| Commit message (Collapse) | Author | Age | Files | Lines |
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This is done in several steps:
1. refactor MPGLContext -> struct ra_ctx
2. move GL-specific stuff in vo_opengl into opengl/context.c
3. generalize context creation to support other APIs, and add --gpu-api
4. rename all of the --opengl- options that are no longer opengl-specific
5. move all of the stuff from opengl/* that isn't GL-specific into gpu/
(note: opengl/gl_utils.h became opengl/utils.h)
6. rename vo_opengl to vo_gpu
7. to handle window screenshots, the short-term approach was to just add
it to ra_swchain_fns. Long term (and for vulkan) this has to be moved to
ra itself (and vo_gpu altered to compensate), but this was a stop-gap
measure to prevent this commit from getting too big
8. move ra->fns->flush to ra_gl_ctx instead
9. some other minor changes that I've probably already forgotten
Note: This is one half of a major refactor, the other half of which is
provided by rossy's following commit. This commit enables support for
all linux platforms, while his version enables support for all non-linux
platforms.
Note 2: vo_opengl_cb.c also re-uses ra_gl_ctx so it benefits from the
--opengl- options like --opengl-early-flush, --opengl-finish etc. Should
be a strict superset of the old functionality.
Disclaimer: Since I have no way of compiling mpv on all platforms, some
of these ports were done blindly. Specifically, the blind ports included
context_mali_fbdev.c and context_rpi.c. Since they're both based on
egl_helpers, the port should have gone smoothly without any major
changes required. But if somebody complains about a compile error on
those platforms (assuming anybody actually uses them), you know where to
complain.
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This clearly highlights all out-of-gamut/clipped pixels. (Either too
bright or too saturated)
Has some (documented) caveats. Also make TONE_MAPPING_CLIP stop actually
clamping the value range (it's unnecessary and breaks this feature).
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Redefining texture1D / texture3D seems to be illegal, they are already
built-in macros or something. So just use tex1D and tex3D instead.
Additionally, GL_KHR_vulkan_glsl requires using explicit vertex
locations and bindings, so make some changes to facilitate this. (It
also requires explicitly setting location=0 for the color attachment
output)
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This is mostly done so we can support using textures with more
components than the scaler LUTs have entries. But while we're at it,
also change the way the weights are packed so that they're always
sequential with no gaps. This allows us to simplify
pass_sample_separated_get_weights as well.
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This prevents blowing up for high dynamic range sources, where a noise
level of 48 can suddenly mean 4800.
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This was an oversight. The ID shouldn't be hard-coded here, so add it to
sampler_prelude instead.
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I hate GLES
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Got the "sign" of the second multiplication wrong.
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Since this code was already written for HDR, and is now per-channel
(because it works better for HDR as well), we can actually reuse this to
get very high quality gamut mapping without clipping. The only required
change is to move the tone mapping from before the gamut map to after
the gamut map. Additonally, we need to also account for changes in the
signal range as a result of applying the CMS when we compute ref_peak,
which is fortunately pretty easy because we only need to consider the
case of primaries mapping to themselves.
Since `HDR` no longer really makes sense as a label, rename it to
`--tone-mapping` in general. Also fits better with
`--tone-mapping-desat` etc.
Arguably we could also rename `--hdr-compute-peak`, but that option is
basically only useful for HDR content anyway because we don't need
information about the signal range for gamut mapping.
This (finally!) gives us reasonably high quality gamut mapping even in
the absence of an ICC profile / 3DLUT.
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Huge thanks to @rusxg for finding this solution, which was previously
believed not to exist. Of course, we still don't actually need it, but I
don't want to leave this half-implemented in case somebody does in the
future.
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Also fix the RA_CAP_ bitmask nonsense.
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This actually makes sure we don't decolor due to clipping even when the
signal itself exceeds the luma by a significant factor, which was pretty
common for saturated blues (and to a lesser degree, reds) - most
noticeable in skies etc.
This prevents the turn-the-sky-cyan effect of mobius tone mapping, and
should also improve the other tone mapping modes in quality.
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The radius check was not strict enough, especially not for all
platforms. To fix this, actually check the hardware capabilities instead
of relying on a hard-coded maximum radius.
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Mesa 17.1 supports compute shader but not full specs of OpenGL 4.3.
Change the code to detect OpenGL extension "GL_ARB_compute_shader"
rather than OpenGL version 4.3.
