The replay thread deswizzled every block-linear texture on the CPU, and entering a new area stalled it for 50-236 ms. Now a compute pass reads the texture straight from the pool's imported buffer and writes a linear copy into a device-local scratch pool; the upload batch copies it into the image, or the ASTC decoder takes it. Large texture loads submit the batch early so the staging and scratch pools do not grow on the replay thread, and both pools are made at device creation.
On fight2 the render thread waits about 270 ms on textures per run instead of 900, and the load frame drops from 145 to about 80 ms. Mean fps is unchanged. TOTK_DESWIZZLE=cpu turns it off and check compares every upload with the CPU result (0 of 196k regions differ). Shadow mode (Linux/Wine) and textures outside the device's limits stay on the CPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merged on top of #566 and #594, by hand in vk_dlaa.c:
- One dlss_preset key: default keeps #594's model per mode (K for DLAA, Quality and Balanced, M for Performance, L
for Ultra Performance); k, j or any other letter a..m takes that model in every mode, live, recreating the features
as #534 does. The menu texts say so, with pt-BR and zh-Hans added.
- The mask pass stays on #594's camera motion (the identity and the CPU-made reprojection in dlaa_mv.comp's two
blocks) and adds #534's outputs; it runs before the per-object pass. Where the reactive mask test
(TOTK_DLSS_REACTIVE) ran, DLSS gets that mask instead of the characters'.
- #566 dropped the scaler_skipped/scaler_missed report, so #534's reset of it goes too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merged on top of #566. The camera motion is #594's: its blocks in camb also feed the per-object pass, and
dlaa_mv.comp stays as on main, fed the identity and the reprojection made on the CPU in double. #566's
vk_usnap_host goes, vk_usnap_bytes serves the same. #566's scaling-draw swap, camera rune guard and output-size
scaling pass stay in vk_dlaa.c. Translator patch 0012 becomes 0015 after dev's 0012-0014.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With a DLSS mode the game's own scaling draw covered DLSS's picture with the jittered scene. At a 1280x720 scene and
1920x1080 output the scaling is done by the game's tonemap, not by the FXAA shader vk_dlaa_skip_draw looks for, so no
hash list could catch it. From DLSS's evaluation to the frame's end, passes larger than the light target now sample
DLSS's output in its place (vk_dlaa_swap_img, applied in vk_exec_draw.c tex_info), whichever shader scales.
The motion-vector shader inverted the view-projection in 32-bit floats. With a still camera (identical matrices each
frame) the rounding still gave a few hundredths of a pixel of motion that changed with every jitter step; DLSS
followed it and the whole picture wobbled. mv_pass now makes last frame's view-projection times the inverse of this
frame's in double precision from the uniform snapshot (vk_usnap_host), and the shader only applies it.
Measured on 1.4.3 indoors, still camera, mean per-pixel change between consecutive frames on static areas:
DLSS quality 0.18 -> 0.06, DLAA 0.14 -> 0.05. A camera pan at 10 px per frame shows no ghosting.
The motion vectors follow the camera only, so a character, animal or held item that moves on its own drags a faint
copy of itself through DLSS's history. TotK's G-buffer target 0 carries an object class in green: above 64/255 for
characters, creatures and held items (Link 253, others 125, held items 160), 0 for terrain and 32 for foliage, checked
in the field, in Goron City and on horseback. The motion-vector pass now also writes DLSS's bias mask
(DLSS.Input.Bias.Current.Color.Mask) where such an object is now or was the frame before, read through the motion
vector from the previous frame's class mask, so the history that holds the moving object is weighed down there.
dlss_char_mask (0, 35, 65 or 100 percent, default 65; F1 > Screen > "DLSS character trails", live) sets the strength.
A 640x360 pass of the G-buffer's shape, seen while loading, no longer replaces the scene's class buffer in a frame.
The status line also prints after 300 frames, with the frames that had the mask.
In mirror mode the replay copied every range a shader wrote from the VRAM mirror back to guest memory at the end of the
submission. TotK's particle emitters write a new particle's whole record into a free slot of a buffer the simulation
shaders update, so the copy put the mirror's stale words over fresh spawns: the waterfall splashes and mist showed about
once a second and the falling rain drifted. Now each written range gets a snapshot in the prologue of the part that
first writes it, after the CPU-to-mirror copies, and at the end of the submission shaders/wb_merge.comp writes only the
32-bit words that differ from the snapshot. Words the GPU left alone keep what the CPU wrote. About 0.1 MiB and three or
four dispatches a frame in rain. TOTK_WB_MERGE=0 restores the copies. The merge's push descriptors go through rec_push
so they keep their place in the recorder's call order.
