@driftengine/core 4.13.4 → 4.13.5

package/dist/render/shaders/particle.js

@@ -329,8 +329,10 @@ void main() {
   }
 
   vec3 shaded = vColor * lit;
-  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);
-  outColor = vec4(applyOutputTransform(mix(shaded, mediumColor(), fog)), mask * vAlpha);
+  float dist = distance(vWorldPos, uCameraPos);
+  float fog = mediumFog(dist, vWorldPos.y);
+  vec3 glow = mediumGlow(dist, vWorldPos.y, normalize(vWorldPos - uCameraPos));
+  outColor = vec4(applyOutputTransform(mix(shaded, mediumColor(), fog) + glow), mask * vAlpha);
 }
 `;
 /**
@@ -456,8 +458,9 @@ void main() {
 
   vec3 color = vColor;
   if (uFogEnabled != 0) {
-    float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);
-    color = mix(color, mediumColor(), fog);
+    float dist = distance(vWorldPos, uCameraPos);
+    float fog = mediumFog(dist, vWorldPos.y);
+    color = mix(color, mediumColor(), fog) + mediumGlow(dist, vWorldPos.y, normalize(vWorldPos - uCameraPos));
   }
   /*
    * A real alpha blend (SRC_ALPHA, ONE_MINUS_SRC_ALPHA) rather than spark's energy-in-colour
@@ -555,8 +558,9 @@ void main() {
   if (alpha <= 0.001) discard;
   vec3 color = vColor * image.rgb;
   if (uFogEnabled != 0) {
-    float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);
-    color = mix(color, mediumColor(), fog);
+    float dist = distance(vWorldPos, uCameraPos);
+    float fog = mediumFog(dist, vWorldPos.y);
+    color = mix(color, mediumColor(), fog) + mediumGlow(dist, vWorldPos.y, normalize(vWorldPos - uCameraPos));
   }
   outColor = vec4(applyOutputTransform(color), alpha);
 }

package/dist/render/shaders/scatter.d.ts

@@ -11,4 +11,4 @@ export declare const SCATTER_VERT = "#version 300 es\nlayout(location = 0) in ve
  * program is not obliged to read every attribute a VAO offers.
  */
 export declare const SCATTER_DEPTH_VERT = "#version 300 es\nlayout(location = 0) in vec3 aPosition;\nlayout(location = 3) in vec3 aInstancePos;\nlayout(location = 4) in vec2 aScaleYaw;\nlayout(location = 6) in vec3 aWindResponse;\n\nuniform mat4 uLightViewProj;\n\nuniform vec2 uWindDirection;\nuniform float uWindSpeed;\nuniform float uWindGust;\nuniform float uWindTime;\n/* Spatial frequency of the travelling gust, per metre. */\nuniform vec2 uWindSpatialPhase;\n/*\n * Where something heavy has just been: xyz world position, w how pressed, 0 unused.\n *\n * Uniforms rather than a texture or a re-upload, because this is the hottest shader\n * in the game and the effect is a metre wide. Eight of them is about two seconds of\n * trail at running pace. See TrampleField.\n */\nuniform vec4 uTrample[8];\n/* How far a press reaches, metres, and how much of a plant it takes away. */\nuniform float uTrampleRadius;\nuniform float uTrampleDepth;\n\n/* Yaw as (sin, cos). Computed once per vertex and shared by position and normal. */\nvec2 scatterYaw(float yaw) {\n  return vec2(sin(yaw), cos(yaw));\n}\n\n/* The instance's local offset from its root, after scale, yaw, wind and trampling. */\nvec3 scatterOffset(\n  vec3 position,\n  vec3 instancePos,\n  vec2 scaleYaw,\n  vec3 windResponse,\n  vec2 yawTrig\n) {\n  float s = yawTrig.x;\n  float c = yawTrig.y;\n\n  vec3 local = position * scaleYaw.x;\n  vec3 rotated = vec3(local.x * c + local.z * s, local.y, -local.x * s + local.z * c);\n\n  /*\n   * Wind phase comes from world position, so neighbouring plants are never in\n   * lockstep and a gust visibly travels across a field instead of the whole\n   * field pulsing at once. Direction and strength come from the shared wind \u2014\n   * this adds spatial variation, never a second wind.\n   *\n   * Amplitude rises with the square of height, so the base stays planted and\n   * only the tip travels. A linear falloff slides the whole plant sideways,\n   * which reads as the ground moving.\n   */\n  float phase = dot(instancePos.xz, uWindSpatialPhase) + uWindTime + windResponse.z;\n  float rooted = clamp(rotated.y * windResponse.x, 0.0, 1.0);\n  float bend = (uWindSpeed + uWindGust * windResponse.y) * sin(phase) * rooted * rooted;\n  rotated.xz += uWindDirection * bend;\n\n  /*\n   * Trampling: pressed toward the ground and pushed away from whatever pressed it.\n   *\n   * The strongest press wins rather than the sum. Two overlapping presses adding up\n   * would drive a blade through the deck, and a character crossing their own trail is\n   * exactly when that would happen.\n   *\n   * Direction comes from the *press*, so a plant leans away from where the foot was\n   * instead of all of them lying the same way, which is what makes it read as\n   * something having gone through rather than as a second wind.\n   */\n  float pressed = 0.0;\n  vec2 away = vec2(0.0);\n  for (int i = 0; i < 8; i++) {\n    vec4 p = uTrample[i];\n    if (p.w <= 0.0) continue;\n    vec3 offset = instancePos - p.xyz;\n    float dist = length(offset);\n    if (dist >= uTrampleRadius) continue;\n    float fade = 1.0 - dist / uTrampleRadius;\n    float strength = p.w * fade * fade;\n    if (strength <= pressed) continue;\n    pressed = strength;\n    // Degenerate at the exact centre, where any direction is as good as another.\n    away = dist > 1e-4 ? offset.xz / dist : vec2(0.0);\n  }\n  if (pressed > 0.0) {\n    float take = pressed * uTrampleDepth;\n    // Height goes first \u2014 a flattened plant is shorter, and the fold outward is\n    // what makes the loss of height read as bending rather than as sinking.\n    rotated.y *= 1.0 - take;\n    rotated.xz += away * take * rotated.y * 1.4;\n  }\n\n  return rotated;\n}\n\nout vec4 vLightPosition;\n\nvoid main() {\n  vec3 rotated = scatterOffset(\n    aPosition,\n    aInstancePos,\n    aScaleYaw,\n    aWindResponse,\n    scatterYaw(aScaleYaw.y)\n  );\n  vLightPosition = uLightViewProj * vec4(aInstancePos + rotated, 1.0);\n  gl_Position = vLightPosition;\n}\n";
-export declare const SCATTER_FRAG = "#version 300 es\nprecision highp float;\n\nin vec3 vColor;\nin vec3 vNormal;\nin vec3 vWorldPos;\n\nuniform vec3 uDirectionalDir;\nuniform vec3 uDirectionalColor;\nuniform vec3 uAmbient;\nuniform vec3 uCameraPos;\n\nuniform vec3 uFogColor;\n/** Extinction per metre **at the camera's own height**, not at the base. */\nuniform float uFogDensity;\n/** Reciprocal scale height of the haze, per metre. 0 is a uniform medium. */\nuniform float uFogHeightFalloff;\n/** The camera's height, so a fragment's own height is one subtraction away. */\nuniform float uFogEyeY;\nuniform vec3 uUnderwaterColor;\nuniform float uUnderwaterFogDensity;\nuniform float uUnderwaterFactor;\n/** 0 integrates a medium (Beer-Lambert); 1 ramps linearly between near and far. */\nuniform int uFogMode;\n/** Linear mode only: where haze begins, and where it is total. */\nuniform float uFogNear;\nuniform float uFogFar;\n\n/** What distance converges toward: the day's haze, or the water column. */\nvec3 mediumColor() {\n  return mix(uFogColor, uUnderwaterColor, uUnderwaterFactor);\n}\n\n/**\n * How much of a surface standing at height pointY, dist metres away, is lost to\n * the medium in between. 0 is perfectly clear, 1 is the medium's own colour.\n */\nfloat mediumFog(float dist, float pointY) {\n  /*\n   * A depth ramp rather than a medium, for worlds authored against one.\n   *\n   * Beer-Lambert is the honest model and stays the default: it integrates something\n   * physically there, so extinction begins at the eye and never stops. A linear near/far\n   * fog is not that \u2014 it is a *look*, with a hard start distance before which the air is\n   * perfectly clear, and it is what the fixed-function pipeline offered and what several\n   * renderers still expose. Approximating one with the other is not a matter of tuning:\n   * matched at half occlusion, the exponential curve still lays haze over everything\n   * inside near, where the ramp lays none, and near-field colour desaturates toward the\n   * fog colour with nothing to show for it.\n   *\n   * Height falloff has no meaning here and is ignored: a ramp is defined on distance\n   * alone.\n   */\n  if (uFogMode == 1) {\n    float span = max(uFogFar - uFogNear, 1e-4);\n    float ramp = clamp((dist - uFogNear) / span, 0.0, 1.0);\n    if (uUnderwaterFactor <= 0.0) return ramp;\n    float wetLinear = uUnderwaterFogDensity * dist;\n    return mix(ramp, 1.0 - exp2(-wetLinear * wetLinear * 1.442695), uUnderwaterFactor);\n  }\n\n  // Where the medium begins along the ray: uFogNear, the linear mode's slot, which this mode\n  // never read before Atmosphere.fogStart. The ray is integrated from there on, at the density\n  // of that point; at a start of 0 every term is the one it always was. See render/fog.ts.\n  float start = min(uFogNear, dist);\n  float before = dist > 0.0 ? start / dist : 0.0;\n  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\n  float rest = t * (1.0 - before);\n  // (1 - e^-t)/t, which tends to 1 as the ray levels out. Guarded rather than\n  // branched: at t = 0 the quotient is 0/0, and 1e-4 of a scale height is 8 mm.\n  float denom = abs(rest) < 1e-4 ? 1e-4 : rest;\n  float air =\n    1.0 - exp(-uFogDensity * exp(-t * before) * (dist - start) * (1.0 - exp(-denom)) / denom);\n  if (uUnderwaterFactor <= 0.0) return air;\n  // Water is its own medium and keeps its own curve, so crossing the surface\n  // changes nothing about how the water column reads.\n  float wet = uUnderwaterFogDensity * dist;\n  return mix(air, 1.0 - exp2(-wet * wet * 1.442695), uUnderwaterFactor);\n}\n\n\nout vec4 outColor;\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder 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/*\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\n\nvec3 highlightShoulder(vec3 c) {\n  float m = max(c.r, max(c.g, c.b));\n  if (m <= 0.8) return c;\n  float e = m - 0.8;\n  return c * ((0.8 + 0.2 * e / (e + 0.2)) / m);\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  if (uOutputTransform == 3) c = highlightShoulder(c * uOutputExposure);\n  return linearToSrgb(c);\n}\n\n\nvoid main() {\n  vec3 n = normalize(vNormal);\n  /*\n   * Two-sided. A blade of grass is a flat sliver seen from both faces, and\n   * lighting its back face as though it faced away leaves half of every field\n   * black \u2014 the cheapest and most obvious foliage tell there is.\n   */\n  float ndl = abs(dot(n, uDirectionalDir));\n  vec3 lit = vColor * (uAmbient + uDirectionalColor * ndl);\n\n  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n\n  /* Graded where nothing after this will grade it, as every pass is: the same light as the ground. */\n  outColor = vec4(applyOutputTransform(mix(lit, mediumColor(), fog)), 1.0);\n}\n";
