.**\n   * A pixel's own x parity picks one of two tap sets half a golden angle apart, and\n   * `main` folds the pair together once the light loop is over \u2014 see the resolve there. The\n   * pair's twenty-four taps are the filter; each pixel pays for twelve of them.\n   *\n   * **A *column* pair rather than a 2x2 square, and that was measured rather than assumed.**\n   * Four turns on a square tile, resolved with both derivatives, came back at 3.88 against this\n   * pair's 2.46 on the same build \u2014 because the second derivative hands the lower row of a quad\n   * the upper row's difference on hardware that answers a coarse derivative, and with four turns\n   * that is the wrong difference. Two turns keyed on the column alone make it the right one,\n   * which is why the tile's shape and the resolve are one decision rather than two.\n   *\n   * **Neither half works alone**, which is the same pairing `ambientOcclusion.ts` describes\n   * between its rotation tile and its blur. Measured on `demo/dev/pointshadow.html` at\n   * `?exposure=6`, as mean absolute luminance difference to the right and down neighbour over\n   * the mover's penumbra, on WebGL2: **4.60** for the per-fragment hash this replaces, **2.88**\n   * for this tile with no resolve \u2014 and a one-pixel vertical comb in the picture, which is the\n   * tile itself on screen \u2014 against **2.37** for the pair resolved. A frame with the shadow\n   * switched off measures 0.81, and WebGPU answers 4.56 and 2.33 for the same two builds.\n   *\n   * **Unchanged by the move to an octahedral map, and that is the point.** The offsets are\n   * angular perturbations of a direction, so every tap is still a direction and octEncode is\n   * defined on all of them. Nothing offsets in UV, so the map's border needs no wrap\n   * arithmetic and a tap that would have crossed a cube join lands on the adjacent texel.\n   */\n  vec3 fwd = normalize(toFrag);\n  vec3 up = abs(fwd.y) < 0.9 ? vec3(0.0, 1.0, 0.0) : vec3(1.0, 0.0, 0.0);\n  vec3 tu = normalize(cross(up, fwd));\n  vec3 tv = cross(fwd, tu);\n  /*\n   * Integer arithmetic, because this is a lattice: a shader compiler is free to implement\n   * `mod(x, 2.0)` as a multiply by a reciprocal, and a GPU here answers 3 for `3.0 % 3.0`.\n   * `gl_FragCoord.x` is the pixel's centre, so truncating it is the pixel's own column.\n   */\n  float angle = float(int(gl_FragCoord.x) & 1) * PCF_PAIR_TURN;\n  float ca = cos(angle);\n  float sa = sin(angle);\n\n  float lit = 0.0;\n  for (int i = 0; i < 12; i++) {\n    if (i >= uShadowFilterTaps) break;\n    vec2 disk = PCF_OFFSETS[i];\n    vec2 turned = vec2(disk.x * ca - disk.y * sa, disk.x * sa + disk.y * ca);\n    // Perpendicular to the ray, and *not* scaled by its length: the offsets are\n    // an angular perturbation of a direction, which is what the encoding takes.\n    vec3 sampleDir = toFrag + (tu * turned.x + tv * turned.y) * radius;\n    float stored = textureLod(maps, vec3(octEncode(sampleDir), layer), 0.0).r;\n    if (stored >= 0.9999) {\n      // Beyond the far plane nothing was rendered: treat as lit.\n      lit += 1.0;\n      continue;\n    }\n    float storedDistance = stored * far;\n    if (dist - bias > storedDistance) {\n      // A point shadow cannot outlive the finite light that casts it, so its\n      // occlusion fades smoothly before the light's far plane.\n      lit += 1.0 - shadowReach(max(dist - storedDistance, 0.0), far);\n    } else {\n      lit += 1.0;\n    }\n  }\n  float shaded = lit / float(max(uShadowFilterTaps, 1));\n  // Fade the whole shadow toward lit as the penumbra swallows it.\n  return mix(1.0, shaded, strength);\n}\n\n/**\n * The same filter for a source that has a *shape* rather than a radius.\n *\n * **One map from the rectangle's centre, and the rectangle's own extent as the filter's shape.**\n * That is the whole difference from `pointShadow` above, and it is what makes the result read as\n * one wide emitter rather than as a lamp: a bulb's penumbra is round, so a row of nine of them\n * gives nine round shadows that pile up darker where they overlap, and a strip's penumbra is a\n * strip \u2014 soft along the cable, tight across it, one shadow with one soft edge.