A GPUParticles3D emitter in the dive site re-centres on the active camera
every frame and restarts after a jump, so flakes keep their own slow sink
and drift while the submarine moves through them. Soft additive billboard
discs dimmed by the water column and faded over their life replace the
sphere volume that was attached to the submarine and turned with it.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
SeabedFloraActor scatters seagrass tufts on flat sand in the lit band and
sea fans on rock between 15 and 60 m, deterministically from the site id,
one MultiMesh per tile and kind, with procedural alpha-cut meshes and
textures (SeabedFloraAssets), vertex sway and wrapped lighting, no
collision and no sonar presence. Placement reads the field arrays
directly and runs on the worker thread pool. The seabed shader grows
turf algae on sunlit rock, coralline crusts in patches and encrusting
sponges in the shade, fading out between 40 and 75 m. The water-column
optics move to a shared shader include.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
A FogVolume covering the site carries a fog shader whose scattering albedo
follows the same spectral transmittance as the seabed and whose density
grows below the reference depth, so haze darkens and turns indigo with
depth around every object; the global volumetric density moves into the
volume and the far depth fog only covers what lies beyond 128 m. Sand
ripples are bent by a slow domain warp, blended with a larger ripple
scale and faded out between 40 and 60 m, which hides the 3.2 m tiling.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
The seabed shader applies per-channel Beer-Lambert transmittance relative
to a 24 m reference depth: the scalar part dims the directional light in a
custom light() function and the sky ambient through AO, the chroma part
tints the albedo, and artificial lights are left untouched for the
submarine's projectors. Sky, fog and sun are cooled and the sun softened
so the plateau reads green-blue, the canyon floor cold blue and the
drop-off foot near-indigo.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
The environment declared the sky as its ambient source without a sky, so
shadowed faces received no ambient light. A procedural underwater sky now
feeds ambient and reflections; the directional light is steeper and
stronger with 70 % soft shadows; SSAO, filmic tonemapping, aerial
perspective and tinted volumetric fog complete the pass.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
Lighter fog and volumetric fog, brighter key and ambient light, terrain
tiles visible to 420 m (60 m fade), and a background colour equal to
the fog colour times its energy so culled tiles never read as a dark
band. The seabed shader culls back faces again now that the tiles are
wound front-face up.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
