@driftengine/core 4.8.7 → 4.10.0

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

@@ -15,4 +15,4 @@
  * draws.
  */
 export declare const LINE_VERT = "#version 300 es\nlayout(location = 0) in vec3 aFrom;\nlayout(location = 1) in vec3 aTo;\n/** Along the segment (0 or 1), and which side of it (-1 or +1). */\nlayout(location = 2) in vec2 aCorner;\n\nuniform mat4 uViewProj;\nuniform mat4 uModel;\nuniform vec3 uCameraPos;\n/** Half-width in metres, and how much of a pixel a far line must still cover. */\nuniform float uWidth;\nuniform float uMinWidthPerMetre;\n\nout float vSide;\nout vec3 vWorldPos;\n\nvoid main() {\n  /*\n   * Through the model matrix before anything else, unlike an arc, whose endpoints are\n   * world-space by nature. A line is usually attached to something that moves, and the\n   * alternative is making every caller transform its own points on the CPU each frame.\n   *\n   * The width is deliberately *not* scaled by the model. A stroke's weight is a property\n   * of how it is drawn rather than of the geometry it follows, so a card that shrinks\n   * keeps the same line weight, which is what a reader expects and what a designer means.\n   */\n  vec3 from = (uModel * vec4(aFrom, 1.0)).xyz;\n  vec3 to = (uModel * vec4(aTo, 1.0)).xyz;\n\n  vec3 mid = mix(from, to, aCorner.x);\n  vec3 dir = to - from;\n  float len = length(dir);\n  dir = len > 1e-6 ? dir / len : vec3(0.0, 1.0, 0.0);\n\n  vec3 view = mid - uCameraPos;\n  float dist = length(view);\n  view = dist > 1e-6 ? view / dist : vec3(0.0, 0.0, 1.0);\n\n  /*\n   * Across the segment and across the line of sight. Degenerate exactly when the segment\n   * points at the viewer, where any perpendicular is as good as another, and where the\n   * segment covers almost no screen anyway.\n   */\n  vec3 across = cross(dir, view);\n  float span = length(across);\n  across = span > 1e-4 ? across / span : normalize(cross(dir, vec3(0.0, 1.0, 0.0)) + vec3(1e-3));\n\n  /*\n   * A floor on the world-space width that grows with distance, so a stroke never thins\n   * below a pixel. Under a pixel a thin line does not get fainter, it *flickers*, because\n   * the rasteriser catches it on some frames and not others.\n   */\n  float halfWidth = max(uWidth, dist * uMinWidthPerMetre);\n  vec3 world = mid + across * aCorner.y * halfWidth;\n\n  vSide = aCorner.y;\n  vWorldPos = world;\n  gl_Position = uViewProj * vec4(world, 1.0);\n}\n";
-export declare const LINE_FRAG = "#version 300 es\nprecision highp float;\n\nin float vSide;\nin vec3 vWorldPos;\n\nuniform vec3 uColor;\nuniform float uOpacity;\nuniform vec3 uCameraPos;\n/**\n * How far in from the edge the stroke fades, as a fraction of its half-width. Zero is a\n * clean edge, one is a stroke that is soft all the way to its middle.\n */\nuniform float uSoftness;\n\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  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\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(t) < 1e-4 ? 1e-4 : t;\n  float air = 1.0 - exp(-uFogDensity * dist * (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 * 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  /*\n   * Coverage across the ribbon: one down the middle, falling to zero at both edges.\n   *\n   * The band is at least one pixel wide *in screen space*, which is what lets one shader\n   * draw a stroke of any width at any distance without either aliasing into a staircase or\n   * blurring into a smear. A constant band is tuned for one width and is wrong at the rest,\n   * which is the same argument `SDF_TEXT_FRAG` makes for the same reason.\n   */\n  float edge = 1.0 - abs(vSide);\n  float band = max(fwidth(vSide), uSoftness);\n  float coverage = smoothstep(0.0, band, edge);\n\n  /*\n   * Fogged like geometry, which is where this parts company with `bolt.ts`. That shader\n   * includes the same helpers and never calls them, because an arc is light arriving\n   * rather than a surface losing some of itself to the air on the way over. A drawn line\n   * is a thing in the world and recedes like one.\n   */\n  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n  vec3 color = mix(uColor, mediumColor(), fog);\n  outColor = vec4(applyOutputTransform(color), coverage * uOpacity);\n}\n";
+export declare const LINE_FRAG = "#version 300 es\nprecision highp float;\n\nin float vSide;\nin vec3 vWorldPos;\n\nuniform vec3 uColor;\nuniform float uOpacity;\nuniform vec3 uCameraPos;\n/**\n * How far in from the edge the stroke fades, as a fraction of its half-width. Zero is a\n * clean edge, one is a stroke that is soft all the way to its middle.\n */\nuniform float uSoftness;\n\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 * 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  /*\n   * Coverage across the ribbon: one down the middle, falling to zero at both edges.\n   *\n   * The band is at least one pixel wide *in screen space*, which is what lets one shader\n   * draw a stroke of any width at any distance without either aliasing into a staircase or\n   * blurring into a smear. A constant band is tuned for one width and is wrong at the rest,\n   * which is the same argument `SDF_TEXT_FRAG` makes for the same reason.\n   */\n  float edge = 1.0 - abs(vSide);\n  float band = max(fwidth(vSide), uSoftness);\n  float coverage = smoothstep(0.0, band, edge);\n\n  /*\n   * Fogged like geometry, which is where this parts company with `bolt.ts`. That shader\n   * includes the same helpers and never calls them, because an arc is light arriving\n   * rather than a surface losing some of itself to the air on the way over. A drawn line\n   * is a thing in the world and recedes like one.\n   */\n  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n  vec3 color = mix(uColor, mediumColor(), fog);\n  outColor = vec4(applyOutputTransform(color), coverage * uOpacity);\n}\n";