+export declare const SCATTER_FRAG = "#version 300 es\nprecision highp float;\n\nin vec3 vColor;\nin vec3 vNormal;\nin vec3 vWorldPos;\n\nuniform vec3 uDirectionalDir;\nuniform vec3 uDirectionalColor;\nuniform vec3 uAmbient;\nuniform vec3 uCameraPos;\n\nuniform vec3 uFogColor;\n/**\n * The haze: its extinction per metre **at the camera's own height**, not at the base; its\n * reciprocal scale height per metre, 0 for a uniform medium; the camera's height, so a fragment's\n * own height is one subtraction away; and the water column's own density.\n *\n * **Four numbers in one vector rather than four uniforms**, and the reason is a phone: a scalar\n * costs a whole row of the uniform grid, and the lit stage at its eight-light rung must fit the 256\n * rows an Adreno 740 offers (uniformVectorBudget.ts). Packed, the haze's eight scalars cost two\n * rows where they cost eight, which is what paid for the second layer and the sun's glow below.\n */\nuniform vec4 uFogMedium;\n/** Where haze begins, where a linear ramp is total, and the mode: 0 a medium, 1 a ramp. */\nuniform vec4 uFogRange;\nuniform vec3 uUnderwaterColor;\nuniform float uUnderwaterFactor;\n/**\n * The second layer's extinction per metre at the camera's height and its falloff; then the least of\n * a surface the haze must leave, Atmosphere.fogMaxOpacity's complement, and the distance past which\n * it hides nothing (0 is none). **Every lane is none at zero**, and so are uFogGlow's: a program a\n * binder never wrote these into draws the haze it drew before they existed, rather than none.\n */\nuniform vec4 uFogLayer2;\n/** The sun's glow in the haze: its colour, black for none, and the exponent of its lobe. */\nuniform vec4 uFogGlow;\n/** Surface \u2192 the glow's light, and how far past the haze's start the glow begins. */\nuniform vec4 uFogGlowDir;\n\n/** What distance converges toward: the day's haze, or the water column. */\nvec3 mediumColor() {\n  return mix(uFogColor, uUnderwaterColor, uUnderwaterFactor);\n}\n\n/**\n * The haze's optical depth from where it begins along the ray to a point at height pointY, dist\n * metres away: each layer's density at the eye carried over what is left of the ray, with the\n * second layer only where there is one. The fog and the sun's glow both integrate it.\n */\nfloat hazeDepth(float dist, float pointY) {\n  // Where the medium begins along the ray: uFogRange.x, the linear mode's slot, which this mode\n  // never read before Atmosphere.fogStart. The ray is integrated from there on, at the density\n  // of that point; at a start of 0 every term is the one it always was. See render/fog.ts.\n  float start = min(uFogRange.x, dist);\n  float before = dist > 0.0 ? start / dist : 0.0;\n  float t = (pointY - uFogMedium.z) * uFogMedium.y;\n  float rest = t * (1.0 - before);\n  // (1 - e^-t)/t, which tends to 1 as the ray levels out. Guarded rather than\n  // branched: at t = 0 the quotient is 0/0, and 1e-4 of a scale height is 8 mm.\n  float denom = abs(rest) < 1e-4 ? 1e-4 : rest;\n  float depth = uFogMedium.x * exp(-t * before) * (dist - start) * (1.0 - exp(-denom)) / denom;\n  if (uFogLayer2.x > 0.0) {\n    float t2 = (pointY - uFogMedium.z) * uFogLayer2.y;\n    float rest2 = t2 * (1.0 - before);\n    float denom2 = abs(rest2) < 1e-4 ? 1e-4 : rest2;\n    depth += uFogLayer2.x * exp(-t2 * before) * (dist - start) * (1.0 - exp(-denom2)) / denom2;\n  }\n  return depth;\n}\n\n/**\n * How much of a surface standing at height pointY, dist metres away, is lost to\n * the medium in between. 0 is perfectly clear, 1 is the medium's own colour.\n */\nfloat mediumFog(float dist, float pointY) {\n  /* Past the cutoff the air hides nothing, in either mode; the water column keeps its own law. */\n  bool cut = uFogLayer2.w > 0.0 && dist > uFogLayer2.w;\n  /*\n   * A depth ramp rather than a medium, for worlds authored against one.\n   *\n   * Beer-Lambert is the honest model and stays the default: it integrates something\n   * physically there, so extinction begins at the eye and never stops. A linear near/far\n   * fog is not that \u2014 it is a *look*, with a hard start distance before which the air is\n   * perfectly clear, and it is what the fixed-function pipeline offered and what several\n   * renderers still expose. Approximating one with the other is not a matter of tuning:\n   * matched at half occlusion, the exponential curve still lays haze over everything\n   * inside near, where the ramp lays none, and near-field colour desaturates toward the\n   * fog colour with nothing to show for it.\n   *\n   * Height falloff has no meaning here and is ignored: a ramp is defined on distance\n   * alone.\n   */\n  if (uFogRange.z == 1.0) {\n    float span = max(uFogRange.y - uFogRange.x, 1e-4);\n    float ramp = cut ? 0.0 : min(clamp((dist - uFogRange.x) / span, 0.0, 1.0), 1.0 - uFogLayer2.z);\n    if (uUnderwaterFactor <= 0.0) return ramp;\n    float wetLinear = uFogMedium.w * dist;\n    return mix(ramp, 1.0 - exp2(-wetLinear * wetLinear * 1.442695), uUnderwaterFactor);\n  }\n\n  // Beer-Lambert through both layers, leaving at least uFogLayer2.z of the surface: a floor on\n  // what survives rather than a ceiling on the depth, so the curve keeps its shape above it.\n  float air = cut ? 0.0 : 1.0 - max(exp(-hazeDepth(dist, pointY)), uFogLayer2.z);\n  if (uUnderwaterFactor <= 0.0) return air;\n  // Water is its own medium and keeps its own curve, so crossing the surface\n  // changes nothing about how the water column reads.\n  float wet = uFogMedium.w * dist;\n  return mix(air, 1.0 - exp2(-wet * wet * 1.442695), uUnderwaterFactor);\n}\n\n/**\n * The sun's light the haze scatters toward the eye along a ray to a point at height pointY, dist\n * metres away in the direction toPoint: added to a surface after its fog, never mixed. A lobe of\n * cos^exponent about the light, by as much of the ray past the glow's own start as the haze hides \u2014\n * the haze's depth per metre carried over that stretch. None in a linear ramp, past the cutoff, or\n * under water, which keeps its own medium.\n */\nvec3 mediumGlow(float dist, float pointY, vec3 toPoint) {\n  if (uFogRange.z == 1.0 || max(max(uFogGlow.r, uFogGlow.g), uFogGlow.b) <= 0.0) return vec3(0.0);\n  if (uFogLayer2.w > 0.0 && dist > uFogLayer2.w) return vec3(0.0);\n  float span = dist - min(uFogRange.x, dist);\n  if (span <= 0.0) return vec3(0.0);\n  float perMetre = hazeDepth(dist, pointY) / span;\n  float hidden = 1.0 - exp(-perMetre * max(span - uFogGlowDir.w, 0.0));\n  float lobe = pow(clamp(dot(toPoint, uFogGlowDir.xyz), 0.0, 1.0), uFogGlow.a);\n  return uFogGlow.rgb * (lobe * hidden * (1.0 - uUnderwaterFactor));\n}\n\n\nout vec4 outColor;\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder 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/*\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\n\nvec3 highlightShoulder(vec3 c) {\n  float m = max(c.r, max(c.g, c.b));\n  if (m <= 0.8) return c;\n  float e = m - 0.8;\n  return c * ((0.8 + 0.2 * e / (e + 0.2)) / m);\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  if (uOutputTransform == 3) c = highlightShoulder(c * uOutputExposure);\n  return linearToSrgb(c);\n}\n\n\nvoid main() {\n  vec3 n = normalize(vNormal);\n  /*\n   * Two-sided. A blade of grass is a flat sliver seen from both faces, and\n   * lighting its back face as though it faced away leaves half of every field\n   * black \u2014 the cheapest and most obvious foliage tell there is.\n   */\n  float ndl = abs(dot(n, uDirectionalDir));\n  vec3 lit = vColor * (uAmbient + uDirectionalColor * ndl);\n\n  float dist = distance(vWorldPos, uCameraPos);\n  float fog = mediumFog(dist, vWorldPos.y);\n  vec3 glow = mediumGlow(dist, vWorldPos.y, normalize(vWorldPos - uCameraPos));\n\n  /* Graded where nothing after this will grade it, as every pass is: the same light as the ground. */\n  outColor = vec4(applyOutputTransform(mix(lit, mediumColor(), fog) + glow), 1.0);\n}\n";