HDR peak detection requires SSBO, and polar scaler requires 2D array
extension. Add these extensions as requirement as well.
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This performs almost 50% faster on my machine (!!), from 4650μs down to
about 3176μs for ewa_lanczossharp.
It's possible we could use a similar approach to speed up the separable
scalers, although with vastly simpler code. For separable scalers we'd
also have the additional huge benefit of only needing padding in one
direction, so we could potentially use a big 256x1 kernel or something
to essentially compute an entire row at once.
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This is done via compute shaders. As a consequence, the tone mapping
algorithms had to be rewritten to compute their known constants in GLSL
(ahead of time), instead of doing it once. Didn't affect performance.
Using shmem/SSBO atomics in this way is extremely fast on nvidia, but it
might be slow on other platforms. Needs testing.
Unfortunately, setting up the SSBO still requires OpenGL calls, which
means I can't have it in video_shaders.c, where it belongs. But I'll
defer worrying about that until the backend refactor, since then I'll be
breaking up the video/video_shaders structure anyway.
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Fix 1 incorrect use.
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These are apparently expensive on some drivers which are not smart
enough to turn x/42 into x*1.0/42. So, do it for them.
My great test framework says it's okay
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This just indicates a fixed linear coefficient to multiply into the
signal, similar to the old option --target-brightness (but the inverse
thereof). Good for testing purposes, which is why I added it. (This also
corresponds somewhat to what zimg does)
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This caused a single pixel shift to the top-left, introduced in e3e03d0f3.
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The current algorithm blew up when the color was negative, such as the
case when downscaling with dscale=mitchell or other algorithms that
introduce negative ringing. The simplest solution is to just slightly
change the calculation to force both parameters to be in-range.
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In theory the max() should clamp it away anyway but I believe division
by zero is UB so just avoid it altogether.
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This helps prevent unnaturally, weirdly colorized blown out highlights
for direct images of the sunlit sky and other way-too-bright HDR
content. I was debating whether to set the default at 1.0 or 2.0, but
went with the more conservative option that preserves more detail/color.
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This is more efficient on my machine (nvidia), but only when applied to
groups of exactly 4 texels. So we switch to the more efficient
textureGather for groups of 4. Some notes:
- textureGatherOffset seems to be faster than textureGather by a
non-negligible amount, but for some reason, textureOffset is still
slower than a straight-up texture
- textureGather* requires GLSL 400; and at least on nvidia, this
requires actually allocating a GL 4.0 context.
- the code in opengl/common.c that clamped the GLSL version to 330 is
deprecated, because the old user shader style has been removed
completely in the meantime
- To combat the growing complexity of the polar sampling code, we drop
the antiringing functionality from EWA shaders completely, since it
never really worked well for EWA to begin with. (Horrific artifacting)
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This allows filter functions to be prematurely cut off once their
contributions start becoming insignificant. This effectively prevents
wasted GPU time sampling from parts of the function that are essentially
reduced to zero by the window function, providing anywhere from a 10% to
20% speedup. (5700μs -> 4700μs for me)
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This replaces `vo-performance` by `vo-passes`, bringing with it a number
of changes and improvements:
1. mpv users can now introspect the vo_opengl passes, which is something
that has been requested multiple times.
2. performance data is now measured per-pass, which helps both
development and debugging.
3. since adding more passes is cheap, we can now report information for
more passes (e.g. the blit pass, and the osd pass). Note: we also
switch to nanosecond scale, to be able to measure these passes
better.
4. `--user-shaders` authors can now describe their own passes, helping
users both identify which user shaders are active at any given time
as well as helping shader authors identify performance issues.
5. the timing data per pass is now exported as a full list of samples,
so projects like Argon-/mpv-stats can immediately read out all of the
samples and render a graph without having to manually poll this
option constantly.
Due to gl_timer's design being complicated (directly reading performance
data would block, so we delay the actual read-back until the next _start
command), it's vital not to conflate different passes that might be
doing different things from one frame to another. To accomplish this,
the actual timers are stored as part of the gl_shader_cache's sc_entry,
which makes them unique for that exact shader.
Starting and stopping the time measurement is easy to unify with the
gl_sc architecture, because the existing API already relies on a
"generate, render, reset" flow, so we can just put timer_start and
timer_stop in sc_generate and sc_reset, respectively.