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

@@ -48,3 +48,10 @@ export declare const HIGHLIGHT_SHOULDER_GLSL = "\nvec3 highlightShoulder(vec3 c)
  * a branch that costs one compare.
  */
 export declare const OUTPUT_TRANSFORM_GLSL = "\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 * 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";
+/**
+ * The same, for the lit stage, whose two uniforms live in its material block: a draw that opts out
+ * of the grade sets them, so they change with the material and not with the pass. See
+ * `hoistUniformBlock` in `scripts/wgsl/transform.mjs`. Text otherwise identical, so WebGL2 runs
+ * the same program it always has.
+ */
+export declare const LIT_OUTPUT_TRANSFORM_GLSL = "\n/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder then sRGB. See renderQuality.ts. */\nuniform int uOutputTransform; // wgsl:material\n/** Scales the scene into the tone curve. 1 is the reference grade. See renderQuality.ts. */\nuniform float uOutputExposure; // wgsl:material\n\n/*\n * ACES: the reference fit, not the cheap one.\n *\n * This was Narkowicz's single rational function, on the argument that the difference from\n * the reference curve is invisible next to the gain. That argument holds for a look and\n * fails for a *match*, which is what this option is for \u2014 aces exists so a world ported\n * from three.js reads the same, and three.js applies the full fit: into AP1 through\n * ACESInputMat, the RRT and ODT together, then back out through ACESOutputMat.\n *\n * The two curves are not a shade apart. Narkowicz is markedly brighter through the\n * midtones, which is exactly where an interior scene lives, and it is a large part of a\n * measured ~1.7x that survived correcting the colour space and the missing Lambert pi.\n * An approximation of a standard is the wrong thing to hold when the standard is the\n * specification.\n */\nvec3 rrtAndOdtFit(vec3 v) {\n  vec3 a = v * (v + 0.0245786) - 0.000090537;\n  vec3 b = v * (0.983729 * v + 0.4329510) + 0.238081;\n  return a / b;\n}\n\nvec3 acesFilmic(vec3 x) {\n  /*\n   * Exposure first, because a tone curve is only defined relative to one.\n   *\n   * The reference RRT and ODT are graded for a dark cinema. Every renderer that ships ACES\n   * scales its input to suit whatever it is actually shown on, and the factor each one\n   * picks is a *look*, not a standard - so this engine takes no position and reads it from\n   * the caller. Neutral by default, which is the reference grade unmodified. three.js's own\n   * pick is 1 / 0.6, for a consumer matching one.\n   */\n  x *= uOutputExposure;\n  // Columns, as GLSL reads them: sRGB -> XYZ -> D65_2_D60 -> AP1 -> RRT_SAT.\n  const mat3 ACES_INPUT = mat3(\n    0.59719, 0.07600, 0.02840,\n    0.35458, 0.90834, 0.13383,\n    0.04823, 0.01566, 0.83777\n  );\n  // ODT_SAT -> XYZ -> D60_2_D65 -> sRGB.\n  const mat3 ACES_OUTPUT = mat3(\n     1.60475, -0.10208, -0.00327,\n    -0.53108,  1.10813, -0.07276,\n    -0.07367, -0.00605,  1.07602\n  );\n  return clamp(ACES_OUTPUT * rrtAndOdtFit(ACES_INPUT * x), 0.0, 1.0);\n}\n\n/*\n * Linear to sRGB. The piecewise form rather than a plain pow: the linear toe near black\n * is where banding lives in an 8-bit buffer, and the cheap approximation puts it in the\n * wrong place.\n */\nvec3 linearToSrgb(vec3 c) {\n  vec3 low = c * 12.92;\n  vec3 high = 1.055 * pow(max(c, vec3(0.0)), vec3(1.0 / 2.4)) - 0.055;\n  return mix(high, low, step(c, vec3(0.0031308)));\n}\n\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";

package/dist/render/shaders/outputTransform.js

@@ -46,20 +46,8 @@ vec3 highlightShoulder(vec3 c) {
   return c * ((0.8 + 0.2 * e / (e + 0.2)) / m);
 }
 `;
-/**
- * `uOutputTransform` and `uOutputExposure`, the fit, and `applyOutputTransform`.
- *
- * Declares its own two uniforms, so including it is the whole of what a fragment stage has to
- * do besides calling it. Both are ints and floats rather than defines because the choice is a
- * caller's, per draw, and a permutation per output transform would double a pipeline count for
- * a branch that costs one compare.
- */
-export const OUTPUT_TRANSFORM_GLSL = `
-/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder then sRGB. See renderQuality.ts. */
-uniform int uOutputTransform;
-/** Scales the scene into the tone curve. 1 is the reference grade. See renderQuality.ts. */
-uniform float uOutputExposure;
-
+/** The fit and `applyOutputTransform`, below whichever declaration of the two uniforms. */
+const OUTPUT_TRANSFORM_BODY_GLSL = `
 /*
  * ACES: the reference fit, not the cheap one.
  *
@@ -126,3 +114,29 @@ vec3 applyOutputTransform(vec3 c) {
   return linearToSrgb(c);
 }
 `;
+/**
+ * `uOutputTransform` and `uOutputExposure`, the fit, and `applyOutputTransform`.
+ *
+ * Declares its own two uniforms, so including it is the whole of what a fragment stage has to
+ * do besides calling it. Both are ints and floats rather than defines because the choice is a
+ * caller's, per draw, and a permutation per output transform would double a pipeline count for
+ * a branch that costs one compare.
+ */
+export const OUTPUT_TRANSFORM_GLSL = `
+/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder then sRGB. See renderQuality.ts. */
+uniform int uOutputTransform;
+/** Scales the scene into the tone curve. 1 is the reference grade. See renderQuality.ts. */
+uniform float uOutputExposure;
+${OUTPUT_TRANSFORM_BODY_GLSL}`;
+/**
+ * The same, for the lit stage, whose two uniforms live in its material block: a draw that opts out
+ * of the grade sets them, so they change with the material and not with the pass. See
+ * `hoistUniformBlock` in `scripts/wgsl/transform.mjs`. Text otherwise identical, so WebGL2 runs
+ * the same program it always has.
+ */
+export const LIT_OUTPUT_TRANSFORM_GLSL = `
+/** 0 none, 1 sRGB, 2 ACES then sRGB, 3 the highlight shoulder then sRGB. See renderQuality.ts. */
+uniform int uOutputTransform; // wgsl:material
+/** Scales the scene into the tone curve. 1 is the reference grade. See renderQuality.ts. */
+uniform float uOutputExposure; // wgsl:material
+${OUTPUT_TRANSFORM_BODY_GLSL}`;

