Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b...

ing-a-physical-b... Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b...

There are different types of substances in real world. They can be classified in three main group: Insulators, semi-conductors and
conductors.
Sbastien Lagarde In game we are only interesting by two of them: Insulators (Dielectric materials) and conductors (Metallic materials).
Artists should understand to which category a material belong to. This will have influence on diffuse and specular value to assign to
Random thoughts about graphics in game this material.

I already talked about these two categories in the post Adopting a Physically based shading model
(https://seblagarde.wordpress.com/2011/08/02/hello-world/).

Feeding a physically based shadingmodel Dielectric materials are the most common materials. Their optical properties rarely vary much over the visible spectrum: water, glass,
skin, wood, hair, leather, plastic, stone, concrete, ruby, diamond
Metals. Their optical properties vary over the visible spectrum: iron, aluminium, copper, gold, cobalt, nickel, silver
See [8].
AUGUST 17, 2011 34 COMMENTS (HTTPS://SEBLAGARDE.WORDPRESS.COM/2011/08/17/FEEDING-A-PHYSICAL-
BASED-LIGHTING-MODE/#COMMENTS)

Version : 1.0 Living blog First version was 17 August 2011

With permission of my company : Dontnod entertainment http://www.dont-nod.com/ (http://www.dont-nod.com/)

Diuse color
Adopting a physically based shading model (https://seblagarde.wordpress.com/2011/08/17/hello-world/) is just a first step.
Physically based rendering (PBR) require to use physical lighting setup and good spatially varying BRDF inputs (a.k.a textures) to Diffuse textures require some time to author.
get best results.
In the past, it was usual to bake everything in a diffuse texture to fake lighting effects like shadow, reflection, specular With
Feeding the shading model with physically plausible data is in the hand of artists.
newer engine, all these effects are simulated and must not be baked.
There are many texture creation tutorials available on the web. But too often, artists forget to link their work with the lighting model The best definition for diffuse color in our engine is : How bright a surface is when lit by a 100% bright white light [4]. This definition
for which textures are created. With traditional lighting model, there is often a RGB diffuse texture, RGB specular texture, specular is related to the definition of light unit from the punctual light equation (See Adopting a physically based shading model
mask texture, constant specular power and normal map. For advanced material you can add specular power texture, Fresnel (https://seblagarde.wordpress.com/2011/08/02/hello-world/)).
intensity texture, Fresnel scale texture, reflection mask texture
The lighting unit for these light sources is specified as the color a white lambertian surface would have when illuminated by the
Physically based shading model is more simple and will provide a consistent look under different lighting condition. However,
light from a direction parallel to the surface normal.
artists must be trained because right values are not always trivial to find and they should accept to not fully control specular
response. This mean that when you setup a light in the game editor with 1 in brightness and point it directly on a quad mapped with a diffuse
texture, you get the color as displayed in Photoshop (be aware of postprocess).
Our physically based shading model requires four inputs:
Diffuse texture must increase visual quality of the scene. A scene should look good in a lighting only view mode and applying
Diffuse color RGB (named diffuse albedo or diffuse reflectance or directionnal-hemispherical reflectance)
diffuse texture must add details. Too many time is wasted creating looking good diffuse texture which dont add anything to the
Specular color RGB (named specular albedo or specular reflectance)
scene or worse, remove lighting information.
Normal and gloss monochrome
To be compliant with our physically based shading model a diffuse texture should be rather bright. Artists tend to author diffuse
Authoring time of these textures are not equal. I will expose the advice and material reference to provide to artists to help them
color too dark. Too dark average values of diffuse colors increase the difference in the ratio between specular and diffuse intensities
authoring these textures. The better the artists workflow will be, the better the shading model will appear. Normal and gloss are
and make specular feeling too bright. Moreover, with a global illumination solver (like the one we use to generate lightmaps), the
tightly coupled so they will be treated together.
bounce of light can be too low and forces the lighter to adjust the brightness of the lights. But after these adjustments, the direct
When talking about texture, we talk about sRGB/RGB color space, linear/gamma space All these concepts are well described in lighting will be too strong [4].
[2] and will not be explained here. Uniformity of diffuse textures is really important. If diffuse texture are well authored and other not, the lighters will be unable to do
right lighting setup.
Before digging into the subject in more detail, here are some advices for the textures workflow :
The advantage of using a physically based shading model is that we can choose diffuse color value based on real world value. We
Artists must calibrate their screens. Or better, all your teams screen should be calibrated in the same way [6]. used two kind of references for our game :
Make sure Colour Management is set to use sRGB in Photoshop [5].
Artists will trust their eyes, but eyes can be foolish. Adjusting grey level texture can be annoying [7]. Provide reference material 1. Taking picture of real world with the method explained by Henry Labounta in its GDC 2011 talk Art Direction Tools for Photo
and work with a neutral grey background. Real Games [24]
When working with sRGB color space, as it is the case for most textures authored with Photoshop, remember that the middle
Wait an overcast day to reduce directional lighting information.
grey is not 128,128,128 but 187,187,187. See John Hable post [22] for comparison between 128 and 187 middle grey.
Shot a raw photography (mean dont use gamma space mode but linear mode) containing an X-rite passport Macbeth chart [30].
Game engine should implement debug view mode to display texture density, mipmap resolution, lighting only, diffuse only,
Import and calibrate photo using exposure and blacks with the help of the reference Macbeth chart value .
specular only, gloss only, normal only This is a valuable tool to track textures authoring problems.
The resulting sRGB picture will be used as reference for artists.
Textures should be uniform in the scene. Even if all textures are amazing, only one poor texture on the screen will attract the eye,
like a dead pixel on a screen. The resulting visual feeling will be bad. The same scene with uniform density and medium quality A X-rite passport Macbeth chart looks like this
will look better.

