Complex Fresnel texture for Cycles

Software:
Blender 2.79 | Cycles Renderer

The most realistic way to create real world metal shaders is to use Complex Fresnel reflection.
Cycles has a general implementation of a Complex Fresnel reflection in its Principled shader (when Metallic is set to 1.0), but this implementation doesn’t allow using real world physical numeric Complex IOR values in order to accurately render physical metals.

You can use a Complex IOR OSL shader such as this one from Chaos Group,
But there are some limitations with it:
1) It isn’t supported in GPU rendering.
2) For some reason I don’t know I couldn’t get it to work with Cycles..

Seeing these limitations I decided to develop a Complex Fresnel/IOR texture for Cycles that will work on GPU, and your welcome to download it here on my studio’s website:
https://cg-lion.com/2018/07/08/free-complex-fresnel-texture-for-blender/

The blend file itself contains a text with some Complex IOR preset values for metals,
And you can get more physical IOR data from refractiveindex.info

Enjoy! 🙂

BlenderNation

Related:

  1. Fresnel Reflections
  2. Metallic shading in V-Ray Next
  3. Create rich metal in UE4 
  4. Customizable Photo-realistic Car-paint shader for Cycles

 

Advertisements

Fresnel Reflections

What we refer to in CG by the term “Fresnel Effect” or “Fresnel Reflections”, is the way Specular Reflection intensity changes according to light \ surface incident angle, and it is a basic optical property surfaces.

Specular reflection intensity changes according to light incident angle, and behaves almost like a perfect mirror at grazing view angle.
The reason we call this natural reflection behavior “Fresnel Effect” or “Fresnel Reflection” is that the equations describing the how reflection intensity changes according to incident angle were invented by the French Physicist Augustin-Jean Fresnel, and in early CG days, not all systems knew how to calculate natural reflections or reflections at all for that matter. So in CG we ended up treating this as something special, when in fact it’s not special in nature, it was just special in the early days of ray-tracing.

When rendering Fresnel Reflections, the reflection intensity isn’t determined by a linear blending percent like mixing a layer.
It’s determined by a factor called “Refractive Index” or “Index Of Refraction” i.e. IOR.
The IOR value is derived from the physical material’s density, which is the key factor determining both reflection intensity and refraction amount.

Examples of some physical IOR values*:
Air (vacuum): 1.0
Water: 1.33
Glass: 1.52
Diamond: 2.417
* Physical values differ between different measurements and samples of materials so you might see differences between different data sources.

FResnel_Off

This ball is rendered without “Fresnel Reflections”.
Its Specular reflection is blended consistently at 50% over the diffuse color (reflection), not affected by the light/view incident angle.
The result looks wrong for a natural material. It may look like a dielectric material (non metal) that’s coated with a silvery coating, but it can’t look correctly like glossy plastic or glass.

FResnel_On

This ball is rendered with “Fresnel Reflections”.
The reflections look natural for a dielectric material (non metal), because they are dim at perpendicular incident angle and intense at grazing view angle, hence seen mostly at the sides of the ball accentuating its contour.

Theoretically Specular Reflection for all types of materials should be calculated using what we refer to in CG by the term “Complex Fresnel”, that is reflection equations that take into account both the Refractive Index (IOR) and Extinction Coefficient for 3 primary colors (spectrum wave lengths).
*Complex fresnel component values for different materials can be found on https://refractiveindex.info/.
In practice, for Dielectric materials (non metals), most common production rendering systems use what we refer to in CG by the term “Simple Fresnel” or “Simple IOR”, that is calculating the reflection for all 3 primary colors using a single Refractive Index value, which is the Refractive index of the Green primary color.
This method has proven itself to be very efficient for rendering non-metallic surfaces (dielectric materials).
Rendering metallic reflection using complex IOR produces the most realistic color and reflection* for metals.
*In metallic surfaces the color is the reflection color itself and not a separate Diffuse component.
Some rendering systems like Arnold 5 for example have implemented a general form* of Complex IOR into their physical surface shader, Complex IOR reflection can also be rendered via OSL shaders that can be found on the web (or written..).
*I’m using the term ‘general form’ because these implementations don’t include input for Complex IOR values but just a general metallic reflection curve, that interpolates manual color selection.
Popular useful cheats for mimicking metallic reflection without complex IOR are to set a very high (non physical) simple IOR value, like 15 to 30 which forces the Fresnel reflection to become more metal-like, or turn Fresnel reflection completely off, turning the specular reflection into a perfect mirror reflection, or create a custom reflection/angle curve/ramp that produces the effect of the metallic reflection color and intensity changing by incident angle, see example here.