\n *\n * **The taps land on the emitter's silhouette as this fragment sees it**, which is the part a\n * scalar radius cannot express. The rectangle's two axes are projected onto the plane across the\n * light ray and each keeps its own width, so the sample pattern is an ellipse rather than a disk,\n * and a rectangle seen edge-on along one axis has no penumbra in that direction \u2014 which is correct\n * and is what a strip light actually does. Four dot products and two square roots more than the\n * round filter.\n *\n * **The fade is driven by the *narrower* projected half extent, and the reason is a strip.** A\n * penumbra does not only blur a shadow, it takes over: past the point where every part of the\n * receiver can see part of the emitter there is no umbra left. Driven by the wider extent, a\n * three-metre cable would delete its own shadow at a metre of caster clearance \u2014 but across the\n * cable the source is nearly a line, so an umbra band survives there and only the length is\n * smeared. `min` keeps that band; `max` would erase it.\n *\n * **What it costs** is a second copy of the tap loop, about 30 lines, compiled into the eight\n * permutations that carry point shadows. Folding the two into one loop was the alternative and was\n * not taken: the shared form has to multiply the disk offset by a width before scaling the axis\n * rather than after, which is a different rounding order on every tap of the *point* path \u2014 so the\n * saving is paid for by perturbing eight scenes that currently gate at zero pixels, in a change\n * about area lights. `docs/IMPROVEMENTS.md` carries the row.\n *\n * **What would make it wrong** is a rectangle much wider than its distance to the caster, where\n * different points on the emitter genuinely see different silhouettes and no single map from the\n * centre stands in for all of them \u2014 a ceiling-wide panel a hand's width above a table. The honest\n * answer there is several maps across the emitter, which is several bakes.\n */\nfloat areaShadow(\n  highp sampler2DArray maps,\n  float layer,\n  vec3 toFrag,\n  float far,\n  float near,\n  vec3 right,\n  vec3 up,\n  vec2 halfSize\n) {\n  float dist = length(toFrag);\n  /* The near plane says nothing this close to the emitter was rendered; see `pointShadow`. */\n  if (dist <= near) return 1.0;\n\n  float bias = 0.04 + dist * 0.015;\n\n  /*\n   * The blocker search, one tap along the centre ray, exactly as the round filter does it. Similar\n   * triangles turn the two distances into how much wider than the emitter the penumbra is.\n   *\n   * `textureLod(..., 0.0)` rather than `texture()`: the array carries one storage level and\n   * NEAREST both filters, so the two fetch the identical texel \u2014 and this sits inside the area\n   * light loop, which is not provably uniform control flow. See AGENTS.md, 2026-08-07.\n   */\n  float centreStored = textureLod(maps, vec3(octEncode(toFrag), layer), 0.0).r;\n  float occluderDistance = centreStored >= 0.9999 ? dist : centreStored * far;\n  float spread = max(dist - occluderDistance, 0.0) / max(occluderDistance, 0.05);\n\n  vec3 fwd = toFrag / dist;\n  /*\n   * Each axis with its along-the-ray component removed: the rectangle's outline flattened onto the\n   * plane the taps move in. The lengths that come back are the foreshortening \u2014 1 for a rectangle\n   * seen face-on, 0 for one seen exactly edge-on along that axis \u2014 so the two widths below carry\n   * both the emitter's size and how much of it this fragment can see.\n   */\n  vec3 acrossX = right - fwd * dot(right, fwd);\n  vec3 acrossY = up - fwd * dot(up, fwd);\n  float seenX = length(acrossX);\n  float seenY = length(acrossY);\n  /*\n   * A collapsed axis offsets nothing rather than offsetting along an arbitrary direction. Both\n   * cannot collapse at once: `right` and `up` are perpendicular, so a ray parallel to one of\n   * them is perpendicular to the other.