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

@@ -47,7 +47,7 @@ export declare const PARTICLE_VERT = "#version 300 es\n/** Per-vertex: the quad
  * and unlit smoke in a world lit by fires is the tell that gives an effect away
  * fastest. A puff catching a flame's colour is most of what makes it belong.
  */
-export declare const PARTICLE_SMOKE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin vec3 vColor;\nin float vAlpha;\nin float vAge;\nin float vSeed;\nin vec3 vWorldPos;\nin vec3 vNormal;\n\nuniform float uTime;\nuniform vec3 uDirectionalDir;\nuniform vec3 uDirectionalColor;\nuniform vec3 uAmbient;\nuniform vec3 uCameraPos;\nuniform int uNoiseOctaves;\n/** How strongly the noise eats into the puff. 0 is a plain soft ball. */\nuniform float uErosion;\n\n#define MAX_LIGHTS 16\nuniform int uLightCount;\nuniform vec3 uLightPos[MAX_LIGHTS];\nuniform vec3 uLightColor[MAX_LIGHTS];\nuniform float uLightRadius[MAX_LIGHTS];\n// How present each light is, 0 to 1. See pointLightSelection.ts.\nuniform float uLightWeight[MAX_LIGHTS];\n\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  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\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(t) < 1e-4 ? 1e-4 : t;\n  float air = 1.0 - exp(-uFogDensity * dist * (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\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, int octaves) {\n  float v = valueNoise(p * 2.4 + vec2(0.0, -t * 0.5)) * 0.62;\n  if (octaves == 1) return v / 0.62;\n  v += valueNoise(p * 5.1 + vec2(t * 0.15, -t * 0.8)) * 0.38;\n  return v / 1.0;\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 * 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  /*\n   * A round, soft body first. 'smoothstep' rather than a hard disc: the edge is\n   * the entire difference between a puff and a sprite, and a cut-off circle reads\n   * as a decal however good the noise inside it is.\n   */\n  float r = length(vUv);\n  float body = 1.0 - smoothstep(0.35, 1.0, r);\n  if (body <= 0.0) discard;\n\n  /*\n   * Then eaten into by noise that drifts and coarsens as the puff ages, so it\n   * dissipates by *breaking up* rather than by uniformly thinning. Uniform\n   * thinning is what a fading sprite does, and it is what the old cube did.\n   */\n  float t = uTime * 0.55 + vSeed * 7.31;\n  float n = billow(vUv * (0.9 + vAge * 1.4) + vec2(vSeed * 3.7, 0.0), t, uNoiseOctaves);\n  float erode = mix(1.0, n, uErosion * (0.35 + vAge * 0.65));\n  float mask = clamp(body * erode, 0.0, 1.0);\n  // Feather the last of it out rather than letting a noise threshold flicker.\n  mask *= smoothstep(0.0, 0.25, mask);\n  if (mask <= 0.002) discard;\n\n  vec3 n3 = normalize(vNormal);\n  /*\n   * Wrapped diffuse. Smoke transmits as well as reflects, so the terminator on a\n   * puff sits well past 90\u00B0 \u2014 a hard 'max(dot, 0)' gives a lump with a black side,\n   * which is exactly the \"coloured box\" failure the fidelity rules name.\n   */\n  float ndl = dot(n3, uDirectionalDir) * 0.5 + 0.5;\n  vec3 lit = uAmbient + uDirectionalColor * ndl;\n\n  for (int i = 0; i < MAX_LIGHTS; i++) {\n    if (i >= uLightCount) break;\n    vec3 toLight = uLightPos[i] - vWorldPos;\n    float dist = length(toLight);\n    float radius = uLightRadius[i];\n    if (radius <= 0.0 || dist >= radius) continue;\n    float falloff = 1.0 - dist / radius;\n    float wrapped = dot(n3, toLight / max(dist, 1e-4)) * 0.5 + 0.5;\n    lit += uLightColor[i] * falloff * falloff * wrapped * uLightWeight[i];\n  }\n\n  vec3 shaded = vColor * lit;\n  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n  outColor = vec4(applyOutputTransform(mix(shaded, mediumColor(), fog)), mask * vAlpha);\n}\n";
+export declare const PARTICLE_SMOKE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin vec3 vColor;\nin float vAlpha;\nin float vAge;\nin float vSeed;\nin vec3 vWorldPos;\nin vec3 vNormal;\n\nuniform float uTime;\nuniform vec3 uDirectionalDir;\nuniform vec3 uDirectionalColor;\nuniform vec3 uAmbient;\nuniform vec3 uCameraPos;\nuniform int uNoiseOctaves;\n/** How strongly the noise eats into the puff. 0 is a plain soft ball. */\nuniform float uErosion;\n\n#define MAX_LIGHTS 16\nuniform int uLightCount;\nuniform vec3 uLightPos[MAX_LIGHTS];\nuniform vec3 uLightColor[MAX_LIGHTS];\nuniform float uLightRadius[MAX_LIGHTS];\n// How present each light is, 0 to 1. See pointLightSelection.ts.\nuniform float uLightWeight[MAX_LIGHTS];\n\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\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, int octaves) {\n  float v = valueNoise(p * 2.4 + vec2(0.0, -t * 0.5)) * 0.62;\n  if (octaves == 1) return v / 0.62;\n  v += valueNoise(p * 5.1 + vec2(t * 0.15, -t * 0.8)) * 0.38;\n  return v / 1.0;\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 * 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  /*\n   * A round, soft body first. 'smoothstep' rather than a hard disc: the edge is\n   * the entire difference between a puff and a sprite, and a cut-off circle reads\n   * as a decal however good the noise inside it is.