package/dist/render/shaders/scatter.js

@@ -201,9 +201,11 @@ void main() {
   float ndl = abs(dot(n, uDirectionalDir));
   vec3 lit = vColor * (uAmbient + uDirectionalColor * ndl);
 
-  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);
+  float dist = distance(vWorldPos, uCameraPos);
+  float fog = mediumFog(dist, vWorldPos.y);
+  vec3 glow = mediumGlow(dist, vWorldPos.y, normalize(vWorldPos - uCameraPos));
 
   /* Graded where nothing after this will grade it, as every pass is: the same light as the ground. */
-  outColor = vec4(applyOutputTransform(mix(lit, mediumColor(), fog)), 1.0);
+  outColor = vec4(applyOutputTransform(mix(lit, mediumColor(), fog) + glow), 1.0);
 }
 `;

package/dist/render/shaders/smoke.d.ts

@@ -5,4 +5,4 @@
  * Alpha-blended rather than additive: smoke occludes what is behind it, and
  * adding it would make it glow instead of darken.
  */
-export declare const SMOKE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin float vSeed;\nin float vDistance;\nin vec3 vWorldPos;\n\nuniform float uTime;\n\nuniform vec3 uFogColor;\n/** Extinction per metre **at the camera's own height**, not at the base. */\nuniform float uFogDensity;\n/** Reciprocal scale height of the haze, per metre. 0 is a uniform medium. */\nuniform float uFogHeightFalloff;\n/** The camera's height, so a fragment's own height is one subtraction away. */\nuniform float uFogEyeY;\nuniform vec3 uUnderwaterColor;\nuniform float uUnderwaterFogDensity;\nuniform float uUnderwaterFactor;\n/** 0 integrates a medium (Beer-Lambert); 1 ramps linearly between near and far. */\nuniform int uFogMode;\n/** Linear mode only: where haze begins, and where it is total. */\nuniform float uFogNear;\nuniform float uFogFar;\n\n/** What distance converges toward: the day's haze, or the water column. */\nvec3 mediumColor() {\n  return mix(uFogColor, uUnderwaterColor, uUnderwaterFactor);\n}\n\n/**\n * How much of a surface standing at height pointY, dist metres away, is lost to\n * the medium in between. 0 is perfectly clear, 1 is the medium's own colour.\n */\nfloat mediumFog(float dist, float pointY) {\n  /*\n   * A depth ramp rather than a medium, for worlds authored against one.\n   *\n   * Beer-Lambert is the honest model and stays the default: it integrates something\n   * physically there, so extinction begins at the eye and never stops. A linear near/far\n   * fog is not that \u2014 it is a *look*, with a hard start distance before which the air is\n   * perfectly clear, and it is what the fixed-function pipeline offered and what several\n   * renderers still expose. Approximating one with the other is not a matter of tuning:\n   * matched at half occlusion, the exponential curve still lays haze over everything\n   * inside near, where the ramp lays none, and near-field colour desaturates toward the\n   * fog colour with nothing to show for it.\n   *\n   * Height falloff has no meaning here and is ignored: a ramp is defined on distance\n   * alone.\n   */\n  if (uFogMode == 1) {\n    float span = max(uFogFar - uFogNear, 1e-4);\n    float ramp = clamp((dist - uFogNear) / span, 0.0, 1.0);\n    if (uUnderwaterFactor <= 0.0) return ramp;\n    float wetLinear = uUnderwaterFogDensity * dist;\n    return mix(ramp, 1.0 - exp2(-wetLinear * wetLinear * 1.442695), uUnderwaterFactor);\n  }\n\n  // Where the medium begins along the ray: uFogNear, the linear mode's slot, which this mode\n  // never read before Atmosphere.fogStart. The ray is integrated from there on, at the density\n  // of that point; at a start of 0 every term is the one it always was. See render/fog.ts.\n  float start = min(uFogNear, dist);\n  float before = dist > 0.0 ? start / dist : 0.0;\n  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\n  float rest = t * (1.0 - before);\n  // (1 - e^-t)/t, which tends to 1 as the ray levels out. Guarded rather than\n  // branched: at t = 0 the quotient is 0/0, and 1e-4 of a scale height is 8 mm.\n  float denom = abs(rest) < 1e-4 ? 1e-4 : rest;\n  float air =\n    1.0 - exp(-uFogDensity * exp(-t * before) * (dist - start) * (1.0 - exp(-denom)) / denom);\n  if (uUnderwaterFactor <= 0.0) return air;\n  // Water is its own medium and keeps its own curve, so crossing the surface\n  // changes nothing about how the water column reads.\n  float wet = uUnderwaterFogDensity * dist;\n  return mix(air, 1.0 - exp2(-wet * wet * 1.442695), uUnderwaterFactor);\n}\n\nuniform int uNoiseOctaves;\nuniform vec4 uClipPlane;\nuniform int uClipEnabled;\n\nout vec4 outColor;\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder 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/*\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\n\nvec3 highlightShoulder(vec3 c) {\n  float m = max(c.r, max(c.g, c.b));\n  if (m <= 0.8) return c;\n  float e = m - 0.8;\n  return c * ((0.8 + 0.2 * e / (e + 0.2)) / m);\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  if (uOutputTransform == 3) c = highlightShoulder(c * uOutputExposure);\n  return linearToSrgb(c);\n}\n\n\nfloat hash21(vec2 p) {\n  return fract(sin(dot(p, vec2(127.1, 311.7))) * 43758.5453123);\n}\n\nfloat valueNoise(vec2 p) {\n  vec2 i = floor(p);\n  vec2 f = fract(p);\n  vec2 u = f * f * (3.0 - 2.0 * f);\n  return mix(\n    mix(hash21(i), hash21(i + vec2(1.0, 0.0)), u.x),\n    mix(hash21(i + vec2(0.0, 1.0)), hash21(i + vec2(1.0, 1.0)), u.x),\n    u.y\n  );\n}\n\nfloat billow(vec2 p, float t) {\n  float v = valueNoise(p * 2.2 + vec2(0.0, -t * 0.55)) * 0.55;\n  if (uNoiseOctaves == 1) return v / 0.55;\n  v += valueNoise(p * 4.7 + vec2(t * 0.12, -t * 0.9)) * 0.29;\n  if (uNoiseOctaves == 2) return v / 0.84;\n  return v + valueNoise(p * 9.3 + vec2(-t * 0.09, -t * 1.4)) * 0.16;\n}\n\nvoid main() {\n  if (uClipEnabled != 0 && dot(vec4(vWorldPos, 1.0), uClipPlane) < 0.0) discard;\n\n  float t = uTime + vSeed * 53.0;\n  float height = vUv.y;\n\n  // Widens as it climbs: sample a compressed space low down, a stretched one up\n  // top. Narrow at the bottom is what lets it sit inside the flame's tip.\n  float spread = mix(0.5, 1.0, height);\n  float centred = (vUv.x - 0.5) / spread + 0.5;\n\n  // Soft horizontal falloff rather than a hard cut \u2014 a clipped edge here shows\n  // the quad and is the single most obvious way smoke reads as fake.\n  float sides = smoothstep(0.0, 0.55, 1.0 - clamp(abs(centred - 0.5) * 2.0, 0.0, 1.0));\n  if (sides <= 0.001) discard;\n\n  // Leans away over its height instead of rising ruler-straight.\n  float drift = (valueNoise(vec2(t * 0.21, vSeed * 7.0)) - 0.5) * 0.6 * height * height;\n  float n = billow(vec2(centred + drift, height), t);\n\n  float density = n * sides * 1.35 - height * 0.88;\n  if (density <= 0.02) discard;\n\n  // Colour tells the story of the plume: ember-lit where it leaves the flame,\n  // cooling through soot, then dispersing into the fog. Starting at flat grey\n  // is what made it look like a separate object parked above the fire.\n  vec3 col = mix(vec3(0.90, 0.42, 0.16), vec3(0.11, 0.10, 0.10), smoothstep(0.0, 0.34, height));\n  vec3 atmosphereColor = mediumColor();\n  col = mix(col, atmosphereColor, smoothstep(0.30, 0.95, height));\n\n  // Fade in at the base so it emerges out of the flame, and out at the top so\n  // it dissipates rather than ending.\n  float emerge = smoothstep(0.0, 0.30, height);\n  float dissipate = 1.0 - smoothstep(0.22, 0.75, height);\n\n  float fog = mediumFog(vDistance, vWorldPos.y);\n  col = mix(col, atmosphereColor, fog);\n  float alpha = clamp(density * 0.95, 0.0, 1.0) * emerge * dissipate * 0.13;\n  /* Graded where nothing after this will grade it, as every pass is. The alpha is coverage. */\n  outColor = vec4(applyOutputTransform(col), alpha * (1.0 - fog));\n}\n";
+export declare const SMOKE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin float vSeed;\nin float vDistance;\nin vec3 vWorldPos;\n\nuniform float uTime;\n\nuniform vec3 uFogColor;\n/**\n * The haze: its extinction per metre **at the camera's own height**, not at the base; its\n * reciprocal scale height per metre, 0 for a uniform medium; the camera's height, so a fragment's\n * own height is one subtraction away; and the water column's own density.\n *\n * **Four numbers in one vector rather than four uniforms**, and the reason is a phone: a scalar\n * costs a whole row of the uniform grid, and the lit stage at its eight-light rung must fit the 256\n * rows an Adreno 740 offers (uniformVectorBudget.ts). Packed, the haze's eight scalars cost two\n * rows where they cost eight, which is what paid for the second layer and the sun's glow below.\n */\nuniform vec4 uFogMedium;\n/** Where haze begins, where a linear ramp is total, and the mode: 0 a medium, 1 a ramp. */\nuniform vec4 uFogRange;\nuniform vec3 uUnderwaterColor;\nuniform float uUnderwaterFactor;\n/**\n * The second layer's extinction per metre at the camera's height and its falloff; then the least of\n * a surface the haze must leave, Atmosphere.fogMaxOpacity's complement, and the distance past which\n * it hides nothing (0 is none). **Every lane is none at zero**, and so are uFogGlow's: a program a\n * binder never wrote these into draws the haze it drew before they existed, rather than none.\n */\nuniform vec4 uFogLayer2;\n/** The sun's glow in the haze: its colour, black for none, and the exponent of its lobe. */\nuniform vec4 uFogGlow;\n/** Surface \u2192 the glow's light, and how far past the haze's start the glow begins. */\nuniform vec4 uFogGlowDir;\n\n/** What distance converges toward: the day's haze, or the water column. */\nvec3 mediumColor() {\n  return mix(uFogColor, uUnderwaterColor, uUnderwaterFactor);\n}\n\n/**\n * The haze's optical depth from where it begins along the ray to a point at height pointY, dist\n * metres away: each layer's density at the eye carried over what is left of the ray, with the\n * second layer only where there is one. The fog and the sun's glow both integrate it.\n */\nfloat hazeDepth(float dist, float pointY) {\n  // Where the medium begins along the ray: uFogRange.x, the linear mode's slot, which this mode\n  // never read before Atmosphere.fogStart. The ray is integrated from there on, at the density\n  // of that point; at a start of 0 every term is the one it always was. See render/fog.ts.\n  float start = min(uFogRange.x, dist);\n  float before = dist > 0.0 ? start / dist : 0.0;\n  float t = (pointY - uFogMedium.z) * uFogMedium.y;\n  float rest = t * (1.0 - before);\n  // (1 - e^-t)/t, which tends to 1 as the ray levels out. Guarded rather than\n  // branched: at t = 0 the quotient is 0/0, and 1e-4 of a scale height is 8 mm.\n  float denom = abs(rest) < 1e-4 ? 1e-4 : rest;\n  float depth = uFogMedium.x * exp(-t * before) * (dist - start) * (1.0 - exp(-denom)) / denom;\n  if (uFogLayer2.x > 0.0) {\n    float t2 = (pointY - uFogMedium.z) * uFogLayer2.y;\n    float rest2 = t2 * (1.0 - before);\n    float denom2 = abs(rest2) < 1e-4 ? 1e-4 : rest2;\n    depth += uFogLayer2.x * exp(-t2 * before) * (dist - start) * (1.0 - exp(-denom2)) / denom2;\n  }\n  return depth;\n}\n\n/**\n * How much of a surface standing at height pointY, dist metres away, is lost to\n * the medium in between. 0 is perfectly clear, 1 is the medium's own colour.\n */\nfloat mediumFog(float dist, float pointY) {\n  /* Past the cutoff the air hides nothing, in either mode; the water column keeps its own law. */\n  bool cut = uFogLayer2.w > 0.0 && dist > uFogLayer2.w;\n  /*\n   * A depth ramp rather than a medium, for worlds authored against one.\n   *\n   * Beer-Lambert is the honest model and stays the default: it integrates something\n   * physically there, so extinction begins at the eye and never stops. A linear near/far\n   * fog is not that \u2014 it is a *look*, with a hard start distance before which the air is\n   * perfectly clear, and it is what the fixed-function pipeline offered and what several\n   * renderers still expose. Approximating one with the other is not a matter of tuning:\n   * matched at half occlusion, the exponential curve still lays haze over everything\n   * inside near, where the ramp lays none, and near-field colour desaturates toward the\n   * fog colour with nothing to show for it.\n   *\n   * Height falloff has no meaning here and is ignored: a ramp is defined on distance\n   * alone.\n   */\n  if (uFogRange.z == 1.0) {\n    float span = max(uFogRange.y - uFogRange.x, 1e-4);\n    float ramp = cut ? 0.0 : min(clamp((dist - uFogRange.x) / span, 0.0, 1.0), 1.0 - uFogLayer2.z);\n    if (uUnderwaterFactor <= 0.0) return ramp;\n    float wetLinear = uFogMedium.w * dist;\n    return mix(ramp, 1.0 - exp2(-wetLinear * wetLinear * 1.442695), uUnderwaterFactor);\n  }\n\n  // Beer-Lambert through both layers, leaving at least uFogLayer2.z of the surface: a floor on\n  // what survives rather than a ceiling on the depth, so the curve keeps its shape above it.\n  float air = cut ? 0.0 : 1.0 - max(exp(-hazeDepth(dist, pointY)), uFogLayer2.z);\n  if (uUnderwaterFactor <= 0.0) return air;\n  // Water is its own medium and keeps its own curve, so crossing the surface\n  // changes nothing about how the water column reads.\n  float wet = uFogMedium.w * dist;\n  return mix(air, 1.0 - exp2(-wet * wet * 1.442695), uUnderwaterFactor);\n}\n\n/**\n * The sun's light the haze scatters toward the eye along a ray to a point at height pointY, dist\n * metres away in the direction toPoint: added to a surface after its fog, never mixed. A lobe of\n * cos^exponent about the light, by as much of the ray past the glow's own start as the haze hides \u2014\n * the haze's depth per metre carried over that stretch. None in a linear ramp, past the cutoff, or\n * under water, which keeps its own medium.\n */\nvec3 mediumGlow(float dist, float pointY, vec3 toPoint) {\n  if (uFogRange.z == 1.0 || max(max(uFogGlow.r, uFogGlow.g), uFogGlow.b) <= 0.0) return vec3(0.0);\n  if (uFogLayer2.w > 0.0 && dist > uFogLayer2.w) return vec3(0.0);\n  float span = dist - min(uFogRange.x, dist);\n  if (span <= 0.0) return vec3(0.0);\n  float perMetre = hazeDepth(dist, pointY) / span;\n  float hidden = 1.0 - exp(-perMetre * max(span - uFogGlowDir.w, 0.0));\n  float lobe = pow(clamp(dot(toPoint, uFogGlowDir.xyz), 0.0, 1.0), uFogGlow.a);\n  return uFogGlow.rgb * (lobe * hidden * (1.0 - uUnderwaterFactor));\n}\n\nuniform int uNoiseOctaves;\nuniform vec4 uClipPlane;\nuniform int uClipEnabled;\n\nout vec4 outColor;\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder 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/*\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\n\nvec3 highlightShoulder(vec3 c) {\n  float m = max(c.r, max(c.g, c.b));\n  if (m <= 0.8) return c;\n  float e = m - 0.8;\n  return c * ((0.8 + 0.2 * e / (e + 0.2)) / m);\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  if (uOutputTransform == 3) c = highlightShoulder(c * uOutputExposure);\n  return linearToSrgb(c);\n}\n\n\nfloat hash21(vec2 p) {\n  return fract(sin(dot(p, vec2(127.1, 311.7))) * 43758.5453123);\n}\n\nfloat valueNoise(vec2 p) {\n  vec2 i = floor(p);\n  vec2 f = fract(p);\n  vec2 u = f * f * (3.0 - 2.0 * f);\n  return mix(\n    mix(hash21(i), hash21(i + vec2(1.0, 0.0)), u.x),\n    mix(hash21(i + vec2(0.0, 1.0)), hash21(i + vec2(1.0, 1.0)), u.x),\n    u.y\n  );\n}\n\nfloat billow(vec2 p, float t) {\n  float v = valueNoise(p * 2.2 + vec2(0.0, -t * 0.55)) * 0.55;\n  if (uNoiseOctaves == 1) return v / 0.55;\n  v += valueNoise(p * 4.7 + vec2(t * 0.12, -t * 0.9)) * 0.29;\n  if (uNoiseOctaves == 2) return v / 0.84;\n  return v + valueNoise(p * 9.3 + vec2(-t * 0.09, -t * 1.4)) * 0.16;\n}\n\nvoid main() {\n  if (uClipEnabled != 0 && dot(vec4(vWorldPos, 1.0), uClipPlane) < 0.0) discard;\n\n  float t = uTime + vSeed * 53.0;\n  float height = vUv.y;\n\n  // Widens as it climbs: sample a compressed space low down, a stretched one up\n  // top. Narrow at the bottom is what lets it sit inside the flame's tip.\n  float spread = mix(0.5, 1.0, height);\n  float centred = (vUv.x - 0.5) / spread + 0.5;\n\n  // Soft horizontal falloff rather than a hard cut \u2014 a clipped edge here shows\n  // the quad and is the single most obvious way smoke reads as fake.\n  float sides = smoothstep(0.0, 0.55, 1.0 - clamp(abs(centred - 0.5) * 2.0, 0.0, 1.0));\n  if (sides <= 0.001) discard;\n\n  // Leans away over its height instead of rising ruler-straight.\n  float drift = (valueNoise(vec2(t * 0.21, vSeed * 7.0)) - 0.5) * 0.6 * height * height;\n  float n = billow(vec2(centred + drift, height), t);\n\n  float density = n * sides * 1.35 - height * 0.88;\n  if (density <= 0.02) discard;\n\n  // Colour tells the story of the plume: ember-lit where it leaves the flame,\n  // cooling through soot, then dispersing into the fog. Starting at flat grey\n  // is what made it look like a separate object parked above the fire.\n  vec3 col = mix(vec3(0.90, 0.42, 0.16), vec3(0.11, 0.10, 0.10), smoothstep(0.0, 0.34, height));\n  vec3 atmosphereColor = mediumColor();\n  col = mix(col, atmosphereColor, smoothstep(0.30, 0.95, height));\n\n  // Fade in at the base so it emerges out of the flame, and out at the top so\n  // it dissipates rather than ending.\n  float emerge = smoothstep(0.0, 0.30, height);\n  float dissipate = 1.0 - smoothstep(0.22, 0.75, height);\n\n  float fog = mediumFog(vDistance, vWorldPos.y);\n  col = mix(col, atmosphereColor, fog);\n  float alpha = clamp(density * 0.95, 0.0, 1.0) * emerge * dissipate * 0.13;\n  /* Graded where nothing after this will grade it, as every pass is. The alpha is coverage. */\n  outColor = vec4(applyOutputTransform(col), alpha * (1.0 - fog));\n}\n";

