PBR Guide Vol.1

PBR_Guide_Vol.1

PBR_Guide_Vol.1

PBR_Guide_Vol.1

PBR_Guide_Vol.1

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The Comprehensive PBR Guide
by Allegorithmic - vol. 1
Light and Matter : The theory of Physically-Based Rendering and Shading
Cover by Gaëtan Lassagne, written by Wes McDermott
vol. 1 - The theory of Physically-Based Rendering and Shading
Page 1
Table of Contents
• Light Rays - 2
• Absorption and Scattering (Transparency and Translucency) - 3
• Diffuse and Specular Reflection - 4
Microfacet Theory - 5
• Color - 6
• BRDF - 6
• Energy Conservation - 7
• Fresnel Effect - 7
F0 (Fresnel Reflectance at 0 Degrees) - 8
• Conductors and Insulators (Metals and Non Metal) - 9
Metals - 9
Non-Metals - 10
• Linear Space Rendering - 11
• The Key Factors - 11
• References - 12
Technical edit by: Cyrille Damez and Nicolas Wirrmann
Page 2
Light and Matter
The theory of Physically-Based Rendering and Shading
The Light Ray Model states that a light ray has the
trajectory of a straight line in homogeneous transparent
media such as air. The Light Ray Model also says that the
ray will behave in a predictable manner when
encountering surfaces such as opaque objects or passing
through a different medium such as air to water. This
makes it possible to visualize the path the light ray will
follow as it moves from a starting point to where it
eventually changes into another form of energy such as
heat.
The light ray that hits a surface is called the Incident Ray
and the angle that at which it hits is called the Angle of
Incidence as shown in figure 01.
A light ray is incident on a plane interface between two
media.
When a light ray hits a surface, either or possibly both of
these things can happen:
1. The light ray is reflected off the surface and travels
in a different direction. It follows the Law of Reflection,
which states that the Angle of Reflection is equal to the
Angle of Incidence (Reflected Light).
2. The light ray passes from one medium to another in
the trajectory of a straight line (Refracted Light).
At this point, we can state that light rays split into two
directions: reflection and refraction. At the surface, the
ray is either reflected or refracted and it can be
eventually absorbed by either medium. However,
absorption doesn't occur at the surface.
Light is a complex phenomenon as it can exhibit properties of both a wave and a particle. As a result, different models
have been created to describe the behavior of light. As texture artists, we are interested in the Light Ray Model as it
describes the interaction of light and matter. It’s important for us to understand how light rays interact with surface
matter because our job is to create textures that describe a surface. The textures and materials we author interact
with light in our virtual worlds and the more we understand about how light behaves, the better our textures will look.
In this guide, we will discuss the theory behind the physics through which physically-based rendering models are
based upon. We will start with a light ray and work up to defining the key factors for PBR.
Light Rays
Figure 01
vol. 1 - The theory of Physically-Based Rendering and Shading
Page 3
When traveling in an inhomogeneous medium or
translucent material, light can be absorbed or scattered:
1. With absorption, the light intensity decreases as it is
changed into another form of energy (usually heat), and
its color changes as the amount of light absorbed
depends on the wavelength, but the direction of the ray
doesn't change.
2. With scattering, the ray direction is changed randomly,
the amount of deviation depending on the material.
Scattering randomizes light direction but the intensity
doesn't change. An ear is a good example. The ear is thin
(absorption is low), so you can see the scattered light
penetrating out of the back of the ear. If there is no
scattering and the absorption is low, rays can pass
directly through the surface such as with glass. For
example, if you are swimming in a pool, which is
hopefully clean, you can open your eyes and see at a
fairly good distance through the clear water. However,
let’s imagine that same pool hasn't been cleaned in a
while and the water is dirty. The dirt particles scatter the
light and thus make the clarity of the water much lower.
The further light travels in such a medium/material, the
more it is absorbed and/or scattered. Therefore, object
thickness plays a large role in how much the light is
absorbed or scattered. A thickness map can be used to
describe object thickness to the shader as shown in figure
02.