The ugliest thing about this code is that due to the need to keep pass
information relatively stable in between frames, we need to distinguish
between "new" and "redrawn" frames, which bloats the code somewhat and
also feels hacky and vo_opengl-specific. (But then again, this entire
thing is vo_opengl-specific)
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This is even better at preventing discoloration than tone mapping on the
XYZ image. Partly inspired by the HLG OOTF. Also simplifies the way we
tone map, and moves this logic to the pass_tone_map function where it
belongs.
This also fixes what could arguably be considered a bug in the HLG
implementation when using HLG for non-BT.2020 colorspaces, which is not
permitted by spec but thinkable in theory. Although in this case, I
guess it will be arbitrary whether people use the BT.2020-normalized
luma coefficients or change it to fit the colorspace, so I guess either
way could be considered "right", depending on what people end up doing.
Either way, in lieue of standard practice, we do what makes the most
sense (to me), and hopefully others will follow.
The downside is that we upload an extra vec3 uniform even if we don't
use it, but eliminating that would be ugly.
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Apparently this is virtually identical to Panasonic's V-Log, but using
the constants from S-Log1 and an extra scaling coefficient to make the
S-Log1 curve less limited. Whatever floats their NIH boat, I guess.
Source: https://pro.sony.com/bbsccms/assets/files/micro/dmpc/training/S-Log2_Technical_PaperV1_0.pdf
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Source: https://pro.sony.com/bbsccms/assets/files/mkt/cinema/solutions/slog_manual.pdf
Not 100% confident in the implementation since the values from the spec
seem to be very subtly off (~1%), but it should be close enough for
practical purposes.
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This preserves channel balance better and helps reduce discoloration due
to nonlinear tone mapping.
I wasn't sure whether to stuff this inside pass_color_manage or
pass_tone_map but decided for the former because adding the extra
mp_csp_prim would have made the signature of the latter longer than
80col, and also because the `mp_get_cms_matrix` below it basically does
the same thing anyway, so it doesn't look that out of place. Also why is
this justification longer than the actual description of the algorithm
and what it's good for?
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This introduces (yet another..) mp_colorspace members, an enum `light`
(for lack of a better name) which basically tells us whether we're
dealing with scene-referred or display-referred light, but also a bit
more metadata (in which way is the scene-referred light expected to be
mapped to the display?).
The addition of this parameter accomplishes two goals:
1. Allows us to actually support HLG more-or-less correctly[1]
2. Allows people playing back direct “camera” content (e.g. v-log or
s-log2) to treat it as scene-referred instead of display-referred
[1] Even better would be to use the display-referred OOTF instead of the
idealized OOTF, but this would require either native HLG support in
LittleCMS (unlikely) or more communication between lcms.c and
video_shaders.c than I'm remotely comfortable with
That being said, in principle we could switch our usage of the BT.1886
EOTF to the BT.709 OETF instead and treat BT.709 content as being
scene-referred under application of the 709+1886 OOTF; which moves that
particular conversion from the 3dlut to the shader code; but also allows
a) users like UliZappe to turn it off and b) supporting the full HLG
OOTF in the same framework. But I think I prefer things as they are
right now.
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st2084 and std-b67 are really weird names for PQ and HLG, which is what
everybody else (including e.g. the ITU-R) calls them. Follow their
example.
I decided against naming them bt2020-pq and bt2020-hlg because it's not
necessary in this case. The standard name is only used for the other
colorspaces etc. because those literally have no other names.
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List of changes:
1. Kill nom_peak, since it's a pointless non-field that stores nothing
of value and is _always_ derived from ref_white anyway.
2. Kill ref_white/--target-brightness, because the only case it really
existed for (PQ) actually doesn't need to be this general: According
to ITU-R BT.2100, PQ *always* assumes a reference monitor with a
white point of 100 cd/m².
3. Improve documentation and comments surrounding this stuff.
4. Clean up some of the code in general. Move stuff where it belongs.
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I call it `mobius` because apparently the form f(x) = (cx+a)/(dx+b) is
called a Möbius transform, which is the algorithm this is based on. In
the extremes it becomes `reinhard` (param=0.0 and `clip` (param=1.0),
smoothly transitioning between the two depending on the parameter.
This is a useful tone mapping algorithm since the tunable mobius
transform allows the user to decide the trade-off between color accuracy
and detail preservation on a continuous scale. The default of 0.3 is
already far more accurate than `reinhard` while also being reasonably
good at preserving highlights, without suffering from the overall
brightness drop and color distortion of `hable`.
For these reasons, make this the new default. Also expand and improve
the documentation for these tone mapping functions.