package/dist/render/shaders/water.d.ts

@@ -15,4 +15,4 @@
  * ocean from a fixed vertex budget without the surface sliding underfoot.
  */
 export declare const WATER_VERT = "#version 300 es\nlayout(location = 0) in vec2 aGrid;\n\nuniform mat4 uViewProj;\nuniform mat4 uReflectionViewProj;\nuniform vec3 uCameraPos;\nuniform float uTime;\n/**\n * Where the sheet is laid, in world XZ.\n *\n * The ocean passes its own camera position snapped to whole cells, which is what\n * gives an endless sea from a fixed vertex budget without the surface sliding\n * underfoot. A *bounded* sheet \u2014 a pool in a courtyard \u2014 passes the middle of the\n * thing it is filling instead, and is world-fixed by construction.\n *\n * Snapped on the CPU rather than here so that one number is the only difference\n * between an ocean and a basin, and the shader has no idea which it is drawing.\n */\nuniform vec2 uGridOrigin;\n/**\n * Metres per unit of the sheet's own grid, along each of the body's own axes.\n *\n * One and one for the ocean, whose grid is authored in metres and is two meshes wide.\n * A bounded body \u2014 a pool, a tank, a puddle, a channel \u2014 is drawn from a unit sheet\n * and scaled by its own half-extents, which is what lets one mesh and one material\n * serve every body of water in the world.\n *\n * **Two numbers and not one since 2026-08-28.** A single span makes every bounded\n * body square, and a square that contains a channel floods the ground either side\n * of it. The ocean passes the same number twice and is bit-identical to what it was.\n */\nuniform vec2 uGridSpan;\nuniform vec2 uGridHalf;\nuniform vec2 uNearHalf;\n/**\n * The body's own +z, in world XZ, unit length. (0, 1) leaves the sheet unturned.\n *\n * A direction rather than an angle, so nothing here needs a trig call and a consumer\n * bounding a channel can hand over the direction its run already takes. The across\n * axis is world up crossed with this, `(fz, -fx)`, which is the basis\n * `MeshBuilder.addOrientedBox` builds from a forward vector \u2014 one convention for an\n * oriented thing, so a reader who has met one has met both.\n */\nuniform vec2 uGridForward;\n/** Prevailing wind bearing, normalised. Waves are steered toward it. */\nuniform vec2 uWindDir;\n/** Multiplier on authored steepness \u2014 how built-up the sea is. */\nuniform float uWaveGain;\nuniform float uWaterLevel;\n\nout vec3 vWorldPos;\nout vec3 vNormal;\nout float vCrest;\nout vec4 vReflectionClip;\n/** Grid-local offset, so the sheet can fade out its own boundary. */\nout vec2 vGrid;\n\n\nconst int GERSTNER_COUNT = 4;\n/*\n * direction.xy, steepness, wavelength. Amplitude is steepness/k, so these sum to\n * roughly a 1m swell \u2014 enough to read as a living surface, low enough that crests\n * never wash over an island whose deck sits ~1.8m above sea level.\n */\nconst vec4 GERSTNER_WAVES[4] = vec4[4](\n  vec4( 1.0,  0.0,  0.115, 34.0),\n  vec4( 0.6,  0.8,  0.100, 18.0),\n  vec4(-0.7,  0.7,  0.080,  9.0),\n  vec4( 0.2, -0.98, 0.060,  5.0)\n);\n\n/*\n * Steer each wave toward the wind, but only partway. A real sea is a dominant\n * swell plus cross-chop; rotating all four onto one bearing gives corduroy,\n * which reads as a material rather than as water.\n */\nvec2 gerstnerDirection(int i, vec2 windDir) {\n  return normalize(mix(normalize(GERSTNER_WAVES[i].xy), windDir, 0.62));\n}\n\nfloat gerstnerWavenumber(int i) {\n  return 6.28318530718 / GERSTNER_WAVES[i].w;\n}\n\n/** Deep-water phase in radians at a point on the resting plane. */\nfloat gerstnerPhase(float k, vec2 dir, vec2 p, float time) {\n  float c = sqrt(9.81 / k);              // deep-water phase speed\n  return k * (dot(dir, p) - c * time);\n}\n\nstruct GerstnerSurface {\n  /** Displacement from the resting plane \u2014 horizontal as well as vertical. */\n  vec3 offset;\n  vec3 normal;\n  /** Height in units of steepness; positive near a crest. */\n  float crest;\n};\n\nGerstnerSurface gerstnerSurface(vec2 p, float time, vec2 windDir, float gain) {\n  GerstnerSurface s;\n  s.offset = vec3(0.0);\n  s.normal = vec3(0.0, 1.0, 0.0);\n  s.crest = 0.0;\n  for (int i = 0; i < GERSTNER_COUNT; i++) {\n    vec2 dir = gerstnerDirection(i, windDir);\n    float steepness = GERSTNER_WAVES[i].z * gain;\n    float k = gerstnerWavenumber(i);\n    float f = gerstnerPhase(k, dir, p, time);\n    float a = steepness / k;             // amplitude from steepness\n\n    s.offset.x += dir.x * a * cos(f);\n    s.offset.y += a * sin(f);\n    s.offset.z += dir.y * a * cos(f);\n\n    // Analytic normal: the partial derivatives of the displacement above.\n    s.normal.x -= dir.x * steepness * cos(f);\n    s.normal.z -= dir.y * steepness * cos(f);\n    s.normal.y -= steepness * sin(f);\n\n    s.crest += sin(f) * steepness;\n  }\n  return s;\n}\n\n/**\n * Second derivatives of the height field: (d2h/dx2, d2h/dz2, d2h/dxdz).\n *\n * How the surface *bends*, which is what decides where reflected light\n * converges. Analytic from the same sum, so it cannot disagree with the shape\n * the vertex stage displaced.\n */\nvec3 gerstnerCurvature(vec2 p, float time, vec2 windDir, float gain) {\n  vec3 h = vec3(0.0);\n  for (int i = 0; i < GERSTNER_COUNT; i++) {\n    vec2 dir = gerstnerDirection(i, windDir);\n    float steepness = GERSTNER_WAVES[i].z * gain;\n    float k = gerstnerWavenumber(i);\n    float f = gerstnerPhase(k, dir, p, time);\n    // Second derivative of (steepness/k)*sin(f) along the wave's own bearing.\n    float second = -steepness * k * sin(f);\n    h.x += second * dir.x * dir.x;\n    h.y += second * dir.y * dir.y;\n    h.z += second * dir.x * dir.y;\n  }\n  return h;\n}\n\n\nvoid main() {\n  /*\n   * Waves must reach nothing by the near sheet's edge, because beyond it lies\n   * the flat skirt. A displaced rim meeting an undisplaced skirt would tear the\n   * surface open along a visible seam; fading first makes the two meshes agree\n   * exactly where they meet. Chebyshev distance, so the fade band follows the\n   * rectangular boundary rather than cutting an ellipse inside it.\n   *\n   * **Measured as a fraction of each axis' own extent**, which is what lets a\n   * channel three metres across and twenty-one long fade evenly at both its ends\n   * and both its sides. Against one shared extent the narrow axis would be inside\n   * the fade band along its whole length and the water would never reach its own\n   * bank. For the ocean, whose two extents are equal, this is the same arithmetic\n   * with the division moved one step earlier.\n   *\n   * It is also the honest thing to draw. At a few hundred metres a 1 m swell is\n   * well under a pixel, and out on the skirt a float32 phase argument has lost\n   * most of its meaningful bits \u2014 a calm horizon is what an ocean actually looks\n   * like from that far away.\n   */\n  vec2 grid = aGrid * uGridSpan;\n  /* The same offset the fragment stage fades the rim on, so the two cannot disagree. */\n  vGrid = grid;\n  vec2 rimFraction = abs(grid) / max(uNearHalf, vec2(1e-4));\n  float rimDistance = max(rimFraction.x, rimFraction.y);\n  float waveFade = 1.0 - smoothstep(0.35, 0.97, rimDistance);\n\n  /*\n   * Into the world: across the body, then along it. `right = up x forward` is\n   * `(fz, -fx)`, and getting that pair the wrong way round is a sheet mirrored\n   * about its own axis, which on a square is invisible and on a channel is a\n   * channel across the road instead of along it.\n   */\n  vec2 laid = vec2(uGridForward.y, -uGridForward.x) * grid.x + uGridForward * grid.y;\n\n  vec3 base = vec3(uGridOrigin.x + laid.x, uWaterLevel, uGridOrigin.y + laid.y);\n\n  GerstnerSurface sea = gerstnerSurface(base.xz, uTime, uWindDir, waveFade * uWaveGain);\n  vec3 pos = base + sea.offset;\n\n  vWorldPos = pos;\n  vNormal = normalize(sea.normal);\n  vCrest = sea.crest;\n  vReflectionClip = uReflectionViewProj * vec4(pos, 1.0);\n  gl_Position = uViewProj * vec4(pos, 1.0);\n}\n";
-export declare const WATER_FRAG = "#version 300 es\nprecision highp float;\n\nin vec3 vWorldPos;\nin vec3 vNormal;\nin float vCrest;\nin vec4 vReflectionClip;\nin vec2 vGrid;\n\nuniform vec2 uGridHalf;\nuniform float uFoamGain;\n/**\n * How much of what is beneath it a body of water hides, looked straight down.\n *\n * The *density* of the water rather than a rendering trick: a sea hides its own\n * floor, a fountain shows the tiles at the bottom of it, and a puddle is nearly\n * clear. Only the nadir end is configurable \u2014 at a grazing angle every water\n * surface goes reflective, which is Fresnel and not a property of the liquid.\n */\nuniform float uNadirOpacity;\n/** The whole surface's visibility, 0 to 1. Zero draws nothing at all. */\nuniform float uVisibility;\n/**\n * How much this body mirrors regardless of the angle it is seen at, 0 to 1.\n *\n * Zero is physics: reflection is Fresnel alone, which is right for an ocean seen\n * across its own surface and which means *almost nothing* when you stand over a\n * basin and look down into it \u2014 the angle is steep, the Fresnel term is a few\n * percent, and a reflection nobody can see is the same as no reflection: the\n * character's reflection is technically present and far too faint to perceive.\n *\n * So a body may declare itself more mirror than water. It is a lie about optics\n * and an honest one about what a small pool is *for*: you look into it to see\n * something. The sea keeps zero and behaves exactly as it always has.\n */\nuniform float uMirror;\nuniform vec3 uDeepColor;\nuniform vec3 uShallowColor;\nuniform vec3 uDirectionalDir;\nuniform vec3 uDirectionalColor;\nuniform vec3 uAmbient;\n/**\n * The scene's point lights, which water is entitled to as much as stone is.\n *\n * The surface used to answer to the sun alone, on the reasonable assumption that water\n * is a thing that sits under the sky. It is not: a flooded corridor, a cistern, an\n * indoor pool and a harbour at night are all water lit entirely by lamps, and under\n * those this shaded to flat ambient \u2014 a coloured plane, with the specular glitter that\n * is the single strongest cue that a surface *is* water switched off because no\n * directional source existed to make it. A lantern on a jetty threw nothing.\n *\n * Same slots, same weights and the surface shader's falloffs, a light's own exponent among\n * them, so a lamp reaches as far over water as over the ground beside it. **What it gives up**:\n * a spot's cone, which water does not read, so a spot lights the water around it as a lamp\n * would; and the smooth falloff's square, which the surface applies and this has never, so under\n * that falloff a lamp's pool on water is the wider of the two.