Absorption and Scattering (Transparency and Translucency)
Figure 02
Specular reflection is light that has been reflected at the
surface, as we discussed above in the Light Ray section.
The light ray is reflected off the surface and travels in a
different direction. It follows the Law of Reflection, which
states that on a perfectly planar surface the Angle of
Reflection is equal to the Angle of Incidence. However, it
is important to note that most surfaces are irregular and
that the reflected direction will therefore vary randomly
based on the surface roughness. This changes light
direction, but the light intensity remains constant.
Rougher surfaces will have larger and dimmer looking
highlights. Smoother surfaces will keep specular
reflections focused, which can appear to look brighter or
more intense when looked at from the proper angle.
However, the same total amount of light is reflected in
both cases as shown in figure 03.
Diffuse reflection is light that has been refracted. The
light ray passes from one medium to another and is
scattered multiple times inside the object. Then it is
Diffuse and Specular Reflection
Object thickness plays a large role
in how much the light is absorbed
or scattered
Page 4
refracted again out of the object making its way back to
the original medium at approximately the same point
where it went through the first time as shown in figure
04.
Diffuse materials are fairly absorbent, meaning that if the
refracted light travels for too long in that material, it has
a good chance of being completely absorbed. This means
that if the light ever comes out of that material, it has
probably not traveled very far from the point of entry.
That's why the distance between the entry and exit
points can be neglected. The Lambertian model, which is
usually used for diffuse reflection in a traditional shading
sense, does not take surface roughness into account, but
there are diffuse reflection models that do such as Oren-
Nayar.
Materials that have both high scattering but low
absorption are sometimes referred to as "participating
media" or "translucent materials". Examples of these are
smoke, milk, skin, jade and marble. Rendering of the
latter three may be possible with the additional modeling
of subsurface scattering where the difference between
the ingoing and outgoing point of the light ray is no
longer neglected. Accurate rendering of medium with
highly varying and very low scattering and absorption like
smoke or fog may require even more
expensive methods such as Monte Carlo
simulations.
Figure 03
Figure 04
Rougher surfaces will
have larger and dimmer
looking highlights
vol. 1 - The theory of Physically-Based Rendering and Shading
Page 5
In theory, both diffuse and
specular reflection are dependent
on the surface irregularities
where the light rays intersect. In
practice though, the effect of
roughness on diffuse reflection is
much less visible because of the
scattering happening inside the
material. As a result, the
outgoing direction of the ray is
fairly independent of surface
roughness and the incident
direction. The most common
model for diffuse reflection
(Lambertian) completely neglects
it.
In this document, we have
referred to these surface
irregularities as surface
roughness. Actually, it is often
referred to by several names
such as roughness, smoothness, glossiness or micro-
surface, depending on the PBR workflow in use, but they
describe the same aspect of a surface, which is sub-texel
geometric detail.
These surface irregularities are authored in the roughness
or glossiness map depending on the workflow you are
using. A physically-based BRDF is based on the
microfacet theory which supposes that a surface is
composed of small-scaled planar detail surfaces of
varying orientation called microfacets. Each of these
small planes reflects light in a single direction based on
its normal as shown in figure 05.
Micro-facets whose surface normal is oriented exactly
halfway between the light direction and view direction will
reflect visible light. However, not all microfacets where
the microsurface normal and the half normal are equal
will contribute as some will be blocked by shadowing
(light direction) or masking (view direction) as is
illustrated in figure 05.
The surface irregularities at a microscopic level cause
light diffusion. For example, blurred reflections are due
to scattered light rays. The rays are not reflected in
parallel so we perceive the specular reflection as blurred
as shown in figure 06.
Microfacet Theory
Figure 05
Figure 06
The surface irregularities at a
microscopic level cause light
diffusion
Page 6
The color of a surface
(which is to say the color
that we see) is due to
which wavelengths are
emitted by the light source,
which are absorbed by the
object and which others
are reflected both
specularly and diffusely.
The remaining reflected
wavelengths are what we
see as color.