\n   */\n  vec3 alongX = seenX > 1e-5 ? acrossX / seenX : vec3(0.0);\n  vec3 alongY = seenY > 1e-5 ? acrossY / seenY : vec3(0.0);\n\n  float halfX = halfSize.x * seenX;\n  float halfY = halfSize.y * seenY;\n  /* The same ceiling and the same floor the round filter uses, per axis. See MAX_FILTER_RADIUS. */\n  float widthX = min(halfX * spread, MAX_FILTER_RADIUS) + 0.012;\n  float widthY = min(halfY * spread, MAX_FILTER_RADIUS) + 0.012;\n\n  /* The narrower half extent, for the reason in the header: it is what keeps a strip's umbra. */\n  float penumbra = clamp(min(halfX, halfY) * spread * PENUMBRA_FADE, 0.0, 1.0);\n  float strength = 1.0 - penumbra * penumbra;\n\n  /*\n   * Turned inside the unit disk *before* the ellipse maps it, so the half-turn that separates\n   * the two halves of a pixel pair survives the anisotropy. The same two-pixel tile the round\n   * filter uses and for the same reasons \u2014 see `pointShadow`, which carries the measurement;\n   * a rectangle's shadow stippled exactly as a lamp's did, because it is the same twelve taps.\n   */\n  float angle = float(int(gl_FragCoord.x) & 1) * PCF_PAIR_TURN;\n  float ca = cos(angle);\n  float sa = sin(angle);\n\n  float lit = 0.0;\n  for (int i = 0; i < 12; i++) {\n    if (i >= uShadowFilterTaps) break;\n    vec2 disk = PCF_OFFSETS[i];\n    vec2 turned = vec2(disk.x * ca - disk.y * sa, disk.x * sa + disk.y * ca);\n    vec3 sampleDir = toFrag + alongX * (turned.x * widthX) + alongY * (turned.y * widthY);\n    float stored = textureLod(maps, vec3(octEncode(sampleDir), layer), 0.0).r;\n    if (stored >= 0.9999) {\n      /* Beyond the far plane nothing was rendered: treat as lit. */\n      lit += 1.0;\n      continue;\n    }\n    float storedDistance = stored * far;\n    if (dist - bias > storedDistance) {\n      /* An area light's occlusion cannot outlive the map that carries it either. */\n      lit += 1.0 - shadowReach(max(dist - storedDistance, 0.0), far);\n    } else {\n      lit += 1.0;\n    }\n  }\n  float shaded = lit / float(max(uShadowFilterTaps, 1));\n  return mix(1.0, shaded, strength);\n}\n#endif\n\nout vec4 outColor;\n\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB. See renderQuality.ts. */\nuniform int uOutputTransform;\n/** Scales the scene into the tone curve. 1 is the reference grade. See renderQuality.ts. */\nuniform float uOutputExposure;\n\n/*\n * ACES: the reference fit, not the cheap one.\n *\n * This was Narkowicz's single rational function, on the argument that the difference from\n * the reference curve is invisible next to the gain. That argument holds for a look and\n * fails for a *match*, which is what this option is for \u2014 aces exists so a world ported\n * from three.js reads the same, and three.js applies the full fit: into AP1 through\n * ACESInputMat, the RRT and ODT together, then back out through ACESOutputMat.\n *\n * The two curves are not a shade apart. Narkowicz is markedly brighter through the\n * midtones, which is exactly where an interior scene lives, and it is a large part of a\n * measured ~1.7x that survived correcting the colour space and the missing Lambert pi.\n * An approximation of a standard is the wrong thing to hold when the standard is the\n * specification.\n */\nvec3 rrtAndOdtFit(vec3 v) {\n  vec3 a = v * (v + 0.0245786) - 0.000090537;\n  vec3 b = v * (0.983729 * v + 0.4329510) + 0.238081;\n  return a / b;\n}\n\nvec3 acesFilmic(vec3 x) {\n  /*\n   * Exposure first, because a tone curve is only defined relative to one.\n   *\n   * The reference RRT and ODT are graded for a dark cinema. Every renderer that ships ACES\n   * scales its input to suit whatever it is actually shown on, and the factor each one\n   * picks is a *look*, not a standard - so this engine takes no position and reads it from\n   * the caller. Neutral by default, which is the reference grade unmodified. three.js's own\n   * pick is 1 / 0.6, for a consumer matching one.\n   */\n  x *= uOutputExposure;\n  // Columns, as GLSL reads them: sRGB -> XYZ -> D65_2_D60 -> AP1 -> RRT_SAT.\n  const mat3 ACES_INPUT = mat3(\n    0.59719, 0.07600, 0.02840,\n    0.35458, 0.90834, 0.13383,\n    0.04823, 0.01566, 0.83777\n  );\n  // ODT_SAT -> XYZ -> D60_2_D65 -> sRGB.\n  const mat3 ACES_OUTPUT = mat3(\n     1.60475, -0.10208, -0.00327,\n    -0.53108,  1.10813, -0.07276,\n    -0.07367, -0.00605,  1.07602\n  );\n  return clamp(ACES_OUTPUT * rrtAndOdtFit(ACES_INPUT * x), 0.0, 1.0);\n}\n\n/*\n * Linear to sRGB. The piecewise form rather than a plain pow: the linear toe near black\n * is where banding lives in an 8-bit buffer, and the cheap approximation puts it in the\n * wrong place.