Posts Tagged ‘glsl’

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Levels control shader

January 28, 2009

A little piece of code to reproduce the Levels control of Photoshop…

levels-all

Input levels:

I already talked about the gamma correction (mid-tone slider), and I won’t explain what the shadows and highlights (black/white points) sliders are doing (excellent article here) but basically these can be used to remap the tonal range of the image. Here is how it’s calculated:

#define GammaCorrection(color, gamma)  pow(color, vec3(1.0 / gamma))
#define LevelsControlInputRange(color, minInput, maxInput) min(max(color – vec3(minInput), vec3(0.0)) / (vec3(maxInput) – vec3(minInput)), vec3(1.0))
#define LevelsControlInput(color, minInput, gamma, maxInput) GammaCorrection(LevelsControlInputRange(color, minInput, maxInput), gamma)

Example with values from the 1st screenshot (blackpoint = 90/255, gamma = 4, whitepoint = 150/255), red: original color, green: blackpoint & whitepoint modified, blue: same with gamma:

levels-input

Output levels:

This is useful to shorten the tonal range meaning compressing it to reduce contrast and shift it, details here.

#define LevelsControlOutputRange(color, minOutput, maxOutput) mix(vec3(minOutput), vec3(maxOutput), color)

Example with values from the 1st screenshot (min output = 40/255, max output = 180/255), red: original color, green: output levels applied:

levels-output

Putting it all together:

#define LevelsControl(color, minInput, gamma, maxInput, minOutput, maxOutput) LevelsControlOutputRange(LevelsControlInput(color, minInput, gamma, maxInput), minOutput, maxOutput)

Same example but both input and output levels taken into account, red: original color, green: final result:

levels-output-input

So these macros make it quite easy to increase or reduce contrast, shift and clip tonal range, lighten or darken shadows and highlights. I added the (GLSL / HLSL) code to the Photoshop Math shaders.

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Photoshop gamma correction shader

January 22, 2009

After reproducing contrast, hue, saturation, brightness controls of Photoshop in pixel shaders, here is the gamma correction filter 🙂

gamma-correction-photoshop-levels

Photoshop

There are 2 ways of changing gamma in Photoshop:

  • Image | Adjustments | Exposure…
  • Image | Adjustments | Levels… (or CTRL+L) and then move the midtone slider.

Gamma correction is not the same thing than Brightness at all, even if it can give the impression it is. For example here is the histogram of my original image:

gamma-correction-levels-before

Then after setting the gamma to 0.5 (it compresses the highlights and stretches the shadows):

gamma-correction-levels-after

And here it is after lowering the brightness (Image | Adjustments | Brightness/Contrast…):

gamma-correction-levels-after-brightness

Here you can see it clipped the values after some threshold in the shadows (and also in the highlights) and you’re loosing a lot of lighting information in this case. That’s actually why I wanted to have also a gamma control in my post-processing effects.

Shader

A little macro:

// Gamma from 9.99 to 0.1
#define GammaCorrection(color, gamma)   pow(color, 1.0 / (gamma))

color = GammaCorrection(color, 0.1);

Here are the curves it produces with extreme values (limits of Photoshop [9.99, 0.1]):

gamma-correction-curves_tn

So you see it stays in the same range and give a non-linear luminance (if correction value is different than 1). By the way I used this awesome web function grapher here.

By zooming and taking a very close look I noticed a few tiny differences with Photoshop in the shadows (seriously you need to toggle screenshot from shader and photoshopped image quickly and scan the image to see where it’s not the same). Photoshop on the left, shader version on the right (gamma = 0.1).

gamma-correction-comparison

I also saw that the gamma in Photoshop (on the left) produced some banding artefacts somewhere, and it didn’t in my shader (on the right),  well.. :):

gamma-correction-comparison2

I added the code in my Photoshop Math (GLSL/HLSL) shaders.