Dielectric and metallic material

1 de 11 26/7/17 17:48 2 de 11 26/7/17 17:48

Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b... Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b...
Disclaimer : All the numerical values provided are in linear space. And lighting processing inside the shader must be in linear space.
(https://seblagarde.files.wordpress.com/2011/08/x-ritefactor.png)
To turn an index of refraction to we use the formula [8]:
2. Taking physical albedo value [28]

Disclaimer : All the numerical values provided are in linear space. And lighting processing inside the shader must be in linear space. For a practical sample, take the index of refraction of water (1.33) and put it inside the equation:

Charcoal 0.04 0.02 is the specular color.

Fresh asphalt 0.04
Worn asphalt 0.12 Dielectric transparent material (water, glass, plastic, gemstones) indices of refraction are largely available on the web [2][21]. But
Bare soil 0.17 lot of usual materials like concrete, fabric, rock, wood are not. And it is far more difficult to measure index of refraction of such
Green grass 0.25 materials.
Desert sand 0.40
Good rules for specular color range of dielectric materials are:
New concrete 0.55
Ocean Ice 0.50.7 No value under 0.02
Fresh snow 0.800.90 Common gemstones 0.05-0.17
One of the darkest substances on earth is charcoal, the brightest is fresh snow. Common liquids 0.02-0.04
Diffuse color of the above substances should be a little less than provided value which includes some specular. When not finding reference for a dielectric material, setting a value of 0.04 (around plastic)
This allows to define a range for diffuse color in sRGB of 50-240.
Except gemstones, any dielectric material we will use should be in the range 0.02-0.05 [1].
In both cases the histogram of the image should be rather high. Resulting in a bright average diffuse color.
Here are some sample values:
Details can be added to the diffuse texture by baking some micro-occlusion which cant be handled by the engine. An ambient
occlusion is interpolated with the texture at a low weight. The ambient occlusion color should not be black but should match the hue Quartz 0.045593921
of the diffuse texture [29]. ice 0.017908907
Water 0.020373188
For pure metallic material, the diffuse color should be black (Total reflection). In this case, the color of the object is based on specular Alcohol 0.01995505
value. Glass 0.04
In case of rusted metal, a mix of specular and diffuse provide good result. Milk 0.022181983
Ruby 0.077271957
We store diffuse color as sRGB DXT1 (or DXT5 if translucent) middle resolution.
Crystal 0.111111111
Added note: Diamond 0.171968833
Skin 0.028
When taking real world photo as reference, some process can be used to remove directional lighting information like in [25].
Note how these values are not intuitive for an artist. As a side note for character artists, see that specular reflectance of skin is white
Crazybump [26] has some tools to do that. Epic provides a good camera setup here [27].
(0.028) [10] (There is a study of index of refraction of human skin here [32]).
Using full energy conservation between diffuse and specular will automatically set diffuse to a low value allowing metallic materials
Metallic materials are handled a little differently. Index of refraction of a metal material is a complex number . The same
to respect the constraint of having low diffuse color.
formula as above can be applied to determine :
Care must be taken when testing diffuse texture into the engine. Are postprocesses enabled (bloom, tone mapping) ? The influence
of postprocess on the result is huge, particularly the tone mapper. Actually we let the tone mapper enabled when testing but this Where is the conjugate of the complex number .
may not be the best way.
Refractive indices of metallic material tend to vary significantly over the visible spectrum. So just taking a value for n and k at a
Another way of getting good diffuse texture references is to use polarization filter on camera and light similar to [3] or [31]. The given wavelength is not sufficient. The spectral distribution of needs to be computed and converted into an RGB vector [1]. In
setup is a little more complex but give good result. more details