\n */\nvec3 linearToSrgb(vec3 c) {\n  vec3 low = c * 12.92;\n  vec3 high = 1.055 * pow(max(c, vec3(0.0)), vec3(1.0 / 2.4)) - 0.055;\n  return mix(high, low, step(c, vec3(0.0031308)));\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  return linearToSrgb(c);\n}\n\n\n/**\n * A fixed Poisson disk avoids the grid-shaped edge left by square 3x3 PCF.\n * Directional and point shadows consume the same maximum filter-tap budget;\n * their texture sizes differ because one is a 2D projection of a frustum and one\n * is an octahedral projection of the whole sphere, not because one is a lower\n * quality tier.\n */\n#if DIRECTIONAL_SHADOWS\nconst vec2 DIRECTIONAL_PCF_OFFSETS[12] = vec2[12](\n  vec2(-0.326, -0.406), vec2( 0.519,  0.767), vec2( 0.962, -0.195), vec2(-0.696,  0.457),\n  vec2(-0.840, -0.074), vec2( 0.185, -0.893), vec2( 0.896,  0.412), vec2(-0.203,  0.621),\n  vec2( 0.473, -0.480), vec2( 0.507,  0.064), vec2(-0.322, -0.933), vec2(-0.792, -0.598)\n);\n\n/** Anything outside the light frustum or beyond its far plane counts as lit. */";

package/dist/render/shaders/flat/pointShadow.js

@@ -115,8 +115,8 @@ export const POINTSHADOW_GLSL = `float pointShadow(
   float strength = 1.0 - penumbra * penumbra;
 
   /*
-   * Taps are placed on a disk *perpendicular to the light ray*, rotated per
-   * fragment.
+   * Taps are placed on a disk *perpendicular to the light ray*, turned by half a golden
+   * angle on every other column of pixels.
    *
    * Offsetting the ray by fixed 3D vectors was the earlier approach and it has
    * two faults that only show on a wide filter. The offsets are not
@@ -126,8 +126,33 @@ export const POINTSHADOW_GLSL = `float pointShadow(
    * tap pattern — reported, on a brazier behind a rank of columns, as strange
    * straight lines across the light pool.
    *
-   * A per-fragment rotation turns that banding into a fine dither, which the eye
-   * reads as smooth — the standard cure, and it costs one hash.
+   * **The cure for that was a per-fragment hash, and it is what made the penumbra
+   * stipple.** Twelve taps are a coarse estimate of how much of the emitter this point can
+   * see; turning them by an unrelated angle at every pixel makes each pixel's error
+   * independent of its neighbour's, which is the definition of noise. Something has to
+   * average that back out, and this engine's lit pass is the last thing to touch the frame —
+   * there is no blur and no temporal resolve behind it, so the noise reached the screen. Two
+   * games reported the same coarse cross-hatch across a light pool.
+   *
+   * **So the turn comes from a two-pixel tile instead, and the pair is averaged afterwards.**
+   * A pixel's own x parity picks one of two tap sets half a golden angle apart, and
+   * \`main\` folds the pair together once the light loop is over — see the resolve there. The
+   * pair's twenty-four taps are the filter; each pixel pays for twelve of them.
+   *
+   * **A *column* pair rather than a 2x2 square, and that was measured rather than assumed.**
+   * Four turns on a square tile, resolved with both derivatives, came back at 3.88 against this
+   * pair's 2.46 on the same build — because the second derivative hands the lower row of a quad
+   * the upper row's difference on hardware that answers a coarse derivative, and with four turns
+   * that is the wrong difference. Two turns keyed on the column alone make it the right one,
+   * which is why the tile's shape and the resolve are one decision rather than two.
+   *
+   * **Neither half works alone**, which is the same pairing \`ambientOcclusion.ts\` describes
+   * between its rotation tile and its blur. Measured on \`demo/dev/pointshadow.html\` at
+   * \`?exposure=6\`, as mean absolute luminance difference to the right and down neighbour over
+   * the mover's penumbra, on WebGL2: **4.60** for the per-fragment hash this replaces, **2.88**
+   * for this tile with no resolve — and a one-pixel vertical comb in the picture, which is the
+   * tile itself on screen — against **2.37** for the pair resolved. A frame with the shadow
+   * switched off measures 0.81, and WebGPU answers 4.56 and 2.33 for the same two builds.