\n */\n#define MAX_LIGHTS 16\nuniform int uLightCount;\nuniform vec3 uLightPos[MAX_LIGHTS];\nuniform vec3 uLightColor[MAX_LIGHTS];\nuniform float uLightRadius[MAX_LIGHTS];\nuniform float uLightWeight[MAX_LIGHTS];\nuniform int uLightFalloff;\n/* The surface shader's cone record, of which water reads z alone: a light's own falloff exponent. */\nuniform vec4 uLightCone[MAX_LIGHTS];\n\nuniform vec3 uFogColor;\n/** Extinction per metre **at the camera's own height**, not at the base. */\nuniform float uFogDensity;\n/** Reciprocal scale height of the haze, per metre. 0 is a uniform medium. */\nuniform float uFogHeightFalloff;\n/** The camera's height, so a fragment's own height is one subtraction away. */\nuniform float uFogEyeY;\nuniform vec3 uUnderwaterColor;\nuniform float uUnderwaterFogDensity;\nuniform float uUnderwaterFactor;\n/** 0 integrates a medium (Beer-Lambert); 1 ramps linearly between near and far. */\nuniform int uFogMode;\n/** Linear mode only: where haze begins, and where it is total. */\nuniform float uFogNear;\nuniform float uFogFar;\n\n/** What distance converges toward: the day's haze, or the water column. */\nvec3 mediumColor() {\n  return mix(uFogColor, uUnderwaterColor, uUnderwaterFactor);\n}\n\n/**\n * How much of a surface standing at height pointY, dist metres away, is lost to\n * the medium in between. 0 is perfectly clear, 1 is the medium's own colour.\n */\nfloat mediumFog(float dist, float pointY) {\n  /*\n   * A depth ramp rather than a medium, for worlds authored against one.\n   *\n   * Beer-Lambert is the honest model and stays the default: it integrates something\n   * physically there, so extinction begins at the eye and never stops. A linear near/far\n   * fog is not that \u2014 it is a *look*, with a hard start distance before which the air is\n   * perfectly clear, and it is what the fixed-function pipeline offered and what several\n   * renderers still expose. Approximating one with the other is not a matter of tuning:\n   * matched at half occlusion, the exponential curve still lays haze over everything\n   * inside near, where the ramp lays none, and near-field colour desaturates toward the\n   * fog colour with nothing to show for it.\n   *\n   * Height falloff has no meaning here and is ignored: a ramp is defined on distance\n   * alone.\n   */\n  if (uFogMode == 1) {\n    float span = max(uFogFar - uFogNear, 1e-4);\n    float ramp = clamp((dist - uFogNear) / span, 0.0, 1.0);\n    if (uUnderwaterFactor <= 0.0) return ramp;\n    float wetLinear = uUnderwaterFogDensity * dist;\n    return mix(ramp, 1.0 - exp2(-wetLinear * wetLinear * 1.442695), uUnderwaterFactor);\n  }\n\n  // Where the medium begins along the ray: uFogNear, the linear mode's slot, which this mode\n  // never read before Atmosphere.fogStart. The ray is integrated from there on, at the density\n  // of that point; at a start of 0 every term is the one it always was. See render/fog.ts.\n  float start = min(uFogNear, dist);\n  float before = dist > 0.0 ? start / dist : 0.0;\n  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\n  float rest = t * (1.0 - before);\n  // (1 - e^-t)/t, which tends to 1 as the ray levels out. Guarded rather than\n  // branched: at t = 0 the quotient is 0/0, and 1e-4 of a scale height is 8 mm.\n  float denom = abs(rest) < 1e-4 ? 1e-4 : rest;\n  float air =\n    1.0 - exp(-uFogDensity * exp(-t * before) * (dist - start) * (1.0 - exp(-denom)) / denom);\n  if (uUnderwaterFactor <= 0.0) return air;\n  // Water is its own medium and keeps its own curve, so crossing the surface\n  // changes nothing about how the water column reads.\n  float wet = uUnderwaterFogDensity * dist;\n  return mix(air, 1.0 - exp2(-wet * wet * 1.442695), uUnderwaterFactor);\n}\n\nuniform vec3 uCameraPos;\nuniform sampler2D uReflectionMap;\nuniform int uReflectionEnabled;\nuniform vec2 uReflectionTexelSize;\nuniform int uReflectionFilterTaps;\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder 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/*\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\n\nvec3 highlightShoulder(vec3 c) {\n  float m = max(c.r, max(c.g, c.b));\n  if (m <= 0.8) return c;\n  float e = m - 0.8;\n  return c * ((0.8 + 0.2 * e / (e + 0.2)) / m);\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  if (uOutputTransform == 3) c = highlightShoulder(c * uOutputExposure);\n  return linearToSrgb(c);\n}\n\n\nconst vec2 REFLECTION_FILTER[9] = vec2[9](\n  vec2( 0.00,  0.00), vec2(-0.62, -0.31), vec2( 0.54,  0.43),\n  vec2(-0.34,  0.76), vec2( 0.78, -0.57), vec2(-0.88,  0.28),\n  vec2( 0.22, -0.91), vec2( 0.91,  0.08), vec2(-0.18,  0.94)\n);\n// Preserve small moving silhouettes such as a character while still spreading\n// the surrounding taps enough to make the target read as rough water.\nconst float REFLECTION_FILTER_WEIGHT[9] = float[9](\n  0.28, 0.09, 0.09, 0.09, 0.09, 0.09, 0.09, 0.09, 0.09\n);\n\nout vec4 outColor;\n\nvoid main() {\n  vec3 n = normalize(vNormal);\n  vec3 view = normalize(uCameraPos - vWorldPos);\n\n  // Fresnel: water is nearly a mirror at grazing angles and clear straight down.\n  // abs keeps the underside physically continuous with the top instead of\n  // turning the entire surface into an opaque mirror below the waterline.\n  float facing = clamp(abs(dot(n, view)), 0.0, 1.0);\n  float fresnel = 0.02 + 0.98 * pow(1.0 - facing, 5.0);\n\n  vec3 atmosphereColor = mediumColor();\n\n  vec3 col = mix(uDeepColor, uShallowColor, clamp(vCrest * 1.4 + 0.4, 0.0, 1.0));\n  vec3 incident = uAmbient +\n    uDirectionalColor * max(dot(n, uDirectionalDir), 0.0) * 0.6;\n\n  // Specular glitter along the crests \u2014 the strongest single cue that a surface\n  // is water rather than a coloured plane.\n  vec3 halfVec = normalize(uDirectionalDir + view);\n  float spec = pow(max(dot(n, halfVec), 0.0), 220.0);\n  vec3 highlight = uDirectionalColor * spec * 1.6;\n\n  /*\n   * And the same from every lamp in range: a light over water lights it, and glitters\n   * on it. Indoors this is the whole of the surface's lighting.\n   *\n   * The exponent is the sun's, so a crest picks a lamp out as tightly as it picks out\n   * the sky \u2014 which is what makes a strip light read as a *streak* across a pool rather\n   * than a broad sheen. Weighted by presence like every other consumer of these slots,\n   * so a light entering the set fades in instead of appearing.\n   */\n  for (int i = 0; i < MAX_LIGHTS; i++) {\n    if (i >= uLightCount) break;\n    vec3 toLight = uLightPos[i] - vWorldPos;\n    float lightDist = length(toLight);\n    float falloff;\n    float exponent = uLightCone[i].z;\n    if (exponent > 0.0) {\n      float reach = lightDist / max(uLightRadius[i], 1e-4);\n      falloff = pow(clamp(1.0 - reach * reach, 0.0, 1.0), exponent);\n    } else if (uLightFalloff == 1) {\n      float window = clamp(1.0 - pow(lightDist / max(uLightRadius[i], 1e-4), 4.0), 0.0, 1.0);\n      falloff = window * window / max(lightDist * lightDist, 0.01);\n    } else {\n      falloff = clamp(1.0 - lightDist / max(uLightRadius[i], 1e-4), 0.0, 1.0);\n    }\n    if (falloff <= 0.0) continue;\n    vec3 lightDir = toLight / max(lightDist, 1e-4);\n    float shaped = falloff * uLightWeight[i];\n    incident += uLightColor[i] * max(dot(n, lightDir), 0.0) * shaped * 0.6;\n    vec3 lampHalf = normalize(lightDir + view);\n    highlight += uLightColor[i] * pow(max(dot(n, lampHalf), 0.0), 220.0) * shaped * 1.6;\n  }\n\n  col *= incident;\n  col += highlight;\n\n  // Foam where crests peak \u2014 and only when the wind is actually breaking them.\n  float foam = smoothstep(0.55, 0.85, vCrest) * uFoamGain;\n  col = mix(col, vec3(0.92, 0.96, 1.0), foam * 0.5);\n\n  float dist = distance(vWorldPos, uCameraPos);\n  float fog = mediumFog(dist, vWorldPos.y);\n  col = mix(col, atmosphereColor, fog);\n  /*\n   * **Graded here, before the mirror is mixed in**, as every pass grades what it draws when\n   * nothing after it will: the mirror's own passes graded what it holds, so mixing first would put\n   * the curve on it twice. The air's colour, which stands in where the mirror shows nothing, is\n   * graded to meet it, as the sky behind it is.\n   */\n  col = applyOutputTransform(col);\n  vec3 gradedAir = applyOutputTransform(atmosphereColor);\n\n  // Transparency is angle-dependent, like real water: looking down you see\n  // straight through to the seabed, at grazing angles it turns reflective.\n  // This is computed before reflection because straight-alpha compositing must\n  // not attenuate reflected radiance a second time below.\n  float airOpacity = mix(uNadirOpacity, 0.96, fresnel);\n  float underwaterOpacity = mix(uNadirOpacity * 0.55, 0.88, fresnel);\n  float opacity = mix(airOpacity, underwaterOpacity, uUnderwaterFactor);\n  opacity = mix(opacity, 0.96, foam * 0.7);\n\n  // Project the displaced surface into the mirrored camera. The Gerstner\n  // displacement supplies broad distortion; the analytic normal adds the\n  // smaller ripples that make reflected silhouettes move with each crest.\n  vec3 reflected = gradedAir;\n  float reflectionValid = 0.0;\n  if (uReflectionEnabled != 0 && vReflectionClip.w > 0.0) {\n    vec2 reflectionUv = vReflectionClip.xy / vReflectionClip.w * 0.5 + 0.5;\n    reflectionUv += n.xz * mix(0.008, 0.022, fresnel);\n    vec2 border = min(reflectionUv, 1.0 - reflectionUv);\n    reflectionValid = smoothstep(0.0, 0.025, min(border.x, border.y));\n    // A planar target is optically sharp, which is correct for a mirror but\n    // wrong for a moving water surface. Broaden it over a Poisson footprint\n    // that grows gently with viewing distance; normal displacement above\n    // still makes every crest steer that softened image independently.\n    float blurPixels = 1.35 + min(dist * 0.022, 3.5);\n    vec3 sceneReflection = vec3(0.0);\n    float filterWeight = 0.0;\n    for (int i = 0; i < 9; i++) {\n      if (i >= uReflectionFilterTaps) break;\n      vec2 sampleUv = reflectionUv +\n        REFLECTION_FILTER[i] * uReflectionTexelSize * blurPixels;\n      float weight = REFLECTION_FILTER_WEIGHT[i];\n      /*\n       * `textureLod` rather than `texture`, by the rule `AGENTS.md` records on 2026-08-07:\n       * this loop is reached through a branch on `vReflectionClip`, which is not uniform, and\n       * an implicit derivative there is undefined. **WGSL does not merely leave it undefined,\n       * it refuses to compile the module**: *\"'textureSample' must only be called from uniform\n       * control flow\"*, with the note that reading `vReflectionClip` may be non-uniform.\n       *\n       * Bit-identical on WebGL2: `planarReflection.ts` allocates one level and filters\n       * `LINEAR`, so there is no mip to select and level zero is the only thing `texture`\n       * could have read.