\n   */\n  float r = length(vUv);\n  float body = 1.0 - smoothstep(0.35, 1.0, r);\n  if (body <= 0.0) discard;\n\n  /*\n   * Then eaten into by noise that drifts and coarsens as the puff ages, so it\n   * dissipates by *breaking up* rather than by uniformly thinning. Uniform\n   * thinning is what a fading sprite does, and it is what the old cube did.\n   */\n  float t = uTime * 0.55 + vSeed * 7.31;\n  float n = billow(vUv * (0.9 + vAge * 1.4) + vec2(vSeed * 3.7, 0.0), t, uNoiseOctaves);\n  float erode = mix(1.0, n, uErosion * (0.35 + vAge * 0.65));\n  float mask = clamp(body * erode, 0.0, 1.0);\n  // Feather the last of it out rather than letting a noise threshold flicker.\n  mask *= smoothstep(0.0, 0.25, mask);\n  if (mask <= 0.002) discard;\n\n  vec3 n3 = normalize(vNormal);\n  /*\n   * Wrapped diffuse. Smoke transmits as well as reflects, so the terminator on a\n   * puff sits well past 90\u00B0 \u2014 a hard 'max(dot, 0)' gives a lump with a black side,\n   * which is exactly the \"coloured box\" failure the fidelity rules name.\n   */\n  float ndl = dot(n3, uDirectionalDir) * 0.5 + 0.5;\n  vec3 lit = uAmbient + uDirectionalColor * ndl;\n\n  for (int i = 0; i < MAX_LIGHTS; i++) {\n    if (i >= uLightCount) break;\n    vec3 toLight = uLightPos[i] - vWorldPos;\n    float dist = length(toLight);\n    float radius = uLightRadius[i];\n    if (radius <= 0.0 || dist >= radius) continue;\n    float falloff = 1.0 - dist / radius;\n    float wrapped = dot(n3, toLight / max(dist, 1e-4)) * 0.5 + 0.5;\n    lit += uLightColor[i] * falloff * falloff * wrapped * uLightWeight[i];\n  }\n\n  vec3 shaded = vColor * lit;\n  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n  outColor = vec4(applyOutputTransform(mix(shaded, mediumColor(), fog)), mask * vAlpha);\n}\n";
 /**
  * Sparks and embers: additive, hot in the middle, and stretched along travel.
  *
@@ -55,7 +55,7 @@ export declare const PARTICLE_SMOKE_FRAG = "#version 300 es\nprecision highp flo
  * is what turned the first version into a grey cube at night. The core is allowed
  * past white so it reads as incandescent rather than as a pale dot.
  */
-export declare const PARTICLE_SPARK_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin vec3 vColor;\nin float vAlpha;\nin float vAge;\nin float vSeed;\nin vec3 vWorldPos;\nin vec3 vNormal;\n\nuniform float uTime;\nuniform vec3 uCameraPos;\n/** How far past white the centre may go. */\nuniform float uCoreGain;\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  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\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(t) < 1e-4 ? 1e-4 : t;\n  float air = 1.0 - exp(-uFogDensity * dist * (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\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, int octaves) {\n  float v = valueNoise(p * 2.4 + vec2(0.0, -t * 0.5)) * 0.62;\n  if (octaves == 1) return v / 0.62;\n  v += valueNoise(p * 5.1 + vec2(t * 0.15, -t * 0.8)) * 0.38;\n  return v / 1.0;\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 * 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  float r = length(vUv);\n  if (r > 1.0) discard;\n\n  /*\n   * Two falloffs again \u2014 a tight core and a broad halo \u2014 because one gives either\n   * a hard dot or a soft smudge. The halo is what makes a shower of embers read\n   * as glowing air rather than as a scatter of points.\n   */\n  float core = pow(1.0 - clamp(r, 0.0, 1.0), 6.0);\n  float halo = pow(1.0 - clamp(r, 0.0, 1.0), 1.6);\n\n  /*\n   * Embers flicker as they tumble and cool. Per-particle phase from the seed, so\n   * a shower crackles instead of pulsing as one body.\n   */\n  float flick = 0.7 + 0.3 * valueNoise(vec2(uTime * 9.0 + vSeed * 13.0, vSeed));\n\n  // Cooling: the last of a spark's life is dimmer as well as smaller.\n  float cool = 1.0 - vAge * vAge;\n  float energy = (halo * 0.55 + core * uCoreGain) * flick * cool * vAlpha;\n\n  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n  energy *= 1.0 - fog;\n  /*\n   * Alpha 1, energy in the colour \u2014 see the note in 'bolt.ts'. Additive blending is\n   * 'rgb * a', so carrying the energy in both channels squares it and quietly halves\n   * every emissive effect in the game.\n   */\n  outColor = vec4(applyOutputTransform(vColor * energy), 1.0);\n}\n";
+export declare const PARTICLE_SPARK_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin vec3 vColor;\nin float vAlpha;\nin float vAge;\nin float vSeed;\nin vec3 vWorldPos;\nin vec3 vNormal;\n\nuniform float uTime;\nuniform vec3 uCameraPos;\n/** How far past white the centre may go. */\nuniform float uCoreGain;\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\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, int octaves) {\n  float v = valueNoise(p * 2.4 + vec2(0.0, -t * 0.5)) * 0.62;\n  if (octaves == 1) return v / 0.62;\n  v += valueNoise(p * 5.1 + vec2(t * 0.15, -t * 0.8)) * 0.38;\n  return v / 1.0;\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 * 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  float r = length(vUv);\n  if (r > 1.0) discard;\n\n  /*\n   * Two falloffs again \u2014 a tight core and a broad halo \u2014 because one gives either\n   * a hard dot or a soft smudge. The halo is what makes a shower of embers read\n   * as glowing air rather than as a scatter of points.