Darkplaces material system

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'''Design Notes''': To make a texture image appear for an unequal (longer) amount of time (compared to other frames), repeat that frame more than once in the sequence.
 
'''Design Notes''': To make a texture image appear for an unequal (longer) amount of time (compared to other frames), repeat that frame more than once in the sequence.
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=== blendFunc &lt;func&gt; ===
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Blend functions are the keyword commands that tell engine's renderer how material will be mixed with objects that is behind it.
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==== Simplified Blend Functions ====
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The most common blend functions are set up here as simple commands, and should be used unless you really know what you are doing.
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* '''blend''' : Traditional alpha blending (shorthand command for ''blendFunc GL_SRC_ALPHA GL_ONE_MINUS_SRC_ALPHA'').
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* '''add''' : Additive blending  (shorthand command for ''blendFunc GL_ONE GL_ONE'').
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* '''addalpha''' : Additive blending with alpha (shorthand command for ''blendFunc GL_ONE GL_ONE_MINUS_SRC_ALPHA'').
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* '''filter''' : A filter will always result in darker pixels than what is behind it, but it can also remove color selectively. Lightmaps are filters. Shorthand command that can be substituted for either ''blendFunc GL_DST_COLOR GL_ZERO'' or ''blendFunc GL_ZERO GL_SRC_COLOR'').
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==== Explicit Blend Functions ====
  
 
== Credits ==
 
== Credits ==
 
* [http://icculus.org/gtkradiant/documentation/Q3AShader_Manual/index.htm Quake 3 Shader Manual] by By Paul Jaquays and Brian Hook
 
* [http://icculus.org/gtkradiant/documentation/Q3AShader_Manual/index.htm Quake 3 Shader Manual] by By Paul Jaquays and Brian Hook
 
* [http://q3map2.everyonelookbusy.net/shader_manual/ Q3Map2 Shader manual] by Obsidian and ydnar adapted for Darkplaces engine.
 
* [http://q3map2.everyonelookbusy.net/shader_manual/ Q3Map2 Shader manual] by Obsidian and ydnar adapted for Darkplaces engine.

Revision as of 00:24, 23 July 2012

Contents

Introduction

Darkplaces material system is created to put more direct control over the surfaces qualities of textures into the hands of designers and artists.

What is a Material?

Materials are short text scripts that define the properties of a surface as it appears and functions in a game world (or compatible editing tool). By convention, the documents that contain these scripts usually has the same name as the texture set which contains the textures being modified (e.g; textures_inn, models_mapobjects_crypt, etc,). Several specific script documents have also been created to handle special cases, like liquids, environments and special effects.

For Darkplaces, material scripts are located in 'Path_To_The_Game/gamedir/scripts'.

A Darkplaces material file consists of a series of surface attribute and rendering instructions formatted within braces ("{" and "}"). Below you can see a simple example of syntax and format for a single process, including the Q3MAP keywords or "Surface Parameters", which follow the first bracket and a single bracketed "stage": 

// material definition
textures/crypt/stone
{
   // parameters
   qer_editorImage radiant/textures/crypt/stone
   q3map_textureImage radiant/textures/crypt/stone
   dpglossexponentmod 0.5
   surfaceparm stone
   // base stage
   {
       map textures/crypt/stone // engine will search fo textures/mymaterial.tga, textures/mymaterial.jpeg
   }
   // lighting stage
   {
       map $lightmap
   }
}

Material names & Conventions

The first line is the material name. Material names can be up to 63 characters long. The names are often a mirror of a pathname to a .tga file without the extension or basedir (/Blood Omnicide/kain in our case), but they do not need to be. Materials that are only going to be referenced by the game code, not modeling tools, often are just a single world, like "collision" or "dpbihclip". Materials that are used on characters or other polygon models need to mirror a .tga file, which allows the modelers to build with normal textures, then have the special effects show up when the model is loaded into the game. Materials that are placed on surfaces in the map editor commonly mirror a .tga file, but the "qer_editorimage" material parameter can force the editor to use an arbitrary image for display.

Material pathnames have a case sensitivity issue - on windows, they aren't case sensitive, but on unix they are. Try to always use lowercase for filenames, and always use forward slashes "/" for directory separators.