\n       */\n      sceneReflection +=\n        textureLod(uReflectionMap, clamp(sampleUv, 0.0, 1.0), 0.0).rgb * weight;\n      filterWeight += weight;\n    }\n    sceneReflection /= max(filterWeight, 0.001);\n    reflected = mix(gradedAir, sceneReflection, reflectionValid);\n  }\n  // The atmosphere-colour fallback preserves the old sky reflection when a\n  // quality profile disables the extra scene pass. Foam scatters rather than\n  // mirroring, so it masks the reflection at breaking crests.\n  float sceneWeight = float(uReflectionEnabled) * reflectionValid;\n  float reflectionGain = mix(0.75, 0.94, sceneWeight);\n  // Angle-honest by default, and a mirror where a body says so. See uMirror above.\n  float reflectivity = mix(fresnel, 1.0, uMirror);\n  float reflectedRadiance = min(\n    reflectivity * reflectionGain * (1.0 - foam * 0.8),\n    opacity\n  );\n  // With SRC_ALPHA blending, mixing by Fresnel directly would multiply the\n  // reflection by opacity again. Divide it out here so the framebuffer gets\n  // the intended reflected fraction while the remainder stays transmissive.\n  float reflectionWeight = reflectedRadiance / max(opacity, 0.001);\n  col = mix(col, reflected, reflectionWeight);\n\n  /*\n   * Dissolve the sheet at its own boundary.\n   *\n   * Fading on fog alone made the horizon a function of the daily palette: a\n   * clear day never reached the threshold, so the grid's rim \u2014 corner and all \u2014\n   * became the skyline. Fading on the grid coordinate cannot fail that way,\n   * because alpha reaches zero at the last row of vertices by construction.\n   * Chebyshev distance because the sheet is a rectangle, so the fade band\n   * follows its four edges instead of cutting an ellipse out of it \u2014 and it is\n   * measured per axis, or a channel's narrow sides would be one continuous fade\n   * and it would have no visible edge at all.\n   */\n  vec2 rimFraction = abs(vGrid) / max(uGridHalf, vec2(0.001));\n  float rimT = max(rimFraction.x, rimFraction.y);\n  float rim = 1.0 - smoothstep(0.9, 1.0, rimT);\n  // Fog still helps where it is thick, it just is no longer load-bearing.\n  float edge = 1.0 - smoothstep(0.82, 1.0, fog);\n  outColor = vec4(col, opacity * edge * rim * uVisibility);\n}\n";
+export declare const WATER_FRAG = "#version 300 es\nprecision highp float;\n\nin vec3 vWorldPos;\nin vec3 vNormal;\nin float vCrest;\nin vec4 vReflectionClip;\nin vec2 vGrid;\n\nuniform vec2 uGridHalf;\nuniform float uFoamGain;\n/**\n * How much of what is beneath it a body of water hides, looked straight down.\n *\n * The *density* of the water rather than a rendering trick: a sea hides its own\n * floor, a fountain shows the tiles at the bottom of it, and a puddle is nearly\n * clear. Only the nadir end is configurable \u2014 at a grazing angle every water\n * surface goes reflective, which is Fresnel and not a property of the liquid.\n */\nuniform float uNadirOpacity;\n/** The whole surface's visibility, 0 to 1. Zero draws nothing at all. */\nuniform float uVisibility;\n/**\n * How much this body mirrors regardless of the angle it is seen at, 0 to 1.\n *\n * Zero is physics: reflection is Fresnel alone, which is right for an ocean seen\n * across its own surface and which means *almost nothing* when you stand over a\n * basin and look down into it \u2014 the angle is steep, the Fresnel term is a few\n * percent, and a reflection nobody can see is the same as no reflection: the\n * character's reflection is technically present and far too faint to perceive.\n *\n * So a body may declare itself more mirror than water. It is a lie about optics\n * and an honest one about what a small pool is *for*: you look into it to see\n * something. The sea keeps zero and behaves exactly as it always has.\n */\nuniform float uMirror;\nuniform vec3 uDeepColor;\nuniform vec3 uShallowColor;\nuniform vec3 uDirectionalDir;\nuniform vec3 uDirectionalColor;\nuniform vec3 uAmbient;\n/**\n * The scene's point lights, which water is entitled to as much as stone is.\n *\n * The surface used to answer to the sun alone, on the reasonable assumption that water\n * is a thing that sits under the sky. It is not: a flooded corridor, a cistern, an\n * indoor pool and a harbour at night are all water lit entirely by lamps, and under\n * those this shaded to flat ambient \u2014 a coloured plane, with the specular glitter that\n * is the single strongest cue that a surface *is* water switched off because no\n * directional source existed to make it. A lantern on a jetty threw nothing.\n *\n * Same slots, same weights and the surface shader's falloffs, a light's own exponent among\n * them, so a lamp reaches as far over water as over the ground beside it. **What it gives up**:\n * a spot's cone, which water does not read, so a spot lights the water around it as a lamp\n * would; and the smooth falloff's square, which the surface applies and this has never, so under\n * that falloff a lamp's pool on water is the wider of the two.\n */\n#define MAX_LIGHTS 16\nuniform int uLightCount;\nuniform vec3 uLightPos[MAX_LIGHTS];\nuniform vec3 uLightColor[MAX_LIGHTS];\nuniform float uLightRadius[MAX_LIGHTS];\nuniform float uLightWeight[MAX_LIGHTS];\nuniform int uLightFalloff;\n/* The surface shader's cone record, of which water reads z alone: a light's own falloff exponent. */\nuniform vec4 uLightCone[MAX_LIGHTS];\n\nuniform vec3 uFogColor;\n/**\n * The haze: its extinction per metre **at the camera's own height**, not at the base; its\n * reciprocal scale height per metre, 0 for a uniform medium; the camera's height, so a fragment's\n * own height is one subtraction away; and the water column's own density.\n *\n * **Four numbers in one vector rather than four uniforms**, and the reason is a phone: a scalar\n * costs a whole row of the uniform grid, and the lit stage at its eight-light rung must fit the 256\n * rows an Adreno 740 offers (uniformVectorBudget.ts). Packed, the haze's eight scalars cost two\n * rows where they cost eight, which is what paid for the second layer and the sun's glow below.\n */\nuniform vec4 uFogMedium;\n/** Where haze begins, where a linear ramp is total, and the mode: 0 a medium, 1 a ramp. */\nuniform vec4 uFogRange;\nuniform vec3 uUnderwaterColor;\nuniform float uUnderwaterFactor;\n/**\n * The second layer's extinction per metre at the camera's height and its falloff; then the least of\n * a surface the haze must leave, Atmosphere.fogMaxOpacity's complement, and the distance past which\n * it hides nothing (0 is none). **Every lane is none at zero**, and so are uFogGlow's: a program a\n * binder never wrote these into draws the haze it drew before they existed, rather than none.\n */\nuniform vec4 uFogLayer2;\n/** The sun's glow in the haze: its colour, black for none, and the exponent of its lobe. */\nuniform vec4 uFogGlow;\n/** Surface \u2192 the glow's light, and how far past the haze's start the glow begins. */\nuniform vec4 uFogGlowDir;\n\n/** What distance converges toward: the day's haze, or the water column. */\nvec3 mediumColor() {\n  return mix(uFogColor, uUnderwaterColor, uUnderwaterFactor);\n}\n\n/**\n * The haze's optical depth from where it begins along the ray to a point at height pointY, dist\n * metres away: each layer's density at the eye carried over what is left of the ray, with the\n * second layer only where there is one. The fog and the sun's glow both integrate it.\n */\nfloat hazeDepth(float dist, float pointY) {\n  // Where the medium begins along the ray: uFogRange.x, the linear mode's slot, which this mode\n  // never read before Atmosphere.fogStart. The ray is integrated from there on, at the density\n  // of that point; at a start of 0 every term is the one it always was. See render/fog.ts.\n  float start = min(uFogRange.x, dist);\n  float before = dist > 0.0 ? start / dist : 0.0;\n  float t = (pointY - uFogMedium.z) * uFogMedium.y;\n  float rest = t * (1.0 - before);\n  // (1 - e^-t)/t, which tends to 1 as the ray levels out. Guarded rather than\n  // branched: at t = 0 the quotient is 0/0, and 1e-4 of a scale height is 8 mm.\n  float denom = abs(rest) < 1e-4 ? 1e-4 : rest;\n  float depth = uFogMedium.x * exp(-t * before) * (dist - start) * (1.0 - exp(-denom)) / denom;\n  if (uFogLayer2.x > 0.0) {\n    float t2 = (pointY - uFogMedium.z) * uFogLayer2.y;\n    float rest2 = t2 * (1.0 - before);\n    float denom2 = abs(rest2) < 1e-4 ? 1e-4 : rest2;\n    depth += uFogLayer2.x * exp(-t2 * before) * (dist - start) * (1.0 - exp(-denom2)) / denom2;\n  }\n  return depth;\n}\n\n/**\n * How much of a surface standing at height pointY, dist metres away, is lost to\n * the medium in between. 0 is perfectly clear, 1 is the medium's own colour.\n */\nfloat mediumFog(float dist, float pointY) {\n  /* Past the cutoff the air hides nothing, in either mode; the water column keeps its own law. */\n  bool cut = uFogLayer2.w > 0.0 && dist > uFogLayer2.w;\n  /*\n   * A depth ramp rather than a medium, for worlds authored against one.\n   *\n   * Beer-Lambert is the honest model and stays the default: it integrates something\n   * physically there, so extinction begins at the eye and never stops. A linear near/far\n   * fog is not that \u2014 it is a *look*, with a hard start distance before which the air is\n   * perfectly clear, and it is what the fixed-function pipeline offered and what several\n   * renderers still expose. Approximating one with the other is not a matter of tuning:\n   * matched at half occlusion, the exponential curve still lays haze over everything\n   * inside near, where the ramp lays none, and near-field colour desaturates toward the\n   * fog colour with nothing to show for it.\n   *\n   * Height falloff has no meaning here and is ignored: a ramp is defined on distance\n   * alone.\n   */\n  if (uFogRange.z == 1.0) {\n    float span = max(uFogRange.y - uFogRange.x, 1e-4);\n    float ramp = cut ? 0.0 : min(clamp((dist - uFogRange.x) / span, 0.0, 1.0), 1.0 - uFogLayer2.z);\n    if (uUnderwaterFactor <= 0.0) return ramp;\n    float wetLinear = uFogMedium.w * dist;\n    return mix(ramp, 1.0 - exp2(-wetLinear * wetLinear * 1.442695), uUnderwaterFactor);\n  }\n\n  // Beer-Lambert through both layers, leaving at least uFogLayer2.z of the surface: a floor on\n  // what survives rather than a ceiling on the depth, so the curve keeps its shape above it.\n  float air = cut ? 0.0 : 1.0 - max(exp(-hazeDepth(dist, pointY)), uFogLayer2.z);\n  if (uUnderwaterFactor <= 0.0) return air;\n  // Water is its own medium and keeps its own curve, so crossing the surface\n  // changes nothing about how the water column reads.