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2.2.4 Silhouette Enhancement (about transforming normal vectors) 轮廓增强（关于转换法向量）

2015-09-05 16:40 1331 查看

A semitransparent jellyfish. Note the increased opaqueness at the silhouettes.

Surface normal vectors (for short: normals) on a surface patch.

This tutorial covers the
transformation of surface normal vectors. It assumes that you are familiar with alpha blending as discussed in

Section “Transparency” and with shader properties as discussed in
Section “Shading in World Space”.

The objective of this tutorial is to achieve an effect that is visible in the photo to the left: the silhouettes of semitransparent objects tend to be more opaque than the rest of the object. This
adds to the impression of a three-dimensional shape even without lighting. It turns out that transformed normals are crucial to obtain this effect.

Silhouettes of Smooth Surfaces

In the case of smooth surfaces, points on the surface at silhouettes are characterized by normal vectors that are parallel to the viewing plane and therefore orthogonal to the direction to the viewer.
In the figure to the left, the blue normal vectors at the silhouette at the top of the figure are parallel to the viewing plane while the other normal vectors point more in the direction to the viewer (or camera). By calculating the direction to the viewer
and the normal vector and testing whether they are (almost) orthogonal to each other, we can therefore test whether a point is (almost) on the silhouette.

More specifically, if
V is the normalized (i.e. of length 1) direction to the viewer and
N is the normalized surface normal vector, then the two vectors are orthogonal if the dot product is 0:
V·N = 0. In practice, this will rarely be the case. However, if the dot product
V·N is close to 0, we can assume that the point is close to a silhouette.

Increasing the Opacity at Silhouettes

For our effect, we should therefore increase the opacity

if the dot product
V·N is close to 0. There are various ways to increase the opacity for small dot products between the direction to the viewer and the normal vector. Here is one of them (which actually has a physical model behind it, which is
described in Section 5.1 of
this publication) to compute the increased opacity

from the regular opacity

of the material:

It always makes sense to check the extreme cases of an equation like this. Consider the case of a point close to the silhouette:
V·N ≈ 0. In this case, the regular opacity

will be divided by a small, positive
number. (Note that GPUs usually handle the case of division by zero gracefully; thus, we don't have to worry about it.) Therefore, whatever

is, the ratio of

and a small positive number, will be larger. The

function will take care that the resulting opacity

is never larger than 1.

On the other hand, for points far away from the silhouette we have
V·N ≈ 1. In this case, α' ≈ min(1, α) ≈ α; i.e., the opacity of those points will not change much. This is exactly what we want. Thus, we have just checked that the equation is at least plausible.

Implementing an Equation in a Shader

In order to implement an equation like the one for

in a shader, the first question should be: Should it be implemented in the vertex shader or in the fragment shader?
In some cases, the answer is clear because the implementation requires texture mapping, which is often only available in the fragment shader. In many cases, however, there is no general answer. Implementations in vertex shaders tend to be faster (because there
are usually fewer vertices than fragments) but of lower image quality (because normal vectors and other vertex attributes can change abruptly between vertices). Thus, if you are most concerned about performance, an implementation in a vertex shader is probably
a better choice. On the other hand, if you are most concerned about image quality, an implementation in a fragment shader might be a better choice. The same trade-off exists between per-vertex lighting (i.e. Gouraud shading, which is discussed in

Section “Specular Highlights”) and per-fragment lighting (i.e. Phong shading, which is discussed in

Section “Smooth Specular Highlights”).

The next question is: in which coordinate system should the equation be implemented? (See

Section “Vertex Transformations” for a description of the standard coordinate systems.) Again, there is no general answer. However, an implementation in world coordinates is often a good choice in Unity because many uniform variables are specified in world
coordinates. (In other environments implementations in view coordinates are very common.)

The final question before implementing an equation is: where do we get the parameters of the equation from? The regular opacity

is specified (within a RGBA color) by a shader property (see

Section “Shading in World Space”). The normal vector

normal

is a standard vertex input parameter (see

Section “Debugging of Shaders”). The direction to the viewer can be computed in the vertex shader as the vector from the vertex position in world space to the camera position in world space

_WorldSpaceCameraPos

, which is provided by Unity.