In many popular production renderers, the physical surface shader uses a single IOR parameter. Some rendering systems allow using 2 different IOR parameters, one for calculating reflections and the other for calculating Refraction.
* physically correct dielectric materials should be defined with the same IOR value for both reflections and refraction. using different IOR values for reflection and refraction allows useful cheats like creating transparent a material that is modeled without any thickness or defining a transparent glass that has silver reflective coating like sunglasses sometimes have.

Notes:

  1. IOR lists on the web, that display only simple IOR values like this list, are not valid for metals, and produce wrong results.
    *Using simple IOR values for dielectric materials however is very efficient.
  2. There are parts in the CG industry where in daily slang language, the term “Fresnel” is used to refer to any shading effect that is view-angle dependent,
    Usually referring to the shading properties appearing at the “sides” or contours of the model.
  3. There are some CG systems that use the term Fresnel to refer to a simple linear or non-linear incident angle blending effect, that should actually be called “Facing ratio” or “Perpendicular-Parallel” blending (falloff).
    This is wrong because IOR based Fresnel reflection intensity produces a specific physical Reflection intensity/view angle function curve, and not just a linear or simple power function.
    See example in UE4’s Fresnel node.

Related:

  1. V-Ray Next’s new metallic material option.
  2. Creating a rich metallic shader in UE4.
  3. Complex Fresnel Texture for Cycles.

Cycles Area Light pleasant surprise

Software:
Blender 2.79

One of the features I would really like added to the Cycles Renderer is a photo-metric workflow.
That is the ability to set light sources intensity using real-world photo-metric units, load IES photo-metric data, have a physical daylight system, and set photographic camera exposure and white-balance for the output image.

While Cycles currently doesn’t have a fully functional photo-metric workflow,
It is equipped with some important basic ingredients needed for the development of such a workflow.

One Of these features is the Black-Body color conversion node that allows specifying color by Kelvin color temperature,
Another is the procedural Sky texture featuring Hosek / Wilkie and Preetham physical sky models, that can also be controlled according to global position, date and time with this addon.

Recently I’ve had a pleasant surprize finding out that Cycles actually has another important feature for a photometric workflow, and that is that Cycles Area Lights maintain a fixed general light output (‘Luminous Flux’) while area is changed and changes specular intensity correctly to so that the smaller the light source area, the greater its brightness (as it should physically be).
* This in difference to the way a mesh light with an emission shader behaves where the light output is per area and therefore increases or decreases when changing the shape and size of the surface.

This makes designing light sources with a fixed total output of light yet different shape, and therefore different specular reflection, shading, shadow softness possible,
And is in itself a valuable feature in realistic light source design.
* Especially coupled with setting the light color using Kelvin color temperature (Black-body node)
The only thing missing is the an ability to specify the total output of the light source in Lumens (lm) units.

I have encountered a mentioning of Cycles having a physical scale conversion ratio here:

http://www.3d-wolf.com/camera.html

Marco Pavanello, the developer of the Blender ‘Real Camera Addon‘ wrote:
“In Blender the Emission Node Strength is measured in W/m^2”
I haven’t had the time yet to seriously find out how that should be translated to intensity in lumens..
* It  should be noted that both the Cycles Area light and mesh light use the Emission shader as there source for intensity / color settings, but differently,
You can see in the demonstrations below that for a light source of the same surface area a significantly larger strength value is needed to produce roughly the same light output as the light mesh and this is probably due to the output being internally divided by surface area which is in fact the subject of this post.

Here are some renders to illustrate the point, and the diffrent behavior of light mesh (mesh with an Emission shader)
I’ve added a rough glare effect that depends on float color intensity to illustrate the way the specular highlight intensity increases as the area of the ligt source gets smaller while overall light output is the same:

AREA_Sizes
Cycles Area Light with different sizes but same strength
MESH_Sizes
Cycles Mesh Light using an Emission Shader with different sizes but same strength

MESH_Sizes_Compensation

Cycles Mesh Light using an Emission Shader with different sizes and strength changes to compensate