The Fresnel equation needs to be evaluated for each available spectral sample of complex refractive index over the visible portion
of the spectrum. This will result in a spectral reflectance with multiple samples. Each spectral reflectance sample then needs to be

Specular color
multiplied with the CIE X, Y and Z color-matching functions as well as the spectral power distribution of the appropriate
illuminant (most likely D65). The resulting curves must be integrated and normalized (with normalization constants set such that
the illuminant would have a Y value of 100).
Finally, a matrix transform should be used to convert the XYZ values into RGB values with the appropriate primaries (most likely
Specular texture is rather simple and not time-consuming. the sRGB/Rec.709 primaries). Gamut mapping of some kind may be needed if any of the RGB values are out of gamut [9].

With classic game lighting model specular texture is high-resolution RGB and specular power is a constant value for the whole
material. For advanced material, a specular power texture is authored. With physically based shading model, artists must switch
their mind. Specular texture is now rather constant and gloss is high-resolution monochrome. For advanced materials, a high-
resolution specular texture can be authored [1].
A great advantage of PBR is that we can (and should) use real world material index of refraction to specify the specular albedo.
Index of refraction will allow to define the characteristic specular reflectance of the material which is the value of Fresnel reflectance
at 0 (reflectance at normal incidence) : [1]. The term is what we call specular color for our physically based shading
model.
Fortunately, I wrote a little program at home to do this.
You can get this program with source code here SL-GetSpecularColor (https://seblagarde.files.wordpress.com/2011/08/sl-
getspecularcolor.pdf) (WordPress doesnt handle zip file, so right click then save target. Then rename extension to .zip. Code
doesnt handle error and program require VS2008 runtime).
Usage is really simple: SL-GetSpecularColor.exe XXX.txt and you will get a linear color between 0 and 1.
XXX.txt is a file with spectral distribution of complex refractive indices.
Only files downloaded from http://www.filmetrics.com/refractive-index-database (http://www.filmetrics.com/refractive-index-
database) are working for now. If you improve the program with other sources, tell me.
Using the program above gives you the linear RGB specular color. Here are some values I gathered:

3 de 11 26/7/17 17:48 4 de 11 26/7/17 17:48

Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b... Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b...
The most important textures are normal map and gloss map.
R G B
Normal map and gloss map require most of the artists effort. They should add crazy details into them.
Silver 0.971519 0.959915 0.915324
Ideally, the game should look pretty good with a view mode displaying lighting only.
Aluminium 0.913183 0.921494 0.924524
Gold 1 0.765557 0.336057 Normal map:
Copper 0.955008 0.637427 0.538163 There is several good reference on how to create good normal map available on the web and this is not related to PBR so I wont talk
Chromium 0.549585 0.556114 0.554256 about them here.
Nickel 0.659777 0.608679 0.525649
Titanium 0.541931 0.496791 0.449419 Added note:
Cobalt 0.662124 0.654864 0.633732
Platinum 0.672411 0.637331 0.585456 Several rules should be followed to get most of the normal map. We are not following all of them but should do:

As you can expect, you wont spend your time finding all the refractive indices of metallic material. Especially since values are for Encoding/Decoding normal. Like for compress/decompress data, the exact reverse of algorithm use to encode the normal should
pure laboratory material. But these specular colors can be used as references. Moreover, we can see that specular colors for metallic be used for decode it. I know of two engines doing this the right way:
objects are close to what we think the color of the metal is. The basic rule for metal is to setup a value above 0.5. Crytek with the help of polybump [12].
Naughty Dog with Uncharted 2. Naughty Dog wrote a plugin for XNormal[14] which allows to generate normal map with their
We store specular color as sRGB DXT1 low resolution and reference are only provided in sRGB color space which: encoding method [15]. Naughty Dogs plugin is based on the awesome thesis of Morten Mikkelsen [13].
Generate most of the normal map from high and low resolution objects (Really time-consuming) [16].
Avoids artists to deal with sRGB/RGB mismatch. Use a 16bit floating point normal map pipeline [17].
Allows more precision with low specular color. Always normalize normal map after modification.
Allows artist to work with not completely dark colors (for dielectric material). Generate normal map in the texture coordinate convention of the engine.
We provide a reference specular chart to the artists which looks like the image below (intentionally blurred and reduced): Gloss map:

From my point of view, the most difficult texture to author is the gloss map.
Reasons are:

No tutorial on the web about this texture (at least created for a physically based shading model).
Specular power range deduced from gloss values is completely dependent of your engine.
Values are numerical, neither color nor vector.

The gloss map is closely tied to the normal map. Ideally, gloss map should be generated in the same way as the normal map. It mean
it should be authored under sculpting tools like MudBox or ZBrush. Indeed, bumping in the normal map should be translated by
higher roughness in the gloss map (low gloss means high roughness).

However, new knowledge takes time to master and we still author gloss map by hand in Photoshop. The gloss map encoding (non-
linear) and specular power range (2-2048) we chose allow a perceptual linear distribution. Details like scratches, pores, grooves
(https://seblagarde.files.wordpress.com/2011/08/specularchart.png) can be added even without being in normal map.
Edit: The specular chart is now available at this link Dontnod specular and glosiness chart (https://seblagarde.wordpress.com Artists need to test the response of the lighting inside the engine more frequently than for other textures. To help them we provide a
/2012/04/30/dontnod-specular-and-glossiness-chart/). chart which maps some linear monochrome glossiness values (0-255 under Photoshop) to a screenshot of a cubemap blur level.

Added note:
With normalized lighting model without Fresnel effect like you can choose specular color between and
white, as suggested in [8].

You may notice that we dont use any specular mask texture. Specular texture is no more a scale of specular response. In real world,
everything is shiny [3] and this is roughness (low gloss) and low specular color which will allow to mimic matte material.
However the specular response in fine cavities can be too strong with our lighting model because of Fresnel effect. [1] suggests two
way to solve this:
Use an ambient occlusion texture to apply on specular term.
Modify the Schlick approximation in a similar way as Schler in [20]:
. Allows to force artists to use same resolution for normal map and gloss map.
For the Schler case, the assumption is that no real value of specular can be below 0.02. When a value below 0.02 is set in the
specular texture, the maximum reached by Fresnel term is below 1.
The drawback of this method is to require a high-resolution specular texture.
In both cases the texture budget increases and we chose to go with these artifacts.
Normal and gloss
(https://seblagarde.files.wordpress.com/2011/08
/roughnesschart.png)
This chart is highly engine specific.
We store normal map and gloss map in DXT5 high-resolution which:
Allows better mipmaping (see added note) because we can retrieve which gloss map is linked to which normal map.
Allows not to apply a second non linear encoding on the non linear gloss value. We store gloss in linear in the alpha channel.
Added note:
Mipmapping of normal map and gloss map are active research topics. The fact that a gloss map, encoded in a non linear way, results
in a wrong filtered value is not the main problem. When generating mipmap for both map, the variation in normal should be used to
modify the value of the gloss map. This allow to conserve the specular shape with the distance, reduce specular aliasing and reduce
texture thrashing. For more details see these interesting posts by Stephen Hill [11] and Marc Olano [18]. Dan Baker gave a great talk
on this topic at GDC 2011 [20] . Dimitar Lazarov at siggraph 2011 provide must-read slides [31] and describe step for generating gloss
mip for their lighting model.