\n   */\n  float core = pow(1.0 - clamp(r, 0.0, 1.0), 6.0);\n  float halo = pow(1.0 - clamp(r, 0.0, 1.0), 1.6);\n\n  /*\n   * Embers flicker as they tumble and cool. Per-particle phase from the seed, so\n   * a shower crackles instead of pulsing as one body.\n   */\n  float flick = 0.7 + 0.3 * valueNoise(vec2(uTime * 9.0 + vSeed * 13.0, vSeed));\n\n  // Cooling: the last of a spark's life is dimmer as well as smaller.\n  float cool = 1.0 - vAge * vAge;\n  float energy = (halo * 0.55 + core * uCoreGain) * flick * cool * vAlpha;\n\n  float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n  energy *= 1.0 - fog;\n  /*\n   * Alpha 1, energy in the colour \u2014 see the note in 'bolt.ts'. Additive blending is\n   * 'rgb * a', so carrying the energy in both channels squares it and quietly halves\n   * every emissive effect in the game.\n   */\n  outColor = vec4(applyOutputTransform(vColor * energy), 1.0);\n}\n";
 /**
  * Dust motes and drifting glints: unlit, alpha blended, and fogged only when the caller asks.
  *
@@ -79,7 +79,7 @@ export declare const PARTICLE_SPARK_FRAG = "#version 300 es\nprecision highp flo
  * option and stay unconditionally fogged, matching every particle drawn before this material
  * existed; see `ParticleBatchOptions.fog`.
  */
-export declare const PARTICLE_MOTE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin vec3 vColor;\nin float vAlpha;\nin float vAge;\nin float vSeed;\nin vec3 vWorldPos;\nin vec3 vNormal;\n\nuniform vec3 uCameraPos;\n/**\n * Whether the fragment stage mixes toward the medium's own colour at all. 0 \u2014 what a batch\n * gets by leaving ParticleBatchOptions.fog unset \u2014 leaves vColor untouched by distance, which\n * is what a caller reaching for this material over 'spark'/'smoke' is usually asking for: an\n * unlit point drawn exactly as its own colour says. 1 mixes toward mediumColor() by\n * mediumFog(), the same medium every other pass in the frame recedes into.\n */\nuniform int uFogEnabled;\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  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\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(t) < 1e-4 ? 1e-4 : t;\n  float air = 1.0 - exp(-uFogDensity * dist * (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 * 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  /*\n   * One soft, round falloff \u2014 no erosion, no core past white, because this material draws\n   * neither a body being eaten by noise nor a light source. Squared rather than linear so the\n   * edge feathers instead of ramping, which is what keeps a field of these reading as dust\n   * rather than as a scatter of hard-edged discs.\n   */\n  float r = length(vUv);\n  float body = 1.0 - smoothstep(0.4, 1.0, r);\n  if (body <= 0.0) discard;\n  float alpha = body * body * vAlpha;\n  if (alpha <= 0.002) discard;\n\n  vec3 color = vColor;\n  if (uFogEnabled != 0) {\n    float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n    color = mix(color, mediumColor(), fog);\n  }\n  /*\n   * A real alpha blend (SRC_ALPHA, ONE_MINUS_SRC_ALPHA) rather than spark's energy-in-colour\n   * trick: this point genuinely occludes what little is behind it instead of adding light to it.\n   */\n  outColor = vec4(applyOutputTransform(color), alpha);\n}\n";
+export declare const PARTICLE_MOTE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\nin vec3 vColor;\nin float vAlpha;\nin float vAge;\nin float vSeed;\nin vec3 vWorldPos;\nin vec3 vNormal;\n\nuniform vec3 uCameraPos;\n/**\n * Whether the fragment stage mixes toward the medium's own colour at all. 0 \u2014 what a batch\n * gets by leaving ParticleBatchOptions.fog unset \u2014 leaves vColor untouched by distance, which\n * is what a caller reaching for this material over 'spark'/'smoke' is usually asking for: an\n * unlit point drawn exactly as its own colour says. 1 mixes toward mediumColor() by\n * mediumFog(), the same medium every other pass in the frame recedes into.\n */\nuniform int uFogEnabled;\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 * 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  /*\n   * One soft, round falloff \u2014 no erosion, no core past white, because this material draws\n   * neither a body being eaten by noise nor a light source. Squared rather than linear so the\n   * edge feathers instead of ramping, which is what keeps a field of these reading as dust\n   * rather than as a scatter of hard-edged discs.\n   */\n  float r = length(vUv);\n  float body = 1.0 - smoothstep(0.4, 1.0, r);\n  if (body <= 0.0) discard;\n  float alpha = body * body * vAlpha;\n  if (alpha <= 0.002) discard;\n\n  vec3 color = vColor;\n  if (uFogEnabled != 0) {\n    float fog = mediumFog(distance(vWorldPos, uCameraPos), vWorldPos.y);\n    color = mix(color, mediumColor(), fog);\n  }\n  /*\n   * A real alpha blend (SRC_ALPHA, ONE_MINUS_SRC_ALPHA) rather than spark's energy-in-colour\n   * trick: this point genuinely occludes what little is behind it instead of adding light to it.\n   */\n  outColor = vec4(applyOutputTransform(color), alpha);\n}\n";
 /**
  * A textured sprite: an image a consumer supplies, a cell of it at a time, at the colour and opacity
  * each particle carries — what another engine's sprite renderer draws, and the material the three