For example, the skin of an
apple mostly reflects red
light. Only the red
wavelengths are scattered
back outside the apple skin
and the others are
absorbed by it as shown in figure 07.
It also has bright specular highlights the same color as
the light source because with materials like the skin of an
apple that are not electrical conductors (dielectrics),
specular reflection is almost independent of wavelength.
Therefore, for such materials the specular reflection is
never colored. We will discuss more about the different
type of materials (metals and dielectrics) in later sections.
Color
Figure 07
A Bidirectional Reflectance Distribution Function (BRDF)
simply put is a function that describes the reflectance
properties of a surface. In computer graphics, there are
different BRDF models some of which are not physically
plausible. For a BRDF to be physically plausible, it must
be energy conserving and exhibit reciprocity. For
reciprocity, I am referring to the Helmholtz Reciprocity
principle, which states that incoming and outgoing light
rays can be considered as reversals of each other without
affecting the outcome of the BRDF.
The BRDF used by Substance's PBR shaders is based on
Disney's "principled" reflectance model, which is based on
the GGX microfacet distribution. GGX provides one of the
better solutions in terms of specular distribution in that it
has a shorter peak in the highlight and a longer tail in the
falloff, which is to say that it looks
more realistic as shown in figure 08.
BRDF
Figure 08
Object GGX provides
one of the better
solutions in terms of
specular distribution
Substance PBR shaders use the
GGX microfacet distribution
vol. 1 - The theory of Physically-Based Rendering and Shading
Page 7
Energy Conservation plays a vital role in physically-based rendering solutions. It states that the total amount of light
re-emitted by a surface (reflected and scattered back) is less than the total amount it received. In other words, the
light reflected off the surface will never be more intense than it was before it hit the surface. As artists, we don't have
to worry about controlling Energy Conservation. This is one of the nice aspects of PBR in that energy conservation is
always enforced by the shader. It’s part of the physically-based model and it allows us to focus more on art rather
than physics.
Energy Conservation
The Fresnel reflection factor also plays a vital role in
physically-based shading as a coefficient of the BRDF.
The Fresnel Effect as observed by French physicist
Augustin-Jean Fresnel states that the amount of light you
see reflected from a surface depends on the viewing
angle at which you perceive it.
For example, think of a pool of water. If you look straight
down, perpendicular to the water surface, you can see
down to the bottom. Viewing the water surface in this
manner would be at zero degrees or normal incidence,
normal being the surface normal. Now, if you look at the
pool of water at a grazing incidence, more parallel to the
water surface, you will see that the specular reflections
on the water surface become more intense and you may
not be able to see below the surface of the water at all.
Fresnel is not something that we control in PBR as we did
in traditional shading. Again, this is another physics
aspect that is handled for us by the PBR shader. When it
comes to viewing a surface at a grazing incidence, all
smoothed surfaces will become a nearly 100% reflector
at a 90 degree angle of incidence.
For rough surfaces, reflectance will become increasingly
specular but we won't approach 100% specular
reflection. What matters then is the angle between the
normal of each microfacet and the light, not the angle
between the normal of the "macrosurface" and the light.
Because the light rays are dispersed into different
directions, the reflection appears softer or dimmer. What
you get at a macroscopic level is a bit like the average of
all the Fresnel effect you would have for the microfacets.
Fresnel Effect
Figure 09
For rough surfaces, reflectance will become increasingly
specular but we won't approach 100% specular reflection
Page 8
F0 (Fresnel Reflectance at 0 Degrees)
When light hits a surface straight on or perpendicularly (0
degree angle), there is a percentage of that light that is
reflected back as specular. Using the Index of Refraction
(IOR) for a surface, you can derive the amount that is
reflected back and this is referred to as
F0 (Fresnel 0) as shown in figure 09.
The amount of light that is refracted
into the surface is referred to a 1-F0.
The F0 range for most common
dielectrics will be from 0.02 - 0.05 and
for conductors the F0 range will be
0.5-1.0. Thus, the reflectivity of a
surface is determined by the refractive
index as shown in the following
equation from Sebastien Lagarde's
"Feeding a Physically-based Shading
Model" blog post as shown in figure 10.