\n  float wet = uFogMedium.w * dist;\n  return mix(air, 1.0 - exp2(-wet * wet * 1.442695), uUnderwaterFactor);\n}\n\n/**\n * The sun's light the haze scatters toward the eye along a ray to a point at height pointY, dist\n * metres away in the direction toPoint: added to a surface after its fog, never mixed. A lobe of\n * cos^exponent about the light, by as much of the ray past the glow's own start as the haze hides \u2014\n * the haze's depth per metre carried over that stretch. None in a linear ramp, past the cutoff, or\n * under water, which keeps its own medium.\n */\nvec3 mediumGlow(float dist, float pointY, vec3 toPoint) {\n  if (uFogRange.z == 1.0 || max(max(uFogGlow.r, uFogGlow.g), uFogGlow.b) <= 0.0) return vec3(0.0);\n  if (uFogLayer2.w > 0.0 && dist > uFogLayer2.w) return vec3(0.0);\n  float span = dist - min(uFogRange.x, dist);\n  if (span <= 0.0) return vec3(0.0);\n  float perMetre = hazeDepth(dist, pointY) / span;\n  float hidden = 1.0 - exp(-perMetre * max(span - uFogGlowDir.w, 0.0));\n  float lobe = pow(clamp(dot(toPoint, uFogGlowDir.xyz), 0.0, 1.0), uFogGlow.a);\n  return uFogGlow.rgb * (lobe * hidden * (1.0 - uUnderwaterFactor));\n}\n\nuniform vec3 uCameraPos;\nuniform sampler2D uReflectionMap;\nuniform int uReflectionEnabled;\nuniform vec2 uReflectionTexelSize;\nuniform int uReflectionFilterTaps;\n\n/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder 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/*\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\n\nvec3 highlightShoulder(vec3 c) {\n  float m = max(c.r, max(c.g, c.b));\n  if (m <= 0.8) return c;\n  float e = m - 0.8;\n  return c * ((0.8 + 0.2 * e / (e + 0.2)) / m);\n}\n\nvec3 applyOutputTransform(vec3 c) {\n  if (uOutputTransform == 0) return c;\n  if (uOutputTransform == 2) c = acesFilmic(c);\n  if (uOutputTransform == 3) c = highlightShoulder(c * uOutputExposure);\n  return linearToSrgb(c);\n}\n\n\nconst vec2 REFLECTION_FILTER[9] = vec2[9](\n  vec2( 0.00,  0.00), vec2(-0.62, -0.31), vec2( 0.54,  0.43),\n  vec2(-0.34,  0.76), vec2( 0.78, -0.57), vec2(-0.88,  0.28),\n  vec2( 0.22, -0.91), vec2( 0.91,  0.08), vec2(-0.18,  0.94)\n);\n// Preserve small moving silhouettes such as a character while still spreading\n// the surrounding taps enough to make the target read as rough water.\nconst float REFLECTION_FILTER_WEIGHT[9] = float[9](\n  0.28, 0.09, 0.09, 0.09, 0.09, 0.09, 0.09, 0.09, 0.09\n);\n\nout vec4 outColor;\n\nvoid main() {\n  vec3 n = normalize(vNormal);\n  vec3 view = normalize(uCameraPos - vWorldPos);\n\n  // Fresnel: water is nearly a mirror at grazing angles and clear straight down.\n  // abs keeps the underside physically continuous with the top instead of\n  // turning the entire surface into an opaque mirror below the waterline.\n  float facing = clamp(abs(dot(n, view)), 0.0, 1.0);\n  float fresnel = 0.02 + 0.98 * pow(1.0 - facing, 5.0);\n\n  vec3 atmosphereColor = mediumColor();\n\n  vec3 col = mix(uDeepColor, uShallowColor, clamp(vCrest * 1.4 + 0.4, 0.0, 1.0));\n  vec3 incident = uAmbient +\n    uDirectionalColor * max(dot(n, uDirectionalDir), 0.0) * 0.6;\n\n  // Specular glitter along the crests \u2014 the strongest single cue that a surface\n  // is water rather than a coloured plane.\n  vec3 halfVec = normalize(uDirectionalDir + view);\n  float spec = pow(max(dot(n, halfVec), 0.0), 220.0);\n  vec3 highlight = uDirectionalColor * spec * 1.6;\n\n  /*\n   * And the same from every lamp in range: a light over water lights it, and glitters\n   * on it. Indoors this is the whole of the surface's lighting.\n   *\n   * The exponent is the sun's, so a crest picks a lamp out as tightly as it picks out\n   * the sky \u2014 which is what makes a strip light read as a *streak* across a pool rather\n   * than a broad sheen. Weighted by presence like every other consumer of these slots,\n   * so a light entering the set fades in instead of appearing.\n   */\n  for (int i = 0; i < MAX_LIGHTS; i++) {\n    if (i >= uLightCount) break;\n    vec3 toLight = uLightPos[i] - vWorldPos;\n    float lightDist = length(toLight);\n    float falloff;\n    float exponent = uLightCone[i].z;\n    if (exponent > 0.0) {\n      float reach = lightDist / max(uLightRadius[i], 1e-4);\n      falloff = pow(clamp(1.0 - reach * reach, 0.0, 1.0), exponent);\n    } else if (uLightFalloff == 1) {\n      float window = clamp(1.0 - pow(lightDist / max(uLightRadius[i], 1e-4), 4.0), 0.0, 1.0);\n      falloff = window * window / max(lightDist * lightDist, 0.01);\n    } else {\n      falloff = clamp(1.0 - lightDist / max(uLightRadius[i], 1e-4), 0.0, 1.0);\n    }\n    if (falloff <= 0.0) continue;\n    vec3 lightDir = toLight / max(lightDist, 1e-4);\n    float shaped = falloff * uLightWeight[i];\n    incident += uLightColor[i] * max(dot(n, lightDir), 0.0) * shaped * 0.6;\n    vec3 lampHalf = normalize(lightDir + view);\n    highlight += uLightColor[i] * pow(max(dot(n, lampHalf), 0.0), 220.0) * shaped * 1.6;\n  }\n\n  col *= incident;\n  col += highlight;\n\n  // Foam where crests peak \u2014 and only when the wind is actually breaking them.\n  float foam = smoothstep(0.55, 0.85, vCrest) * uFoamGain;\n  col = mix(col, vec3(0.92, 0.96, 1.0), foam * 0.5);\n\n  float dist = distance(vWorldPos, uCameraPos);\n  float fog = mediumFog(dist, vWorldPos.y);\n  vec3 glow = mediumGlow(dist, vWorldPos.y, normalize(vWorldPos - uCameraPos));\n  col = mix(col, atmosphereColor, fog) + glow;\n  /*\n   * **Graded here, before the mirror is mixed in**, as every pass grades what it draws when\n   * nothing after it will: the mirror's own passes graded what it holds, so mixing first would put\n   * the curve on it twice. The air's colour, which stands in where the mirror shows nothing, is\n   * graded to meet it, as the sky behind it is.\n   */\n  col = applyOutputTransform(col);\n  vec3 gradedAir = applyOutputTransform(atmosphereColor);\n\n  // Transparency is angle-dependent, like real water: looking down you see\n  // straight through to the seabed, at grazing angles it turns reflective.\n  // This is computed before reflection because straight-alpha compositing must\n  // not attenuate reflected radiance a second time below.\n  float airOpacity = mix(uNadirOpacity, 0.96, fresnel);\n  float underwaterOpacity = mix(uNadirOpacity * 0.55, 0.88, fresnel);\n  float opacity = mix(airOpacity, underwaterOpacity, uUnderwaterFactor);\n  opacity = mix(opacity, 0.96, foam * 0.7);\n\n  // Project the displaced surface into the mirrored camera. The Gerstner\n  // displacement supplies broad distortion; the analytic normal adds the\n  // smaller ripples that make reflected silhouettes move with each crest.\n  vec3 reflected = gradedAir;\n  float reflectionValid = 0.0;\n  if (uReflectionEnabled != 0 && vReflectionClip.w > 0.0) {\n    vec2 reflectionUv = vReflectionClip.xy / vReflectionClip.w * 0.5 + 0.5;\n    reflectionUv += n.xz * mix(0.008, 0.022, fresnel);\n    vec2 border = min(reflectionUv, 1.0 - reflectionUv);\n    reflectionValid = smoothstep(0.0, 0.025, min(border.x, border.y));\n    // A planar target is optically sharp, which is correct for a mirror but\n    // wrong for a moving water surface. Broaden it over a Poisson footprint\n    // that grows gently with viewing distance; normal displacement above\n    // still makes every crest steer that softened image independently.\n    float blurPixels = 1.35 + min(dist * 0.022, 3.5);\n    vec3 sceneReflection = vec3(0.0);\n    float filterWeight = 0.0;\n    for (int i = 0; i < 9; i++) {\n      if (i >= uReflectionFilterTaps) break;\n      vec2 sampleUv = reflectionUv +\n        REFLECTION_FILTER[i] * uReflectionTexelSize * blurPixels;\n      float weight = REFLECTION_FILTER_WEIGHT[i];\n      /*\n       * `textureLod` rather than `texture`, by the rule `AGENTS.md` records on 2026-08-07:\n       * this loop is reached through a branch on `vReflectionClip`, which is not uniform, and\n       * an implicit derivative there is undefined. **WGSL does not merely leave it undefined,\n       * it refuses to compile the module**: *\"'textureSample' must only be called from uniform\n       * control flow\"*, with the note that reading `vReflectionClip` may be non-uniform.\n       *\n       * Bit-identical on WebGL2: `planarReflection.ts` allocates one level and filters\n       * `LINEAR`, so there is no mip to select and level zero is the only thing `texture`\n       * could have read.\n       */\n      sceneReflection +=\n        textureLod(uReflectionMap, clamp(sampleUv, 0.0, 1.0), 0.0).rgb * weight;\n      filterWeight += weight;\n    }\n    sceneReflection /= max(filterWeight, 0.001);\n    reflected = mix(gradedAir, sceneReflection, reflectionValid);\n  }\n  // The atmosphere-colour fallback preserves the old sky reflection when a\n  // quality profile disables the extra scene pass. Foam scatters rather than\n  // mirroring, so it masks the reflection at breaking crests.\n  float sceneWeight = float(uReflectionEnabled) * reflectionValid;\n  float reflectionGain = mix(0.75, 0.94, sceneWeight);\n  // Angle-honest by default, and a mirror where a body says so. See uMirror above.\n  float reflectivity = mix(fresnel, 1.0, uMirror);\n  float reflectedRadiance = min(\n    reflectivity * reflectionGain * (1.0 - foam * 0.8),\n    opacity\n  );\n  // With SRC_ALPHA blending, mixing by Fresnel directly would multiply the\n  // reflection by opacity again. Divide it out here so the framebuffer gets\n  // the intended reflected fraction while the remainder stays transmissive.\n  float reflectionWeight = reflectedRadiance / max(opacity, 0.001);\n  col = mix(col, reflected, reflectionWeight);\n\n  /*\n   * Dissolve the sheet at its own boundary.\n   *\n   * Fading on fog alone made the horizon a function of the daily palette: a\n   * clear day never reached the threshold, so the grid's rim \u2014 corner and all \u2014\n   * became the skyline. Fading on the grid coordinate cannot fail that way,\n   * because alpha reaches zero at the last row of vertices by construction.\n   * Chebyshev distance because the sheet is a rectangle, so the fade band\n   * follows its four edges instead of cutting an ellipse out of it \u2014 and it is\n   * measured per axis, or a channel's narrow sides would be one continuous fade\n   * and it would have no visible edge at all.\n   */\n  vec2 rimFraction = abs(vGrid) / max(uGridHalf, vec2(0.001));\n  float rimT = max(rimFraction.x, rimFraction.y);\n  float rim = 1.0 - smoothstep(0.9, 1.0, rimT);\n  // Fog still helps where it is thick, it just is no longer load-bearing.\n  float edge = 1.0 - smoothstep(0.82, 1.0, fog);\n  outColor = vec4(col, opacity * edge * rim * uVisibility);\n}\n";