package/dist/render/shaders/rush.js

@@ -25,6 +25,8 @@ import { AUTO_EXPOSURE_GLSL } from './exposure.js';
 import { LOCAL_EXPOSURE_GLSL } from './localExposure.js';
 import { FILM_LOOK_GLSL } from './filmLook.js';
 import { HIGHLIGHT_SHOULDER_GLSL } from './outputTransform.js';
+import { FILMIC_GLSL } from '../filmicCurve.js';
+import { FRINGE_GLSL } from './fringe.js';
 export const RUSH_FRAG = `#version 300 es
 precision highp float;
 /*
@@ -62,6 +64,18 @@ uniform float uReach;
  */
 uniform int uOutputTransform;
 uniform float uOutputExposure;
+/**
+ * The \`filmic\` curve's eight constants, solved once a curve by \`resolveFilmicCurve\`: (slope, black
+ * clip, white clip, toe scale) and (shoulder scale, toe match, straight match, shoulder match).
+ * Read only where \`uOutputTransform\` is 4.
+ */
+uniform vec4 uFilmA;
+uniform vec4 uFilmB;
+/**
+ * The display's peak over paper white on a high dynamic range canvas, and 1 everywhere else: a
+ * value of 1 is the display's paper white, and only above 1 does anything here let light past it.
+ */
+uniform float uDisplayHeadroom;
 
 /**
  * The frame's depth, and the matrix that carries a pixel back to where it was last frame.
@@ -89,6 +103,14 @@ uniform mat4 uReprojection;
 uniform float uMotionStrength;
 /** A ceiling on the smear, in UV, so a fast turn softens the frame rather than erasing it. */
 uniform float uMotionMax;
+/**
+ * Each drawn object's own motion, where the frame keeps it: the reconstruction's motion target,
+ * whose texel is where a mover's surface was minus where it is, in this pass's uv, and a flag in the
+ * fourth channel above one half where a draw wrote it. \`uObjectMotion\` is 1 where it is bound and
+ * drawn this frame and 0 otherwise, when a placeholder is bound and the camera's motion alone blurs.
+ */
+uniform sampler2D uMotion;
+uniform float uObjectMotion;
 
 /**
  * Ambient occlusion, already estimated and blurred by its own pass. 1 is open, 0 is enclosed.
@@ -242,10 +264,12 @@ vec3 acesFilmic(vec3 x) {
 }
 
 ${HIGHLIGHT_SHOULDER_GLSL}
+${FILMIC_GLSL}
 vec3 grade(vec3 c) {
   if (uOutputTransform == 0) return c;
   if (uOutputTransform == 2) c = acesFilmic(c);
   if (uOutputTransform == 3) c = highlightShoulder(c * uOutputExposure);
+  if (uOutputTransform == 4) c = filmicCurve(c * uOutputExposure);
   return linearToSrgb(c);
 }
 
@@ -258,9 +282,16 @@ vec3 withBloom(vec3 c) {
 /** The grade, sampled after the curve and before the veil. See uGradeLut's own comment. */
 vec3 applyColourGrade(vec3 c) {
   if (uGradeStrength <= 0.0) return c;
-  vec3 clamped = clamp(c, 0.0, 1.0);
+  /*
+   * **A table graded for paper white grades the colour and keeps the light above it** on a high
+   * range display: the pixel is brought under white by its brightest channel, graded, and taken
+   * back up by the same factor, so a lamp keeps its brightness and takes the look's colour. At a
+   * headroom of 1 the factor is exactly 1 and this is the grade it always was.
+   */
+  float over = uDisplayHeadroom > 1.0 ? max(max(c.r, max(c.g, c.b)), 1.0) : 1.0;
+  vec3 clamped = clamp(c / over, 0.0, 1.0);
   vec3 uvw = (clamped * (uGradeSize - 1.0) + 0.5) / uGradeSize;
-  return mix(c, textureLod(uGradeLut, uvw, 0.0).rgb, uGradeStrength);
+  return mix(c, textureLod(uGradeLut, uvw, 0.0).rgb * over, uGradeStrength);
 }
 
 /** The veil, mixed in last of everything this pass does. See uVeilAlpha's own comment. */
@@ -290,14 +321,24 @@ vec3 withVeil(vec3 c) {
  * correctly, and a camera turning past a horizon *should* smear it.
  */
 vec3 cameraBlur(vec3 scene) {
-  float depth = textureLod(uDepth, vUv, 0.0).r;
-  vec4 clip = vec4(vUv * 2.0 - 1.0, ${glslSceneDepthToNdc('depth')}, 1.0);
-  vec4 previous = uReprojection * clip;
-  /* Behind the previous eye: there is no last-frame position to smear toward. */
-  if (previous.w <= 0.0) return scene;
-
-  vec2 wasUv = (previous.xy / previous.w) * 0.5 + 0.5;
-  vec2 velocity = (vUv - wasUv) * uMotionStrength;
+  /*
+   * **A drawn object's own motion where it has one**: a kick's leg or a thrown body smears along
+   * its path while the stage standing still behind it does not, which the camera's motion alone
+   * cannot tell apart. Read unconditionally, the placeholder where there is no target.
+   */
+  vec4 moved = textureLod(uMotion, vUv, 0.0);
+  vec2 velocity;
+  if (uObjectMotion > 0.5 && moved.a > 0.5) {
+    velocity = -moved.xy * uMotionStrength;
+  } else {
+    float depth = textureLod(uDepth, vUv, 0.0).r;
+    vec4 clip = vec4(vUv * 2.0 - 1.0, ${glslSceneDepthToNdc('depth')}, 1.0);
+    vec4 previous = uReprojection * clip;
+    /* Behind the previous eye: there is no last-frame position to smear toward. */
+    if (previous.w <= 0.0) return scene;
+    vec2 wasUv = (previous.xy / previous.w) * 0.5 + 0.5;
+    velocity = (vUv - wasUv) * uMotionStrength;
+  }
 
   float distance = length(velocity);
   if (distance < 1e-4) return scene;
@@ -335,9 +376,11 @@ vec3 finish(vec3 light) {
   return withGrain(withVeil(applyColourGrade(grade(lensed))), gl_FragCoord.xy);
 }
 