It is the F0 reflectance value that we
are concerned with in regards to
authoring our textures. Non-metals
(dielectrics/insulators) will have a
greyscale value and metals (conductors)
will have an RGB value. With regards to
PBR and from an artistic interpretation
of reflectance, we can state that for a
common smooth dielectric surface, F0 will reflect
between 2% and 5% of light and 100% at grazing angles
as was shown in figure 09.
The dielectric (non-metal) reflectance values don't
actually change very drastically. In fact, when altered by
roughness the actual changes in value can be hard to
see. However, there is a difference in the values. In
figure 11, you can see a chart that shows the F0 ranges
for both metal and non-metal materials.
Notice that the ranges for non-metals do not deviate
from each other drastically. Gemstones are an exception
as they have higher values. We will discuss F0 as it
specifically relates to conductors and insulators a bit later.
Figure 10
Figure 11
vol. 1 - The theory of Physically-Based Rendering and Shading
Page 9
When creating materials for PBR, I find it helpful to think in terms of metal or non-metal. I simply ask myself if the
surface is metal or not. If it is, I follow one set of guidelines and if it’s not, I follow another. This can be a rather
simplistic approach as some materials may not fall into these categories such as metalloids, but in the overall process
of creating materials, distinguishing between metal and non-metal is a good approach and metalloids are an exception.
To set up guidelines for materials, we first must understand what we are trying to create. With PBR, we can look at
the properties of metals (conductors) and non-metals (insulators) to derive this set of guidelines.
Conductors and Insulators (Metals and Non-Metals)
Metals (conductors) are good conductors of heat and
electricity. Simply put, the electric field in conducting
metals is zero and when an incoming light wave made of
electric and magnetic fields hits the surface, it is partially
reflected and all the refracted
light is absorbed. The reflectance
value for polished metal is going
to be high at a range of about
70-100% reflective as shown in
figure 12.
Some metals absorb light at
different wavelengths. For
example, gold absorbs blue light
at the high-frequency end of the
visible spectrum so it appears
yellow as a result. However,
since the refracted light is
absorbed, the color tint of
metals come from the reflected
light and thus in our maps, we
don't give metals a diffuse color.
For example, in the specular/
gloss workflow, raw metal is set
to black in the diffuse map and
the reflectance value is a tinted
color value in the specular map.
With metals, the reflectance
value will be RGB and can be tinted. Since we are
working within a physically-based model, we need to use
real-world measured values for the metal reflectance in
our maps.
Another important aspect with metals in terms of
texturing is that metal can corrode. This means that
weathering elements can play a large role in the
reflective state of metal. If the metal rusts for example,
this changes the reflective state of the metal and the
corroded areas are then treated as a dielectric material as
shown in figure 13.
Also, metal that is painted is not treated like a metal but
rather a dielectric as well. The paint acts as a layer on
top of the raw metal. Only the raw metal exposed from
chipped away paint is treated as metal. The same goes
for dirt on the metal or any matter that obscures the raw
metal.
I stated above that I always ask myself if a material is a
metal or not. However, to be more precise, the question
should also inquire the state of the metal such as is it
painted, rusted or covered in dirt/grease. The material
will be treated as dielectric if it is not raw metal and there
could be some blending between metal and non-metal
depending on the weathering.
Metals
Figure 12
Refracted light is absorbed, the color tint of metals come from
the reflected light and thus in our maps, we don't give metals a
diffuse color
Weathering elements can play a
large role in the reflective state of
metal
Page 10
Non-metals (insulators/dielectrics)
are poor conductors of electricity.
The refracted light is scattered and/
or absorbed (often re-emerging from
the surface) and thus they reflect a
much smaller amount of light than
metals and will have an albedo color.
We stated earlier that the value for
common dielectrics would be around
2-5% based on the F0 as computed
by the index of refraction. These
values are contained within the
linear range of 0.017-0.067 (40-75
sRGB) as shown in figure 14. With
the exception of gemstones, most
dielectrics will not be greater than
4%.
