As mentioned above in the directional lights section, the rendering of shadows for directional lights is an approximation that allows us to use a single render to cover a largeish area with shadows.
The key insight is that we can also do something akin to that here as well — we take this incomplete albedo map, and try to synthesize the missing details.
To figure it out, we use ray tracing with this simplified screen space 3D representation and bounce the rays off of the lake's pixels using the normal map.
为了解决这个问题，我们使用光线追踪和这个简化的屏幕空间 3D 表示，并使用法线贴将光线从湖面像素上反射回来。
After taking a photograph, this technique creates two of these albedo maps: one is a complete, low frequency map, which records the entirety of the face, but only contains the rough details.
Wrinkles, engravings, grain on a wooden table are excellent examples of details that we can add to our models, and computer graphics people like to collectively call these things displacement maps.
The only constraint I'll ask is that you do this continuously, which you can think of as meaning you never cut the sphere or tear it in any way during the mapping.
And with this new technique called Deep Opacity Maps, these layers are chosen more wisely, and this way, we can achieve higher quality results with only using 3 layers, and it runs easily in real time.
移动到适合的位置覆盖背景。
现了雨、
、
和爆炸效果的模拟。
张无光颜色
却并不完整。
纹理，
色的方式，这就
这个铺位有
个
你要连续执行此操作，你可以认为这意味着你在
