September 26, 2012 General News 1 Comment

I'm really excited about this post. If you look carefully at my previous screenshots, especially those in grayish/dusty environments, you might notice a dirty little secret that I've been refusing to talk about until now: color quantization (in the form of color banding). Usually, color quantization is not really a problem that most games have to address. However, the dusty and monochromatic atmospheres that I've been producing as of late are particularly subject to the problem, since they use a very narrow spectrum of colors. Within this narrow spectrum, one starts to run into the problem that 32-bit color only affords 256 choices each for red, green, and blue intensity in a given pixel. When the entire screen is spanned by a narrow spectrum of colors, the discrete steps between these 256 levels become visible, especially in desaturated colors (since there are only 256 total choices for gray).

As an example, here's a shot that demonstrates the problem:

Notice the visible banding in the lower-left. If you open this image in Photoshop, you can see that the colors are only one unit away from one another in each component - so we really can't do any better with 8 bits per component! The solution? A very old technique called dithering! Dithering adds some element of "noise" to break up the perfect borders of discrete color steps, which results in a remarkably-convincing illusion of color continuity.

OpenGL supposedly supports dithering, but it's not clear at all to me how it would do so, and especially how that would interact with a deferred renderer. Luckily, it's actually possible to implement dithering quite easily in a given shader. The appropriate time to do so is when you have a shader that you know will be performing some color computations in floating-point, but will then be outputting to a render target with a lower bit depth (i.e., RGBA8). You'd like to somehow retain that extra information that you had while performing the FP color computations - that's where dithering comes in. Before you output the final color, just add a bit of screen-space noise to the result! In particular, take a random vector v = (x, y, z) such that x,y,z are all Uniform ~ [-1, 1], where the uniform random function uses the fragment coordinates (or the texture coordinates) to compute a pseudorandom number (which need not be of high quality). Then add v / 256 to your result. Why v / 256? Well, this will allow your pixel to go up or down a single level of intensity in each component, assuming you're using an 8-bit-per-component format. In my experiments, this worked well.

Right now, I've implemented this the lazy way by switching my primary render targets to RGBA16, then dithering a single time immediately before presenting the result, which, if you think about it, is pretty much equivalent to the above, but requires 2x the bandwidth. I will switch to the more efficient way soon.

And here's the same scene, now with dithering:

As if by magic, the banding has totally disappeared, and we are left with the flawless impression of a continuous color space. Happy times 🙂