Just as with metals, we need to use real-world measured
values, but it can be difficult to find an IOR for other
materials that are not transparent. However, the value
between most common dielectric materials doesn't
change drastically, so we can utilize a few guidelines to
follow in terms of reflectance values, which we will cover
in volume two.
Non-Metals
Figure 13
Figure 14
The value for common dielectrics is
around 2-5% based on the F0 as
computed by the Index of
Refraction (IOR)
vol. 1 - The theory of Physically-Based Rendering and Shading
Page 11
Linear space rendering can take up an entire article all on its own. So, we won't go in-depth into the specifics.
However, the important takeaway is that computations are calculated in linear space.
Simply put, linear space rendering provides correct math for lighting calculations. It’s about creating an environment
that allows light to behave as it does in the real world. In linear space, the gamma is 1.0. However, for this to look
correct to our eyes, the linear gamma needs to be shifted. Gamma-encoded space (sRGB) compensates for images
that are displayed on a computer screen. The value of the image is adjusted for display.
When computing color values and performing operations on colors, all computations should be performed in linear
space. A simple way to look at it is that if an image is to be displayed in the render such as base color or diffuse, then
these maps need to be set as sRGB. What happens in Substance is that if the image is tagged as sRGB, it will be
converted to linear for calculations and then set back to sRGB for display. However, when you store mathematical
values that purely denote surface attributes in a texture such as roughness or metallic, then these maps must be set
as linear.
Substance handles the conversion between linear/sRGB space for inputs automatically as well gamma-correction on
the computed result in the rendered viewport. As the artist, you don't need to worry about the internal working of
linear-space computations and conversions in the Substance pipeline. When using Substance materials via the
Substance Integration plugin, the conversions for linear space are also handled automatically.
However, it’s important to understand the process, as when Substance maps are utilized as exported bitmaps and not
Substance materials, you may need to manually handle the conversions depending on the renderer you are using. You
need to know that base color/diffuse maps are sRGB and the rest are linear.
Linear Space Rendering
Now that we have explored the basic theory behind the physics, we can derive some key factors for PBR.
Key Factors
1. Energy Conservation. A reflected ray is never brighter than the value it had when it first hit
the surface. Energy Conservation is handled by the shader.
2. Fresnel. The BRDF is handled by the shader. The F0 reflectance value has minimal change
for most common dielectrics and falls within a range of 2% - 5%. The F0 for metals is a high
value ranging from 70-100%.
3. Specular intensity is controlled through the BRDF, roughness or glossiness map and the F0
reflectance value.
4. Lighting calculations are computed in linear space. All maps that have gamma-encoded
values such as base color or diffuse are usually converted by the shader to linear, but you may
have to make sure that the conversion is properly done by checking the appropriate option
when importing the image in your game engine or renderer. Maps that describe surface
attributes such as roughness, glossiness, metallic and height should be set to be interpreted as
linear.
When using Substance materials via the Substance Integration
plugin, the conversions for linear space are also handled
automatically.
Page 12
References
1. Physically-Based Shading at Disney Brent Burley, Walt Disney Animation Studios.
https://disney-animation.s3.amazonaws.com/library/s2012_pbs_disney_brdf_notes_v2.pdf
2. Microfacet Models for Refraction through Rough Surfaces
http://www.cs.cornell.edu/~srm/publications/EGSR07-btdf.pdf
3. Feeding a Physically-Based Shading Model by Sebastien Lagarde
http://seblagarde.wordpress.com/2011/08/17/feeding-a-physical-based-lighting-mode/
4. An Introduction to BRDF Models by Daniël Jimenez Kwast
http://hmi.ewi.utwente.nl/verslagen/capita-selecta/CS-Jimenez-Kwast-Daniel.pdf
Allegorithmic develops the new generation of 3D texturing software: Substance Painter, Substance
Designer and Bitmap2Material. With most AAA game studios using these tools, Substance has become the
standard for creating next-generation PBR (Physically Based Rendering) assets.
For more information on Substance, please visit our website at
www.allegorithmic.com

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