package/dist/render/shaders/water.js

@@ -275,7 +275,8 @@ void main() {
 
   float dist = distance(vWorldPos, uCameraPos);
   float fog = mediumFog(dist, vWorldPos.y);
-  col = mix(col, atmosphereColor, fog);
+  vec3 glow = mediumGlow(dist, vWorldPos.y, normalize(vWorldPos - uCameraPos));
+  col = mix(col, atmosphereColor, fog) + glow;
   /*
    * **Graded here, before the mirror is mixed in**, as every pass grades what it draws when
    * nothing after it will: the mirror's own passes graded what it holds, so mixing first would put

package/dist/render/surfaceModel.d.ts

@@ -26,11 +26,19 @@ export interface AnisotropicModel {
     readonly strength: number;
     /** Radians, turning the stretch's direction from the tangent toward the bitangent. */
     readonly rotation: number;
+    /**
+     * How far the highlight is lifted where it is bright: the distribution `D` becomes
+     * `D + min(3, D^1.5) · lift`, which is how a brushed finish that reads as polished along its
+     * streak is authored. Where a model map is bound its alpha scales it texel by texel, so a map
+     * storing a tenth of a region's lift takes `lift: 10`. 0, the default, is none.
+     */
+    readonly lift: number;
 }
 /**
  * Hair: three lobes along the strand, which is the mesh's tangent, running from root to tip
- * (`hairLobes.ts`). A model map's green turns each strand's tilt by up to half of it either way and
- * its blue is occlusion.
+ * (`hairLobes.ts`). A model map's red is the strand's specular, twice it scaling the reflected lobe
+ * (0.5 is the lobe as drawn), its green turns each strand's tilt by up to half of it either way and
+ * its blue is occlusion; `directionOffset` names a layer of it holding each strand's direction.
  */
 export interface HairModel {
     readonly kind: 'hair';
@@ -44,6 +52,15 @@ export interface HairModel {
     readonly scatter: number;
     /** How strongly light from behind glows through: the transmitted lobe. */
     readonly backlit: number;
+    /**
+     * Where the model map holds each strand's direction: this many layers past the layer the texel's
+     * other channels are read at, so a model map of one layer with its directions in the next takes
+     * 1. The direction is in the surface's tangent frame, red along the tangent, green along the
+     * bitangent and blue out of the surface along its normal, each −1 to 1 packed as a normal map
+     * packs them, and the strand runs along it rather than along the tangent: a card's strands can
+     * lean out of its plane. 0, the default, is none.
+     */
+    readonly directionOffset: number;
 }
 /** Skin: light scattered beneath the surface, reddening its terminator and its thin parts. */
 export interface SkinModel {
@@ -102,12 +119,14 @@ export declare const MODEL_PARAM_FLOATS = 8;
 export declare function anisotropicModel(options?: {
     strength?: number;
     rotation?: number;
+    lift?: number;
 }): AnisotropicModel;
 /** Hair, along the mesh's tangent from root to tip. A tilt of 3°, within the 2.5° to 5° measured. */
 export declare function hairModel(options?: {
     shift?: number;
     scatter?: number;
     backlit?: number;
+    directionOffset?: number;
 }): HairModel;
 /**
  * How far Burley's normalised diffusion carries light on average, in units of its own distance
@@ -154,8 +173,8 @@ export declare function lightmapModel(options?: {
  * models that read it leave free; skin, hair and the eye shade their own highlights and never do.
  *
  * - standard (null): − · −, −, physical, −
- * - anisotropic: strength, cos and sin of the rotation · −, −, physical, map
- * - hair: shift, scatter, backlit, − · −, −, −, map
+ * - anisotropic: strength, cos and sin of the rotation, lift · −, −, physical, map
+ * - hair: shift, scatter, backlit, direction offset · −, −, −, map
  * - skin: the scatter colour, radius / `SKIN_MEAN_EXIT` · transmission, profile, −, map
  * - eye: iris radius, iris depth, ior, cornea roughness · the axis, map
  * - lightmap: the region's scale and bias · −, −, physical, map

package/dist/render/surfaceModel.js

@@ -33,17 +33,23 @@ function unit(model, name, v) {
 export function anisotropicModel(options = {}) {
     return Object.freeze({
         kind: 'anisotropic',
+        lift: check('anisotropicModel', 'lift', options.lift ?? 0, 0, 100),
         strength: check('anisotropicModel', 'strength', options.strength ?? 1, 0, 1),
         rotation: check('anisotropicModel', 'rotation', options.rotation ?? 0, -2 * Math.PI, 2 * Math.PI),
     });
 }
 /** Hair, along the mesh's tangent from root to tip. A tilt of 3°, within the 2.5° to 5° measured. */
 export function hairModel(options = {}) {
+    const directionOffset = check('hairModel', 'directionOffset', options.directionOffset ?? 0, 0, 255);
+    if (!Number.isInteger(directionOffset)) {
+        throw new Error(`hairModel: directionOffset must be a whole number of layers, not ${directionOffset}`);
+    }
     return Object.freeze({
         kind: 'hair',
         shift: check('hairModel', 'shift', options.shift ?? (3 * Math.PI) / 180, -0.5, 0.5),
         scatter: check('hairModel', 'scatter', options.scatter ?? 0.7, 0, 1),
         backlit: check('hairModel', 'backlit', options.backlit ?? 1, 0, 4),
+        directionOffset,
     });
 }
 /**
@@ -113,8 +119,8 @@ export function lightmapModel(options = {}) {
  * models that read it leave free; skin, hair and the eye shade their own highlights and never do.
  *
  * - standard (null): − · −, −, physical, −
- * - anisotropic: strength, cos and sin of the rotation · −, −, physical, map
- * - hair: shift, scatter, backlit, − · −, −, −, map
+ * - anisotropic: strength, cos and sin of the rotation, lift · −, −, physical, map
+ * - hair: shift, scatter, backlit, direction offset · −, −, −, map
  * - skin: the scatter colour, radius / `SKIN_MEAN_EXIT` · transmission, profile, −, map
  * - eye: iris radius, iris depth, ior, cornea roughness · the axis, map
  * - lightmap: the region's scale and bias · −, −, physical, map
@@ -132,12 +138,16 @@ export function packModel(model, mapped, out, physical = false) {
             out[0] = model.strength;
             out[1] = Math.cos(model.rotation);
             out[2] = Math.sin(model.rotation);
+            /* The lift, which the map's alpha scales texel by texel; 0, and a missing field, is none. */
+            out[3] = model.lift ?? 0;
             out[6] = highlight;
             return;
         case 'hair':
             out[0] = model.shift;
             out[1] = model.scatter;
             out[2] = model.backlit;
+            /* A layer offset the shader adds to the texel's own; 0 is none, and so is a missing field. */
+            out[3] = model.directionOffset ?? 0;
             return;
         case 'skin':
             out[0] = model.scatterColor[0];

package/package.json

@@ -1,6 +1,6 @@
 {
   "name": "@driftengine/core",
-  "version": "4.13.4",
+  "version": "4.13.5",
   "description": "The runtime of DriftEngine, a WebGPU game engine with a WebGL2 fallback: renderer, loop, input, cameras, scene graph and physics",
   "license": "Apache-2.0",
   "type": "module",
@@ -29,8 +29,8 @@
   ],
   "sideEffects": false,
   "dependencies": {
-    "@driftengine/drft": "4.13.4",
-    "@driftengine/physics": "4.13.4",
+    "@driftengine/drft": "4.13.5",
+    "@driftengine/physics": "4.13.5",
     "gl-matrix": "^3.4.3"
   },
   "author": "Drift Technologies",
@@ -67,8 +67,8 @@
     "prepack": "node ../../scripts/build.mjs @driftengine/core"
   },
   "devDependencies": {
-    "@driftengine/nav": "4.13.4",
-    "@driftengine/network": "4.13.4",
-    "@driftengine/texture": "4.13.4"
+    "@driftengine/nav": "4.13.5",
+    "@driftengine/network": "4.13.5",
+    "@driftengine/texture": "4.13.5"
   }
 }

package/src/index.ts

@@ -583,7 +583,12 @@ export type {
 export type { StaticDrawsHandle } from './render/staticDraws.ts';
 /* A bone animation's clip as a caller hands it over, and the handle `createBoneAnimation` returns. */
 export type { BoneAnimationClip, BoneAnimationHandle } from './render/boneAnimation.ts';
-export type { Atmosphere, UnderwaterAtmosphere } from './render/atmosphere.ts';
+export type {
+  Atmosphere,
+  FogLayer,
+  FogSunGlow,
+  UnderwaterAtmosphere,
+} from './render/atmosphere.ts';
 /*
  * Reading an image's texels back exactly, which no canvas and no `VideoFrame` will do.
  *
@@ -607,7 +612,12 @@ export {
   WEAK_GPU_MEDIUM_STEPS,
   resolveGlobalMedium,
 } from './render/globalMedium.ts';
-export type { GlobalMediumOptions } from './render/globalMedium.ts';
+export type {
+  GlobalMediumOptions,
+  GlobalMediumSettings,
+  ResolvedGlobalMedium,
+} from './render/globalMedium.ts';
+export type { LocalExposureOptions } from './render/shaders/localExposure.ts';
 /*
  * Equirectangular to cube faces, and the roughness a prefiltered level stands for.
  *

package/src/render/anisotropicLobe.ts

@@ -27,6 +27,26 @@ export function anisotropicAlphas(roughness: number, strength: number, out: Floa
  * The lobe at a half vector whose components along the direction, across it and along the normal
  * are `th`, `bh` and `nh`. 1 at the mirror direction.
  */
+/**
+ * How much the lift brightens the stretched lobe at a half vector: `(D + min(3, D^1.5) · k) / D`,
+ * with D the distribution there, `1 / (π αT αB d²)`, as the shader's `anisotropicLift` has it.
+ */
+export function anisotropicLiftFactor(
+  th: number,
+  bh: number,
+  nh: number,
+  alphaT: number,
+  alphaB: number,
+  lift: number,
+): number {
+  if (lift <= 0) return 1;
+  const x = th / alphaT;
+  const y = bh / alphaB;
+  const d = x * x + y * y + nh * nh;
+  const distribution = 1 / Math.max(Math.PI * alphaT * alphaB * d * d, 1e-8);
+  return 1 + lift * Math.min(3 / distribution, Math.sqrt(distribution));
+}
+
 export function anisotropicLobe(
   th: number,
   bh: number,