5 de 11 26/7/17 17:48 6 de 11 26/7/17 17:48

Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b... Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b...
Details normal map and details gloss map are other topics which require attention. Compositing of these textures is not trivial. (http://advances.realtimerendering.com/s2011/Lazarov-Physically-Based-Lighting-in-Black-Ops%20
%28Siggraph%202011%20Advances%20in%20Real-Time%20Rendering%20Course%29.pptx)[32] Tsenova, Stoykova, Refractive
index measurement in human tissue samples http://www.iomt.bas.bg/page_10/es/publications/References_C/Ref_C24.pdf
(http://www.iomt.bas.bg/page_10/es/publications/References_C/Ref_C24.pdf)

Reference (http://advances.realtimerendering.com/s2011/Lazarov-Physically-Based-Lighting-in-Black-Ops%20
%28Siggraph%202011%20Advances%20in%20Real-Time%20Rendering%20Course%29.pptx)

[1] Hoffman, Crafting Physically Motivated Shading Models for Game Development and Background: Physically-Based Shading FILED UNDER USE "ALL POSTS AND RECENT UPDATES" IN THE MENU TO NATIGATE THIS BLOG TAGGED WITH
http://renderwonk.com/publications/s2010-shading-course/ (http://renderwonk.com/publications/s2010-shading-course/) GRAPHIC, LIGHTING, PHYSICALLY BASED, PHYSICALLY BASED RENDERING, RENDERING, SHADING, SPECTRAL,
[2] http://www.robinwood.com/Catalog/Technical/Gen3DTuts/Gen3DPages/RefractionIndexList.html SPECULAR, USE "ALL POSTS AND RECENT UPDATES" IN THE MENU TO NATIGATE THIS BLOG
(http://www.robinwood.com/Catalog/Technical/Gen3DTuts/Gen3DPages/RefractionIndexList.html)
[3] Hable, http://filmicgames.com/archives/547 (http://filmicgames.com/archives/547)
[4] Epic game, UDK documentation http://udn.epicgames.com/Three/TexturingGuidelines.html (http://udn.epicgames.com
/Three/TexturingGuidelines.html) 34 Responses to Feeding a physically based shadingmodel
[5] Photoshop CS3 Color Settings http://www.computer-darkroom.com/ps10_colour/ps10_1.htm (http://www.computer-
darkroom.com/ps10_colour/ps10_1.htm)
[6] LCD monitor test images http://www.lagom.nl/lcd-test/ (http://www.lagom.nl/lcd-test/) Pingback: The Blinn-Phong Normalization Zoo | The Tenth Planet
[7] Adelson, Checker-shadow illusion http://www.michaelbach.de/ot/lum_adelsonCheckShadow/
Pingback: Confluence: Programming
(http://www.michaelbach.de/ot/lum_adelsonCheckShadow/)
[8] Akenine-Mller, Haines, Hoffman, Real-Time Rendering 3rd Edition http://www.realtimerendering.com
Pingback: Readings on physically based rendering | Light is beautiful
(http://www.realtimerendering.com)
[9] Personal communication with Naty Hoffman Pingback: Confluence: Development
[10] dEon, Luebke, Advanced Techniques for Realistic Real-Time Skin Rendering http://http.developer.nvidia.com/GPUGems3
/gpugems3_ch14.html (http://http.developer.nvidia.com/GPUGems3/gpugems3_ch14.html) Pingback: Confluence: Art
[11] Hill, Specular Showdown in the Wild West http://blog.selfshadow.com/2011/07/22/specular-showdown/
(http://blog.selfshadow.com/2011/07/22/specular-showdown/) Pingback: Confluence: Frostbite Development
[12] Crytek, http://crytek.com/cryengine/cryengine2/overview (http://crytek.com/cryengine/cryengine2/overview)
SteveM says:
[13] S. Mikkelsen, Simulation of Wrinkled Surfaces Revisited http://image.diku.dk/projects/media/morten.mikkelsen.08.pdf
May 15, 2013 at 4:52 pm
(http://image.diku.dk/projects/media/morten.mikkelsen.08.pdf)
Seb, just wanted to say a giant THANK YOU for these articles! Youve changed my life! Yours are the clearest and most
[14] XNormal, http://www.xnormal.net/1.aspx (http://www.xnormal.net/1.aspx)
straightforward articles on PBR to this day. The simple concept of dielectrics and metals represented by the same spec map was
[15] Diamant, Simantov, Character Pipeline: An In-depth Look at the Creation of U2s Characters http://www.slideshare.net
eyeopening. Ive been using essentially your lighting model at our company for over a year now, and it has completely