The game's SDR clamp turns bright saturated colours towards white: a torch flame clips red, then green, and reads
yellow-white, the colour its emitted light was tuned to. The extended HDR curve keeps the channel ratios, so the same
flame stays deep orange next to the yellow light it casts. hdr_hue (0 to 100, default 80, live) moves colours from the
picture's white upwards towards the game's own SDR result at the HDR luminance, as RenoDX's TotK mod does. It rides in
the support buffer's HDR vector (z), unused until now.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The sampler keeps both the DLSS mip bias and pull request #321's anisotropic level; DLAA's pass hook runs after the
contact shadows'; the extension arrays grow for NGX's extensions beside HDR's and the calibrated timestamps.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Keeps pull request #321's anisotropic filtering, which #89 added a second time, and #267's shadow_res beside #89's
shadow_scale. The HDR parameters move from byte 1408 of the support buffer to 1440: translator patches 0010 and 0011
read pcss at 1408 and shadow_spread at 1424.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With hdr = 1 the game's tonemap shader is replaced by one that keeps highlights up to the display's peak, the present
reads the float picture the game copies into its 8-bit window texture, and a compute pass encodes it as PQ in Rec. 2020
for an HDR10 swapchain. Peak, paper white and HUD brightness are live settings in the menu and totk.ini. The approach
follows the RenoDX TotK mod by souperman9 and Musa; no code was copied.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Issue #136. With TOTK_COLOR_* away from their defaults, present_image runs one compute pass (vk_color.c, shaders/color_grade.comp) that writes the game picture's crop, adjusted, into an RGBA16F image, and FSR 1 or the blit scale that one; at the defaults nothing runs. The Screen tab gets a Colour group: a profile (Game's own, Vivid, Clarity, Custom) that sets the four values, and the four sliders. The adjustment, its order, ranges and presets are STS78721's patch from the issue, reworked onto dev: it now applies with FSR 1 scaling as well as the blit, its menu texts come from the catalog in English and Russian, and the patch's unused accessors and build_game.py change are left out.
Co-authored-by: STS78721 <134802927+STS78721@users.noreply.github.com>
Merged with applezra's follow-ups on the same branch: the sun shadow filter narrowed by the shadow map scale
(translator patch 0011), anisotropic filtering forced only on tiling samplers, and TOTK_DUMP_UBO with a vec4 count.
Conflicts with dev: cfg.c (names, display section, defaults next to aspect and device_profile), menu.cpp (the new rows
after the aspect row), vk_texture.c (the pool alias check takes scale == 1 and dev's bind_pool_memory size argument),
build_xlate.py (patches 0005-0011 are ours; the Linux note kept), totk.ini.example (both sections). The contact pass
release went into gfx_present.c, the shared half of the old gfx_window.c.
aniso defaults to game: the picture stays as before until a player raises it in the menu.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A GPU that cannot sample ASTC gets the textures decoded to RGBA8, four times the video memory of the ASTC blocks. With astc_bc = 1 (default 0, GPU decoder only) a second compute pass, bc3_encode.comp, encodes the decoded texels to BC3 and the image is BC3_UNORM or BC3_SRGB: 8 bits per texel instead of 32. The encoder is the usual bounding-box method with the box diagonal turned to the sign of the colour covariance, and the eight-value alpha mode.
A region of a WriteTexels that does not start on a 4x4 block corner is left as it was and logged. The setting is in totk.ini and the Advanced tab. The SPIR-V header was built with glslang 16.6 (build_shaders.py uses glslc) with the same source hash.
On a GTX 1650 (4 GiB) in the Fire Temple the GPU time per frame went from 10-23 ms to 3-12 ms and the frame rate held at 59-60 fps.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
DLAA runs DLSS at the scene's own size on the R11G11B10F light target, right before the bloom chain's first pass,
so bloom, post and HUD read the anti-aliased picture. NGX is loaded from the driver's NGX core at run time; no NVIDIA
SDK code is compiled in, and nvngx_dlss.dll goes next to totk.exe. The scene's draws get a Halton(2,3) viewport
jitter that steps after each DLAA run; camera motion vectors come from the scene depth reprojected through this and
last frame's view-projection of the scene camera block (c4), read from the uniform snapshot. One DLSS feature per
scene size keeps dynamic resolution from stalling. dlaa and fxaa switch live from the settings menu; fxaa skips the
draw of the game's FXAA pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
TotK fills a full-resolution G-buffer with a B10G11R11 scene colour, an R32F linear depth and a D32F depth, lights it
in half resolution, and composites the lighting into the scene colour in one pass whose only target is that colour,
with a D16 class depth. vk_contact.c recognises both passes, and when the pass after the composite begins (or a
dispatch or copy comes first) runtime/shaders/contact_shadow.comp marches each pixel 16 steps toward the sun through
the linear depth and darkens the scene colour where nearby geometry blocks the ray: the small shadows at feet, under
stones and in grass that the shadow maps miss. Transparent surfaces, the sky and post-processing come after.
The projection, far plane and sun direction come from the fragment stage's 0x940-byte camera block (c4): c4[7].x,
c4[8].y, c4[14].y, and the first cascade's depth row c4[44].xyz, whose negation points toward the sun. Scene colour
images get STORAGE usage while the setting is on.
contact_shadows (percent strength, default 0) is in totk.ini.example and on the Screen tab of the menu (English and
Russian). TOTK_CONTACT_DEBUG=1 shows the shadow factor in grey instead of the frame. It costs about 0.45 ms per frame
at a 3840x2160 scene on an RTX 4080 SUPER.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The output and scene patch sets make the game read its output, swapchain and scene sizes from the patch page
(MacNativeGames' sites for 1.2.1 and 1.4.3); resolution.c picks them from TOTK_OUTPUT_RES and TOTK_RENDER_SCALE and
grows the HeapDef texture heap, its parent and the application pool to match. vk_fsr.c runs AMD FSR 1 EASU and RCAS
on the present when the window is larger than the game's output (TOTK_UPSCALER, TOTK_SHARPNESS).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