    *
    * **Unchanged by the move to an octahedral map, and that is the point.** The offsets are
    * angular perturbations of a direction, so every tap is still a direction and octEncode is
@@ -138,17 +163,19 @@ export const POINTSHADOW_GLSL = `float pointShadow(
   vec3 up = abs(fwd.y) < 0.9 ? vec3(0.0, 1.0, 0.0) : vec3(1.0, 0.0, 0.0);
   vec3 tu = normalize(cross(up, fwd));
   vec3 tv = cross(fwd, tu);
-  // Interleaved gradient noise: cheap, and stable enough per pixel that the
-  // dither does not crawl while the camera moves.
-  float angle = fract(52.9829189 * fract(dot(gl_FragCoord.xy, vec2(0.06711056, 0.00583715))))
-    * 6.28318530718;
+  /*
+   * Integer arithmetic, because this is a lattice: a shader compiler is free to implement
+   * \`mod(x, 2.0)\` as a multiply by a reciprocal, and a GPU here answers 3 for \`3.0 % 3.0\`.
+   * \`gl_FragCoord.x\` is the pixel's centre, so truncating it is the pixel's own column.
+   */
+  float angle = float(int(gl_FragCoord.x) & 1) * PCF_PAIR_TURN;
   float ca = cos(angle);
   float sa = sin(angle);
 
   float lit = 0.0;
   for (int i = 0; i < ${MAX_SHADOW_FILTER_TAPS}; i++) {
     if (i >= uShadowFilterTaps) break;
-    vec2 disk = PCF_OFFSETS[i].xy;
+    vec2 disk = PCF_OFFSETS[i];
     vec2 turned = vec2(disk.x * ca - disk.y * sa, disk.x * sa + disk.y * ca);
     // Perpendicular to the ray, and *not* scaled by its length: the offsets are
     // an angular perturbation of a direction, which is what the encoding takes.
@@ -266,20 +293,19 @@ float areaShadow(
   float strength = 1.0 - penumbra * penumbra;
 
   /*
-   * Rotated per fragment inside the unit disk *before* the ellipse maps it, so the dither that
-   * breaks up twelve aligned taps survives the anisotropy. Interleaved gradient noise, one hash;
-   * without it a wide filter bands along the tap pattern — reported on a brazier behind a rank of
-   * columns as straight lines across the light pool.
+   * Turned inside the unit disk *before* the ellipse maps it, so the half-turn that separates
+   * the two halves of a pixel pair survives the anisotropy. The same two-pixel tile the round
+   * filter uses and for the same reasons — see \`pointShadow\`, which carries the measurement;
+   * a rectangle's shadow stippled exactly as a lamp's did, because it is the same twelve taps.
    */
-  float angle = fract(52.9829189 * fract(dot(gl_FragCoord.xy, vec2(0.06711056, 0.00583715))))
-    * 6.28318530718;
+  float angle = float(int(gl_FragCoord.x) & 1) * PCF_PAIR_TURN;
   float ca = cos(angle);
   float sa = sin(angle);
 
   float lit = 0.0;
   for (int i = 0; i < ${MAX_SHADOW_FILTER_TAPS}; i++) {
     if (i >= uShadowFilterTaps) break;
-    vec2 disk = PCF_OFFSETS[i].xy;
+    vec2 disk = PCF_OFFSETS[i];
     vec2 turned = vec2(disk.x * ca - disk.y * sa, disk.x * sa + disk.y * ca);
     vec3 sampleDir = toFrag + alongX * (turned.x * widthX) + alongY * (turned.y * widthY);
     float stored = textureLod(maps, vec3(octEncode(sampleDir), layer), 0.0).r;

package/dist/render/shaders/flat/preamble.js

@@ -871,16 +871,53 @@ uniform float uLiveAreaShadowWeight[MAX_AREA_LIGHTS];
  * where a bias means what it looks like it means.
  */
 /**
- * Sample offsets forming a rough sphere, for filtering a cubemap shadow.
- * Perturbing the *direction* is how PCF works on a cube — there is no 2D UV
- * neighbourhood to step across the way there is for the sun's cascade.