+${FRINGE_GLSL}
 void main() {
   vec4 sampled = textureLod(uScene, vUv, 0.0);
-  vec3 scene = sampled.rgb;
+  /* The lens's colour fringe first, on the scene as it arrived. See shaders/fringe.ts. */
+  vec3 scene = withFringe(sampled.rgb);
   if (uMotionStrength > 0.0) scene = cameraBlur(scene);
   /*
    * Defocus after the camera smear and before everything else, because a lens is the last thing

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  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\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(t) < 1e-4 ? 1e-4 : t;\n  float air = 1.0 - exp(-uFogDensity * dist * (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\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  outColor = vec4(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/** 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\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  outColor = vec4(mix(lit, mediumColor(), fog), 1.0);\n}\n";

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  float t = (pointY - uFogEyeY) * uFogHeightFalloff;\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(t) < 1e-4 ? 1e-4 : t;\n  float air = 1.0 - exp(-uFogDensity * dist * (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\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  outColor = vec4(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/** 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\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  outColor = vec4(col, alpha * (1.0 - fog));\n}\n";

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

@@ -13,3 +13,20 @@
  * The vertex stage is `FULLSCREEN_VERT`, shared with the occlusion pass, its blur and the rush.
  */
 export declare const SSR_RESOLVE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\n\n/** Premultiplied reflection in rgb, coverage in a. Cleared to zero: nothing found is nothing. */\nuniform sampler2D uSsrReflection;\n\nout vec4 fragColor;\n\nvoid main() {\n  fragColor = textureLod(uSsrReflection, vUv, 0.0);\n}\n";
+/**
+ * The resolve for a trace of the frame's materials: **the probe's share of each pixel swapped for
+ * what the ray found**, by the weight the lit stage reflected with.
+ *
+ * The frame holds `environment · tint · weight` of the probe (`flat/reflectionSurface.ts`), and a
+ * reflection found in the frame belongs there with the same tint and weight. So the frame gains the
+ * found colour times the tint, less the probe's share, both scaled by how far the hit is believed —
+ * nothing where nothing was found, and the probe kept wherever the ray left the frame. Added, against
+ * a blend of `(one, one)` on the colour and the scene's alpha kept, onto a half-float scene, where a
+ * negative addend is the subtraction it reads as.
+ *
+ * **Blurred by the surface's roughness**, twelve taps on two rings whose radius is the roughness
+ * times `uSsrBlur` texels: the trace reads the scene at one point, which is a mirror, and a satin
+ * panel reflects a smear. What it gives up is a lobe's true shape and its stretch toward a grazing
+ * view; what it keeps is that a rougher panel reflects a softer picture, and a mirror a sharp one.
+ */
+export declare const SSR_MATERIAL_RESOLVE_FRAG = "#version 300 es\nprecision highp float;\n\nin vec2 vUv;\n\n/** The found colour times how far it is believed in rgb, the belief in a. */\nuniform sampler2D uSsrReflection;\n/** The environment as the frame shows it, the roughness in a. */\nuniform sampler2D uSsrProbeMap;\n/** What a found reflection is multiplied by to land where the environment did. */\nuniform sampler2D uSsrTintMap;\n/** x, y: one texel of the trace; z: the blur's radius at roughness 1, in texels. */\nuniform vec3 uSsrBlur;\n\nout vec4 fragColor;\n\nvoid main() {\n  vec4 probe = textureLod(uSsrProbeMap, vUv, 0.0);\n  vec3 tint = textureLod(uSsrTintMap, vUv, 0.0).rgb;\n  vec4 traced = textureLod(uSsrReflection, vUv, 0.0);\n  float radius = probe.a * uSsrBlur.z;\n  if (radius >= 1.0) {\n    vec4 sum = traced;\n    for (int i = 0; i < 12; i++) {\n      /* Six taps a ring, sixty degrees apart, the inner ring turned half a step. */\n      float angle = float(i % 6) * 1.0471976 + (i < 6 ? 0.0 : 0.5235988);\n      float reach = i < 6 ? radius : radius * 0.5;\n      vec2 offset = vec2(cos(angle), sin(angle)) * reach * uSsrBlur.xy;\n      sum += textureLod(uSsrReflection, vUv + offset, 0.0);\n    }\n    traced = sum / 13.0;\n  }\n  fragColor = vec4(traced.rgb * tint - traced.a * probe.rgb, 0.0);\n}\n";