/naughty_dog/uncharted-2-character-pipeline (http://www.slideshare.net/naughty_dog/uncharted-2-character-pipeline)
revolutionized our art creation. We can create art faster, more correctly and effectively, and the results are much more visually
[16] Pangilinan, Ruppel, Uncharted 2 art direction http://www.slideshare.net/naughty_dog/gdc-final-sliced
interesting, run faster (less draw calls), fits great with deferred rendering, just all around goodness!
(http://www.slideshare.net/naughty_dog/gdc-final-sliced)
[17] Kaplanyan, CryENGINE 3: Reaching the Speed of Light http://advances.realtimerendering.com/s2010/Kaplanyan-
I know everybodys doing this nowadays, but I think you deserve credit for putting out such clear articles before most everyone
CryEngine3(SIGGRAPH%202010%20Advanced%20RealTime%20Rendering%20Course).pdf
else.
(http://advances.realtimerendering.com/s2010/Kaplanyan-
CryEngine3%28SIGGRAPH%202010%20Advanced%20RealTime%20Rendering%20Course%29.pdf) Thanks!
[18] Olano, Shiny and CLEAN http://gaim.umbc.edu/2011/07/24/shiny-and-clean/ (http://gaim.umbc.edu/2011/07
/24/shiny-and-clean/) Reply
[19] Olano, On Error http://gaim.umbc.edu/2011/07/26/on-error/ (http://gaim.umbc.edu/2011/07/26/on-error/) seblagarde says:
[20] Baker, Spectacular Specular -LEAN and CLEAN specular highlights http://www.google.fr/url?sa=t&source=web&cd=2& May 15, 2013 at 9:23 pm
ved=0CCIQFjAB&url=http%3A%2F%2Fwww.gdcvault.com%2Fplay%2F1014558%2FSpectacular-Specular-LEAN-and-CLEAN& Your are welcome.
ei=XpVETpDoJoPm-gbrqdyTBw&usg=AFQjCNGC26_xSlrstEqFYHIbLuEAhqU8vg (http://www.google.fr/url?sa=t&source=web&
cd=2&ved=0CCIQFjAB&url=http%3A%2F%2Fwww.gdcvault.com%2Fplay%2F1014558%2FSpectacular-Specular-LEAN-and- The credit come mainly to Naty Hoffman as this is his lighting model which come from his Siggraph 2010 talk.
CLEAN&ei=XpVETpDoJoPm-gbrqdyTBw&usg=AFQjCNGC26_xSlrstEqFYHIbLuEAhqU8vg) Yoshiharu Gotanda (TriAce) and Christian Schler also put a lot of effort in this topics well before me. By the way I
[21] http://www.luxpop.com/ (http://www.luxpop.com/) recommend the very understandable FMX 2013 slides of Christian on his blog on the PBR subject for artist:
[22] Hable, Linear-Space Lighting (i.e. Gamma) http://filmicgames.com/archives/299 (http://filmicgames.com/archives/299) http://www.thetenthplanet.de/archives/3684
[23] Schler, An efficient and Physically Plausible Real Time Shading Model Shader X7 book
Cheers
[24] Labounta, Art Direction Tools for Photo Real Games Unavailable on gdcvault, sum up here http://stachmo.wordpress.com
/2011/03/12/the-epic-gdc11-adventure-day-5/ (http://stachmo.wordpress.com/2011/03/12/the-epic-gdc11-adventure-day-5/)
Reply
[25] The Diffuse Texture and Seamless Textures http://robertokoci.com/diffuse-texture/ (http://robertokoci.com/diffuse- Pingback: Confluence: Substance Designer
texture/)
[26] Crazybump http://www.crazybump.com/ (http://www.crazybump.com/) Pingback: Confluence: Substance Designer
[27] Epic game, UDK documentation http://udn.epicgames.com/Three/TakingBetterPhotosForTextures.html
(http://udn.epicgames.com/Three/TakingBetterPhotosForTextures.html) Pingback: Confluence: WoT Development
[28] Wikipedia http://en.wikipedia.org/wiki/Albedo (http://en.wikipedia.org/wiki/Albedo)
[29] Ferguson, Iterating Realistic Human Rendering: Boxers in FIGHT NIGHT GDC 2011 Pingback: Confluence: Art
[30] http://www.xrite.com/home.aspx (http://www.xrite.com/home.aspx)
[31] Lazarov, Physically Based Lighting in Call of Duty: Black Ops http://advances.realtimerendering.com/s2011/Lazarov- Pingback: Confluence: Substance Painter
Physically-Based-Lighting-in-Black-Ops%20(Siggraph%202011%20Advances%20in%20Real-Time%20Rendering%20Course).pptx Pingback: Confluence: Substance Painter
(http://advances.realtimerendering.com/s2011/Lazarov-Physically-Based-Lighting-in-Black-Ops%20
%28Siggraph%202011%20Advances%20in%20Real-Time%20Rendering%20Course%29.pptx)