+ * Twelve places on a disk across the light ray, for filtering an omnidirectional shadow.
+ *
+ * **These were eight, and the count is why a penumbra was stippled.** The list used to be the
+ * eight corners and six faces of a cube, carried as \`vec3\` from the era when a tap offset a
+ * direction by a 3D vector. Nothing has read the third component since the map became
+ * octahedral — both filters take \`.xy\` — and flattening a cube's corners onto a plane makes
+ * pairs of them coincide: \`(1, 1, 1)\` and \`(1, 1, -1)\` are one 2D offset, four times over. So
+ * twelve taps asked eight questions and answered four of them twice, and every one of the eight
+ * sat on the rim at radius 1 or 1.414 with nothing in between. A coverage estimate from a ring
+ * moves in steps of two twelfths as the penumbra's edge sweeps a doubled pair across it, which
+ * is the size of the speckle that was reported.
+ *
+ * **The replacement is the golden-angle disk this repository already uses for ambient
+ * occlusion** — angle \`i\` turns of 137.5 degrees, radius \`sqrt((k + 0.5) / 12)\` — so the taps
+ * are spread evenly over the area rather than crowded on the rim or at the centre, and no two
+ * coincide. The nearest pair is 0.355 apart where the old set had a pair at zero.
+ *
+ * **The radii are dealt round rather than taken in order, and that is what makes a short filter
+ * work.** \`shadowFilterTaps\` is 4, 8 or 12 and the loop below simply stops early, so every
+ * prefix of this list is a filter somebody ships: in spiral order the first four taps would be
+ * the four innermost and a low profile would quietly get a filter a third of the width it asked
+ * for. Interleaved, the first four already span 0.21 to 0.91 of the disk's reach and sit around
+ * its centre rather than to one side, which is a small filter rather than a narrow one.
+ *
+ * **What it gives up** is a little softness. The old set put two thirds of its taps at the
+ * outermost radius, so it read the penumbra's widest part twice as often as an even disk does
+ * and drew a shadow edge softer than the emitter's size calls for; an even disk is the honest
+ * estimate and is very slightly crisper. **What would make it wrong** is a caller wanting the
+ * filter's *reach* changed — that is \`MAX_FILTER_RADIUS\`, and the outermost tap here is 1.384
+ * against the old 1.414 precisely so this change does not move it.
  */
 #if POINT_SHADOWS
-const vec3 PCF_OFFSETS[${MAX_SHADOW_FILTER_TAPS}] = vec3[${MAX_SHADOW_FILTER_TAPS}](
-  vec3( 1.0,  1.0,  1.0), vec3( 1.0, -1.0, -1.0), vec3(-1.0,  1.0, -1.0), vec3(-1.0, -1.0,  1.0),
-  vec3( 1.0, -1.0,  1.0), vec3(-1.0,  1.0,  1.0), vec3( 1.0,  1.0, -1.0), vec3(-1.0, -1.0, -1.0),
-  vec3( 1.0,  0.0,  0.0), vec3(-1.0,  0.0,  0.0), vec3( 0.0,  1.0,  0.0), vec3( 0.0, -1.0,  0.0)
+const vec2 PCF_OFFSETS[${MAX_SHADOW_FILTER_TAPS}] = vec2[${MAX_SHADOW_FILTER_TAPS}](
+  vec2( 0.289,  0.000), vec2(-0.767,  0.703), vec2( 0.067, -0.761), vec2( 0.766,  0.999),
+  vec2(-0.492, -0.087), vec2( 0.943, -0.600), vec2(-0.225,  0.836), vec2(-0.610, -1.174),
+  vec2( 0.606,  0.221), vec2(-1.100,  0.454), vec2( 0.406, -0.867), vec2( 0.414,  1.321)
 );
+/**
+ * The angle between the two tap sets a pair of neighbouring pixels uses. See \`pointShadow\`.
+ *
+ * Half the golden angle, because the offsets above are a golden-angle spiral: turning the whole
+ * set by half a step drops the second pixel's taps between the first pixel's arms rather than
+ * on top of them. Measured on the pair, the closest two of the twenty-four are 0.305 apart,
+ * against 0.175 for a half turn and 0.233 for a whole golden angle — so this is the choice that
+ * makes the pair's combined filter as even as the twelve it is built from.
+ */
+const float PCF_PAIR_TURN = 1.19998161;
 #endif
 
 /** A finite point-light shadow loses strength with the light that casts it. */`;