package/dist/render/shaders/ssrResolve.js

@@ -26,3 +26,54 @@ void main() {
   fragColor = textureLod(uSsrReflection, vUv, 0.0);
 }
 `;
+/**
+ * The resolve for a trace of the frame's materials: **the probe's share of each pixel swapped for
+ * what the ray found**, by the weight the lit stage reflected with.
+ *
+ * The frame holds `environment · tint · weight` of the probe (`flat/reflectionSurface.ts`), and a
+ * reflection found in the frame belongs there with the same tint and weight. So the frame gains the
+ * found colour times the tint, less the probe's share, both scaled by how far the hit is believed —
+ * nothing where nothing was found, and the probe kept wherever the ray left the frame. Added, against
+ * a blend of `(one, one)` on the colour and the scene's alpha kept, onto a half-float scene, where a
+ * negative addend is the subtraction it reads as.
+ *
+ * **Blurred by the surface's roughness**, twelve taps on two rings whose radius is the roughness
+ * times `uSsrBlur` texels: the trace reads the scene at one point, which is a mirror, and a satin
+ * panel reflects a smear. What it gives up is a lobe's true shape and its stretch toward a grazing
+ * view; what it keeps is that a rougher panel reflects a softer picture, and a mirror a sharp one.
+ */
+export const SSR_MATERIAL_RESOLVE_FRAG = `#version 300 es
+precision highp float;
+
+in vec2 vUv;
+
+/** The found colour times how far it is believed in rgb, the belief in a. */
+uniform sampler2D uSsrReflection;
+/** The environment as the frame shows it, the roughness in a. */
+uniform sampler2D uSsrProbeMap;
+/** What a found reflection is multiplied by to land where the environment did. */
+uniform sampler2D uSsrTintMap;
+/** x, y: one texel of the trace; z: the blur's radius at roughness 1, in texels. */
+uniform vec3 uSsrBlur;
+
+out vec4 fragColor;
+
+void main() {
+  vec4 probe = textureLod(uSsrProbeMap, vUv, 0.0);
+  vec3 tint = textureLod(uSsrTintMap, vUv, 0.0).rgb;
+  vec4 traced = textureLod(uSsrReflection, vUv, 0.0);
+  float radius = probe.a * uSsrBlur.z;
+  if (radius >= 1.0) {
+    vec4 sum = traced;
+    for (int i = 0; i < 12; i++) {
+      /* Six taps a ring, sixty degrees apart, the inner ring turned half a step. */
+      float angle = float(i % 6) * 1.0471976 + (i < 6 ? 0.0 : 0.5235988);
+      float reach = i < 6 ? radius : radius * 0.5;
+      vec2 offset = vec2(cos(angle), sin(angle)) * reach * uSsrBlur.xy;
+      sum += textureLod(uSsrReflection, vUv + offset, 0.0);
+    }
+    traced = sum / 13.0;
+  }
+  fragColor = vec4(traced.rgb * tint - traced.a * probe.rgb, 0.0);
+}
+`;

package/dist/render/shaders/ssrTrace.js

@@ -73,6 +73,18 @@ uniform float uSsrThickness;
 uniform float uSsrSteps;
 /** How much of the frame each side is fade, as a fraction. */
 uniform float uSsrEdgeFade;
+/**
+ * **1 where the trace is the frame's materials rather than a box's**: every pixel the lit stage
+ * left a reflection for reflects, by its own material, and the box, its axis and its strength are
+ * not read. See \`flat/reflectionSurface.ts\` for the two maps it is handed.
+ */
+uniform float uSsrMaterial;
+/** The roughness past which a pixel's reflection is the probes' alone, faded over the last quarter. */
+uniform float uSsrMaxRoughness;
+/** The environment as the frame shows it, and the surface's roughness in its alpha. */
+uniform sampler2D uSsrProbeMap;
+/** What a found reflection is multiplied by to land where the environment did. */
+uniform sampler2D uSsrTintMap;
 
 out vec4 fragColor;
 
@@ -150,6 +162,20 @@ void main() {
     returned = clamp(uSsrStrength * dfg.x + dfg.y, 0.0, 1.0);
   }
   mask *= returned;
+  /*
+   * **Or the pixel's own material**, where the trace is the frame's: reflective wherever the lit
+   * stage left a reflection to swap (any tint above zero), and the probes' alone past the
+   * roughness ceiling. How much it returns is the tint, which the resolve multiplies by, so the
+   * mask here is only whether to march and how much to trust a hit.
+   */
+  if (uSsrMaterial > 0.5) {
+    vec3 tint = textureLod(uSsrTintMap, vUv, 0.0).rgb;
+    float roughness = textureLod(uSsrProbeMap, vUv, 0.0).a;
+    float reflective = max(max(tint.r, tint.g), tint.b) > 0.0 ? 1.0 : 0.0;
+    float ceiling = max(uSsrMaxRoughness, 1.0e-4);
+    mask = reflective * (1.0 - smoothstep(ceiling * 0.75, ceiling, roughness));
+    mask *= ${glslIsFarDepth('stored')} ? 0.0 : 1.0;
+  }
 
   vec3 found = vec3(0.0);
   float weight = 0.0;

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

@@ -18,6 +18,13 @@
  * 4.1 KB across five, so a `#if` here would buy nothing measurable and cost a variant axis.
  */
 export declare const CHANNEL_ATTRIBUTE = "\nlayout(location = 13) in vec4 aChannel;\n\n/*\n * The frame's wind, already converted by `resolveScatterDeform` \u2014 a normalised direction, metres\n * of bend, a gust amplitude and a scaled clock.\n *\n * **The same numbers the scatter batch reads, and that is the rule rather than an economy.** A\n * second conversion here would be a second wind however identical its inputs, and the failure is\n * not localised: it shows up as a scene that does not cohere, a canopy leaning one way while the\n * grass beneath it leans another, with no single element looking wrong. See \"One wind, sampled\n * once\" in AGENTS.md.\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";
+/**
+ * The same, for the lit stage, whose wind lives in its view block: the frame's and not the draw's,
+ * so a draw's own block does not change when the wind does. See `hoistUniformBlock` in
+ * `scripts/wgsl/transform.mjs`. Text otherwise identical, so WebGL2 runs the same program it always
+ * has; the depth stage keeps the unmarked chunk, having no view block.
+ */
+export declare const LIT_CHANNEL_ATTRIBUTE = "\nlayout(location = 13) in vec4 aChannel;\n\n/*\n * The frame's wind, already converted by `resolveScatterDeform` \u2014 a normalised direction, metres\n * of bend, a gust amplitude and a scaled clock.\n *\n * **The same numbers the scatter batch reads, and that is the rule rather than an economy.** A\n * second conversion here would be a second wind however identical its inputs, and the failure is\n * not localised: it shows up as a scene that does not cohere, a canopy leaning one way while the\n * grass beneath it leans another, with no single element looking wrong. See \"One wind, sampled\n * once\" in AGENTS.md.\n */\nuniform vec2 uWindDirection; // wgsl:view\nuniform float uWindSpeed; // wgsl:view\nuniform float uWindGust; // wgsl:view\nuniform float uWindTime; // wgsl:view\n/* Spatial frequency of the travelling gust, per metre. */\nuniform vec2 uWindSpatialPhase; // wgsl:view\n";
 /**
  * Where the wind puts a vertex, given how much of it that vertex takes.
  *