7 de 11 26/7/17 17:48 8 de 11 26/7/17 17:48

Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b... Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b...
Pingback: Readings on Physically Based Rendering | Interplay of Light August 16, 2014 at 10:50 pm
Im curious about how specifically you get albedo values. Is it enough to have an unshadowed photograph that has been
Pingback: Fuel dispenser - Game Artist Forums calibrated with the X-Rite passport utility?
Vitaliy Borodovsky says: I assume that is not the case. What should I be doing in order to get correct albedo values for marble or tungsten for instance?
March 16, 2014 at 2:01 pm Google is of little use in this case.
Thanks for your blog. Ive found a lot of useful materials here, and your blog helped me to understand these topics deeper.
In your article the jump from using a Macbeth color checker and correct albedo seems almost instantaneous.
I have 2 questions to you:
I found this paper which makes it a little clearer:
1. What do you think about using grayscale texture as albedo?
http://vixra.org/pdf/1110.0035v1.pdf
In mobile game we cheat as much as possible to achieve great results, so we plan to use:
However, a thorough guide would be absolutely fantastic. Hell, maybe someone who isnt as incompetent as me could write a
RGBA compressed texture program that would convert photos directly to albedo maps with the aid of a ColorChecker.
R: albedo.grayscale
G: normal.x Reply
B: normal.y Atomof says:
A: glossiness map August 17, 2014 at 7:35 am
I meant feldspar not tungsten.
F_0 can be set per object (one value), or per vertex (vertex color).
Cant edit comments for some reason.
In case if artists need full albedo map we use 2 textures. 1 for albedo, 1 normal.
Reply
2. Also on low end devices for metal materials I plan to cheat. Instead of computation of FresnelShlick for all 3 values I plan to seblagarde says:
use average and compute only for float instead of vec3. August 18, 2014 at 3:28 am
Looks like reasonable degrade for low-end. Hey,