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The existing code modifies f.radius so that it is in terms of the
filter sample radius (in the source coordinate space) and has
some small errors because of this behavior.
This commit changes f.radius so that it is always in terms of
the filter function radius (in the destination coordinate space).
The sample radius can always be derived by multiplying f.radius
by filter_scale, which is the new, more descriptive name for the
previous inv_scale.
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A minor cleanup that makes the code simpler, and guarantees that we
cleanup the GL state properly at any point.
We do this by reusing the uniform caching, and assigning each sampler
uniform its own texture unit by incrementing a counter. This has various
subtle consequences for the GL driver, which hopefully don't matter. For
example, it will bind fewer textures at a time, but also rebind them
more often.
For some reason we keep TEXUNIT_VIDEO_NUM, because it limits the number
of hook passes that can be bound at the same time.
OSD rendering is an exception: we do many passes with the same shader,
and rebinding the texture each pass. For now, this is handled in an
unclean way, and we make the shader cache reserve texture unit 0 for the
OSD texture. At a later point, we should allocate that one dynamically
too, and just pass the texture unit to the OSD rendering code. Right now
I feel like vo_rpi.c (may it rot in hell) is in the way.
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These mostly happen in situations where the correct behavior is
relatively new and not found in the wild (therefore not worth
implementing) and/or extremely complicated (and thus not worth worrying
about the potential edge cases and UI changes).
Still, it's best to document these where they happen to guide the poor
souls maintaining these files in the future.
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This involves multiple changes:
1. Brightness metadata is split into nominal peak and signal peak.
For a quick and dirty explanation: nominal peak is the brightest value
that your color space can represent (i.e. the brightness of an encoded
1.0), and signal peak is the brightest value that actually occurs in
the video (i.e. the brightest thing that's displayed).
2. vo_opengl uses a new decision logic to figure out the right nom_peak
and sig_peak for all situations. It also does a better job of picking
the right target gamut/colorspace to use for the OSD. (Which still is
and still should be treated as sRGB). This change in logic also
fixes #3293 en passant.
3. Since it was growing rapidly, the logic for auto-guessing / inferring
the right colorimetry configuration (in pass_colormanage) was split from
the logic for actually performing the adaptation (now pass_color_map).
Right now, the new logic doesn't do a whole lot since HDR metadata is
still ignored (but not for long).
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User request and not that hard. Closes #3157.
Note that FFmpeg doesn't support this and there's no signalling in HEVC
etc., so the only way users can access it is by using vf_format
manually.
Mind: This encoding uses full range values, not TV range.
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This HDR function is unique in that it's still display-referred, it just
allows for values above the reference peak (super-highlights). The
official standard doesn't actually document this very well, but the
nominal peak turns out to be exactly 12.0 - so we normalize to this
value internally in mpv. (This lets us preserve the property that the
textures are encoded in the range [0,1], preventing clipping and making
the best use of an integer texture's range)
This was grouped together with SMPTE ST2084 when checking libavutil
compatibility since they were added in the same release window, in a
similar timeframe.
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Instead of doing HDR tone mapping on an ad-hoc basis inside
pass_colormanage, the reference peak of an image is now part of the
image params (alongside colorspace, gamma, etc.) and tone mapping is
done whenever peak_src != peak_dst.
To get sensible behavior when mixing HDR and SDR content and displays,
target-brightness is a generic filler for "the assumed brightness of SDR
content".
This gets rid of the weird display_scaled hack, sets the framework
for multiple HDR functions with difference reference peaks, and allows
us to (in a future commit) autodetect the right source peak from
the HDR metadata.
(Apart from metadata, the source peak can also be controlled via
vf_format. For HDR content this adjusts the overall image brightness,
for SDR content it's like simulating a different exposure)
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Developed by John Hable for use in Uncharted 2. Also used by Frictional
Games in SOMA. Originally inspired by a filmic tone mapping algorithm
created by Kodak.
From http://frictionalgames.blogspot.de/2012/09/tech-feature-hdr-lightning.html
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This is the canonical name for the algorithm. I simply didn't know it
before.
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GLES shaders disallow implicit conversion from int to float.
This has been broken for quite a while.
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This is now a configurable option, with tunable parameters.
I got inspiration for these algorithms off wikipedia. "simple" seems to
work pretty well, but not well enough to make it a reasonable default.
Some other notable candidates:
- Local functions (e.g. based on local c |