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Photoshop math with GLSL shaders

January 5, 2009

I usualy play with Photoshop to try post-processing effects on photos or game screenshots, it’s a lot faster than coding directly anything in shaders, but at the end I wanted to see my effects running in real-time. So I adapted a big part of the C-like code from this famous Photoshop blending mode math page + missing blending modes to GLSL (and now HLSL!) code and I added a few other useful things from Photoshop, such as Hue/Saturation/Luminance conversion, desaturation, contrast.

For example, I tried combining a few things in my Editor:

photoshopmath_tn

photoshopmath_editor_tn

Translating Photoshop operations on layers gives this kind of code:

uniform sampler2D Tex;
uniform sampler1D GradientMap;
uniform sampler1D GradientGround;

varying vec2 uv;

void main()
{

vec3 color = texture2D(Tex, uv).xyz;

// Split-tone
vec4 colorDesat = Desaturate(color, 1.0);
vec3 splitColor = texture1D(GradientMap, colorDesat.r).rgb;
vec3 pass1 = BlendColor(color, splitColor);

// Vertical gradient
vec4 verticalGradientColor = texture1D(GradientGround, uv.y);
vec3 pass2 = mix(pass1, BlendColor(pass1, verticalGradientColor.rgb), verticalGradientColor.a);

// Luminosity
vec3 pass3 = mix(pass2, BlendLuminosity(pass2, color + vec3(0.08)), 0.5);

// Linear light at 40%
vec3 pass4 = mix(pass3, BlendLinearLight(pass3, color), 0.4);

// Final
gl_FragColor = vec4(pass4, 1.0);

}

Here is the list of blending modes and functions I got:

Blending modes:

  • Normal
  • Lighten
  • Darken
  • Multiply
  • Average
  • Add
  • Substract
  • Difference
  • Negation
  • Exclusion
  • Screen
  • Overlay
  • SoftLight
  • HardLight
  • ColorDodge
  • ColorBurn
  • LinearDodge
  • LinearBurn
  • LinearLight
  • VividLight
  • PinLight
  • HardMix
  • Reflect
  • Glow
  • Phoenix
  • Hue
  • Saturation
  • Color
  • Luminosity

Functions:

  • Desaturation
  • RGBToHSL (RGB to Hue/Saturation/Luminance)
  • HSLToRGB (Hue/Saturation/Luminance to RGB)
  • Contrast

Here is my GLSL code, almost all the blending modes are macros and some do per-channel operation so it could run faster using vector operations with masks (to take into account the values per component), but still I guess it could help 🙂

Download PhotoshopMath.glsl

Update:

Oh and by the way you noticed the Split-Tone pass in my example:

// Split-tone
vec4 colorDesat = Desaturate(color, 1.0);
vec3 splitColor = texture1D(GradientMap, colorDesat.r).rgb;
vec3 result = BlendColor(color, splitColor);

It’s just the same thing than the Gradient Map… of the Create new fill or adjustment layer in Photoshop but blended in Color mode, which reminds me Color Temperature and Cross-Processing effects 🙂

Update:

I updated the .glsl file, because I forgot a line in the ContrastSaturationBrightness() function and I had some issues on specific hardware due to conditional returns, so now it’s fixed.

And now, here is the HLSL version 🙂

Download PhotoshopMath.hlsl

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CrossProcessing shader

June 11, 2008

Hi ! I’m doing a lot of image processing at work since a few weeks, and there a lots of things I wanna try, from post processes to dynamic geometry, but I would need another life for that. After having watched some (really nice) super cars videos (just check at the first one showing the Corvette to see what I mean), I’ve been talking with Nico about the Cross Processing effect, also called xpro, used in photography, and probably in the Corvette video.

corvette cross processing

corvette cross processing

corvette cross processing

corvette cross processing

After a quick talk (thanks) I made a simple pixel shader that post process a given scene with this nice effect 🙂

I followed this Photoshop tutorial to make it, here are the steps to work with the shader:

  • Make a black-to-white gradient
  • Add a New fill or adjustment layer, select Curves, and set the curves just like in the tutorial

cross processing curves gradient

  • Save the 1D image, it’ll be used in the pixel shader just like a curve modifier
  • Modify the final color of your pixels with this (GLSL) code:

vec3 curvesColor;

curvesColor.r = texture1D(curveTex, pixelColor.r ).r;
curvesColor.g = texture1D(curveTex, pixelColor.g).g;
curvesColor.b = texture1D(curveTex, pixelColor.b).b;

gl_FragColor.rgb = curvesColor;

And voila ! Here are some screenshots I took in Reverse (my end of studies project [team of 6 students]), maybe not the best example for this kind of effect but anyway:

Without
reverse no cross processing shader

Without
reverse no cross processing shader

With
reverse no cross processing shader

With
reverse no cross processing shader

With
reverse no cross processing shader

With
reverse no cross processing shader

In fact it makes me think about color temperature again, but this time the color is modifyed per channel and is dependent to the color components themselves instead of the luminance component of the pixel.

One more screen with all the effects combined during turbo (dolly zoom, desaturation, radial motion blur):

With
reverse no cross processing shader

Well, I guess these are the first public screenshots of the final version of the game 🙂

Oh and by the way

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“Practical Light and Color” Shader

March 13, 2008

Hi, I’m writting the blog post from my hotel room (which is pretty nice) in Sant Cugat del Valles \o/ near Barcelona. I started to play with OpenGL Shader Language Editor (Mac) at the airport, and I was continuing a bit tonight.

I’ve been working on a GLSL shader that interprets Jeremy Vickery’s vision about light and color, especially the color temperature concept.

color temperature dvd

Practical Light and Color (Gnomon Workshop)

At first, a few notes about this very lightweight tool: it really easy to get your hands on it as there are very fews possibilities, it crashes a lot, the code (text) editor is pretty cool with instant code validation and hightlights AND instant effect on the viewport (like a super fast compilation), there are only sphere/teapot/plane objects and no way to add a mesh, no GLSL samples, finaly an automatic uniform variables binding (I mean you type “uniform float bla;” and an editable variable appears (that you can then modify with sliders or color picker or texture browser).

So, let’s talk about light and color! The basic idea is that the hue component of the color is dependent to the luminance component (illumination of the area/object/pixel), so generally dark areas tend to red, less dark ones to orange then yellow, average ones to white, and then blue for bright things.

I noticed that the visible spectrum of J. Vickery above differs from the standard (real) one that you have in every book, but it gives much nicer results (no green nor purple, and different colors spacing).

Here are some details about my way of getting the final color, actually the differences between each image come from 2 color tone variables I’ve been modifying (from 0.0 to 1.0):

  • one that acts a bit like a desaturation, but in fact it’s something like:
    • (colorTemperature + vec3(colorTone)) / 2.0)
  • and one that is a weight related to the previous one, so the final result is:
    • (colorTemperature + vec3(colorTone)) / (1.o + colorToneWeight)

In facts, this is a way to scale the color temperature (texture) AND to reduce the effect it has on the object’s lighting. By scale I mean, using for example colors from red to white, instead of the full gradient that turns into blue at the end. Visually it’s like setting the time of the day or the kind of weather or environment (for example sunset on a sunny day: mostly orange tint).

Of course that’s not the final equation to get the color, I’m still experimenting on it so maybe I’ll give it later with more interesting results. Anyway here are my results with a white teapot:

color temperature shader

color temperature shader

color temperature shader

color temperature shader

color temperature shader

color temperature shader

color temperature shader

color temperature shader

It would be very interesting to try this shader these kind of scenes (Jeremy Vickery paintings):

color temperature jeremy vickery painting

color temperature jeremy vickery painting

And add some kind of atmosphere attenuation, just like he’s talking about in its DVD and GDC session. I didn’t figure it out the visual nor technical differences between this and usual fog in games but .. yeah soon 🙂