What do you think about that? I give more details about the albedo stuff here: http://www.fxguide.com/featured/game-environments-parta-remember-me-
rendering/
Reply
And yes, the method use a photograph with a macBeth chart under overcast sky only (take care that there is always some
seblagarde says:
specular into the mix, even with a polorizer filter). The paper you reference do the same thing, except they use the know
March 17, 2014 at 1:52 pm
albedo they measure of a white A4 paper instead of using a macBeth chart (Which have a lot more know albedo values). Still
Hey,
capture the real albedo is a difficult process, but for game we tolerate the error.
Warning, I assume you have black diffuse albedo for metal and F0 define the color of the metal.
You will also be interested by this paper: http://blog.selfshadow.com/publications/s2012-shading-course/mcauley
/s2012_pbs_farcry3_notes_v2.pdf
1. Grayscale for albedo is a bit strange. Are you doing a monochrome game ?
they describe a plugin for photoshop to do the automatic conversion. Still implementation is not simple and I would love they
It make sense to store luminance only then chrominance at lower resolution but using only grey level will just give you a
black and white game. have share their tools This is a bit different from the technique I describe in the FX guide article (which is not mine but the
one of Henry Labounta), which require a manual calibration which respect the tone of the different matter and require artistic
2. Will work for several mocnochrome metal (silver, aluminium, iron ). Will fail with colored metal like gold (again skills (I am not the one doing this, this was the art director).
monochrome game ?). I would simply apply no fresnel on metal on mobile like purpose some offline renderer (VRay).
Another interesting tools is lightbrush: http://www.twitterbuttons.biz/stats/lightbrush.com. Which actually use a technique
But I think my answers dont fit your questions because I think you dont use a BRDF like I describe it: diffuseAlbedo / PI + reverse to this one. i.e use shadowed picture instead of unshadowed. But I have never done in-depth comparison of the result.
Fresnel(F0, LdotV) * normalization_factor * (N.H)^specPower
Keep in mind that whatever the technic you chose, the most difficult part is to take accurate picture, then you need to find the
I have never done mobile dev by the way, if you want more information on PBR on mobile, take a look at the future GDC time to process all these textures.
session on mobile dev: http://schedule.gdconf.com/session-id/826422
Reply
hope thats help Atomof says:
August 18, 2014 at 1:39 pm
Cheers Thank you very much for these links and your time. I think the last link is wrong however.

Reply seblagarde says:

MarkBTomlinson says: August 18, 2014 at 2:25 pm
August 14, 2014 at 9:42 am http://www.tandent.com/support/
Thank you for this I have compiled a Mac version and put it here: https://www.dropbox.com/s/ypydi5vz4dhlqzc
/getspecularcolour rahulcamma says:
I hope that is okay, cheers. November 5, 2014 at 2:18 pm
This article was really helpful.Thank you for taking the time in writing this article.I really appreciate it.
Reply
seblagarde says: However i am not able to understand how do you find in photoshop what is the SRGB value of a colour.You had written colour
August 14, 2014 at 9:58 am of green grass is 0.25.How do i find which colour is 0.25 in photoshop.
Yes, no pb . Thx
Reply
Reply seblagarde says:
Atomof says: November 5, 2014 at 11:54 pm

9 de 11 26/7/17 17:48 10 de 11 26/7/17 17:48

Feeding a physically based shading model | Sbastien Lagarde https://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-b...
Hi,

0.25 is the normalized linear RGB value, it mean

0.25 * 255 = 64 in RGB

an approximation to convert to sRGB is to do

0.25^(1/2.2) * 255 = 136 in sRGB

But exact calulation is more complex, here is an excel formula that you can copy past:
=255*IF(D10<=0,0031308;D10*12,92;(POWER(ABS(D10);1/2,4)*1,055)-0,055)"
replace the D10 by the cell you want to convert

with the exact formula the result is 137 in sRGB.

Don't know how to convert linearRGB to sRGB in photoshop, if anyone know ?

Reply
vanessa says:
December 1, 2014 at 7:13 pm
hi, you can also try this tool to calibrate your albedo textures
https://colortarget.wordpress.com/

Reply
Pingback: Simple PBR Shader for Blender 2.72 Cycles |

Pingback: PBR en Element 3D v2 (parte 3) | Dan Garotte Portfolio

Pingback: [notes] Material Reflectivity / spec value | Hap|: The Artisteer

Pingback: Things in Unity That Are a Bit Rubbish (and How to Fix Them) | Sc0tt Games .com

Ranpariya Ankur says:

May 4, 2015 at 12:06 pm
Hey,

Its awesome article with proper refrance.. its realy helpfull to learn more about shading and rendering.

Thanks a lot for the article

Reply
Pingback: Screen Space Glossy Reflections | Roar11.com

Blog at WordPress.com.

11 de 11 26/7/17 17:48