Thus, we only have to transform the vertex position and the normal vector into world space before implementing the equation. The transformation matrix

_Object2World

from object space to world space and its inverse

_World2Object

are provided by Unity as discussed in
Section “Shading in World Space”. The application of transformation matrices to points and normal vectors is discussed in detail in

Section “Applying Matrix Transformations”. The basic result is that points and directions are transformed just by multiplying them with the transformation matrix, e.g. with

modelMatrix

set to

_Object2World

output.viewDir = normalize(_WorldSpaceCameraPos - mul(modelMatrix, input.vertex).xyz);

On the other hand
normal vectors are transformed by multiplying them with the transposed inverse transformation matrix. Since Unity provides us with the inverse transformation matrix (which is

_World2Object

), a better alternative is to multiply the normal vector
from the left to the inverse matrix, which is equivalent to multiplying it from the right to the transposed inverse matrix as discussed in

Section “Applying Matrix Transformations”:

output.normal = normalize( mul(float4(input.normal, 0.0), modelMatrixInverse).xyz);

Now we have all the pieces that we need to write the shader.

Shader Code

Shader "Cg silhouette enhancement" {
Properties {
_Color ("Color", Color) = (1, 1, 1, 0.5)
// user-specified RGBA color including opacity
}
SubShader {
Tags { "Queue" = "Transparent" }
// draw after all opaque geometry has been drawn
Pass {
ZWrite Off // don't occlude other objects
Blend SrcAlpha OneMinusSrcAlpha // standard alpha blending

CGPROGRAM

#pragma vertex vert
#pragma fragment frag

#include "UnityCG.cginc"

uniform float4 _Color; // define shader property for shaders

struct vertexInput {
float4 vertex : POSITION;
float3 normal : NORMAL;
};
struct vertexOutput {
float4 pos : SV_POSITION;
float3 normal : TEXCOORD;
float3 viewDir : TEXCOORD1;
};

vertexOutput vert(vertexInput input)
{
vertexOutput output;

float4x4 modelMatrix = _Object2World;
float4x4 modelMatrixInverse = _World2Object;

output.normal = normalize(mul(float4(input.normal, 0.0), modelMatrixInverse).xyz);
output.viewDir = normalize(_WorldSpaceCameraPos - mul(modelMatrix, input.vertex).xyz);

output.pos = mul(UNITY_MATRIX_MVP, input.vertex);
return output;
}

float4 frag(vertexOutput input) : COLOR
{
float3 normalDirection = normalize(input.normal);
float3 viewDirection = normalize(input.viewDir);

float newOpacity = min(1.0, _Color.a / abs(dot(viewDirection, normalDirection)));
return float4(_Color.rgb, newOpacity);
}

ENDCG
}
}
}

The assignment to

newOpacity

is an almost literal translation of the equation

Note that we normalize the vertex output parameters

output.normal

and

output.viewDir

in the vertex shader (because we want to interpolate between directions without putting more nor less weight on any of them) and at the begin of the fragment shader (because the interpolation can distort
our normalization to a certain degree). However, in many cases the normalization of

output.normal

in the vertex shader is not necessary. Similarly, the normalization of

output.viewDir

in the fragment shader is in most cases unnecessary.

More Artistic Control

While the described silhouette enhancement is based on a physical model, it lacks artistic control; i.e., a CG artist cannot easily create a thinner or thicker silhouette than the physical model suggests.
To allow for more artistic control, you could introduce another (positive) floating-point number property and take the dot product |V·N| to the power of this number (using the built-in Cg function

pow(float x, float y)

) before using it in the equation above. This will allow CG artists to create thinner or thicker silhouettes independently of the opacity of the base color.

Summary

Congratulations, you have finished this tutorial. We have discussed:

How to find silhouettes of smooth surfaces (using the dot product of the normal vector and the view direction).
How to enhance the opacity at those silhouettes.
How to implement equations in shaders.
How to transform points and normal vectors from object space to world space (using the transposed inverse model matrix for normal vectors).
How to compute the viewing direction (as the difference from the camera position to the vertex position).
How to interpolate normalized directions (i.e. normalize twice: in the vertex shader and the fragment shader).
How to provide more artistic control over the thickness of silhouettes .