Material scripts Formatting

In order to get materials to be easily readable and editable it is recommended to format all material scripts like this template: 

materialname
{
    <Editor Specific Keywords>

    <Q3Map2 Specific Keywords>
    <General Keywords>
    <Engine Specific Keywords>
    {
         <Stage Keywords>
    }
}

Inspired by Quake 3 but different

Quake 3 shader scripts was an inspiration for darkplaces material system and visual look of material scripts is very very close to quake 3. So if you are familiar with Id Tech 3 shaders system, you will be right home with material script syntax. Therefore Darkplaces material system was written independently and there is some serious differences:

Aiming at realtime lightning

Any shader keywords that is not compatible with realtime lightning was removed. Other ones have sligtly changed behavior.

No render passes

Darkplaces material render pipeline can have 1 to 3 fixed usage stages:
  • No draw: 0 stages
  • Unlit texture: 1 stage
  • Lit texture: 2 stages
  • Lit texture with terrain blending: 3 stages
All other Id Tech 3 stage configuration such as skies are not supported.
Design Notes: To simulate multilayer materials, should make several copies of surface with different material atatched (for map surfaces can use Q3map2's cloneShader keyword)

Many new keywords

Darkplaces introduces many of it's own keywords that not exist in Id Tech 3.

Q3 Texture = Darkplaces skinframe

Id tech 3 only need color info for texture. Darkplaces engine using normalmap, specularity map, glow texture and other textures that store additional info. All that texture files toggether (color + normalmap + glossmap + glow etc.) forms a skinframe.

Read more at Texture article.

Different speed costs

Darkplaces's engine rendering pipeline is very different from Id Tech 3. By using pixel and vertex shaders, it introduces new speed cost parameters that was not exist in Idtech 3:
  • shader instructions - amount of vertex and pixel shader instructions generated for particular material (depends of effects used)
  • texture lookups - amount of texture lookups in pixel shader, additional textures in a skinframe, parallax mapping increase amount of texture lookups
  • use of VBO - non-animated models render faster with VBO, some shader keywords (such as tcMod turbulent, deformVertexes) disables VBO
  • use of Lighting - realtime light is slower on blended (add more draws of surface, one per light) or offset mapped surfaces (offset mapping is processed again for each light)

Material is 'Shader'

Since Darkplaces uses tools with Id Tech 3 roots, materials is often spelled as 'shaders' there. To not be confused, this terms are identical in q3 tools:
  • Shader = Material
  • Shader name = Surface shader = Material name = Surface material
  • Shader script = Material script
  • Shader keywords = Material keywords
  • etc

Material Types

The keywords that affect materials are divided into three classes. The first class of keywords are global parameters. Some global parameters ( "surfaceparms" And all "q3map_" keywords) are processed by Q3MAP2 and change physical attributes of the surface that uses the material. These attributes can affect the player. To see changes in these parameters one must re-compile the map.

Second class are keywords parsed by engine server part (surfaceparms, some other keywords). They are changes physical properties of surface and can affact gameplay.

The remaining global keywords, and all Stage Specific Keywords are processed by the renderer. They are appearance changes only and have no effect on game play or game mechanics. Changes to any of these attributes will take effect as soon as the game goes to another level or vid_restarts (type command vid_restart in the game console).

Material keywords are not case sensitive.

IMPORTANT NOTE: some of the material commands may be order dependent, so it's good practice to place all global material commands (keywords defined in this section) at the very beginning of the material and to place material stages at the end (see various examples).

Key Concepts

Ideally, a designer or artist who is manipulating textures with material files has a basic understanding of wave forms and knows about mixing colored light (high school physics sort of stuff). If not, there are some concepts you need to have a grasp on to make materials work for you.

Surface Effects vs. Content Effects vs. Deformation Effects

Materials not only modify the visible aspect of textures on a geometry brush, curve or mesh model, but they can also have an effect on both the content, "shape" and apparent movement of those things. A surface effect does nothing to modify the shape or content of the brush. Surface effects include glows, transparencies and rgb (red, green, blue) value changes. Content materials affect the way the brush operates in the game world. Examples include water, nonsolid, and detail. Deformation effects change the actual shape of the affected brush or curve, and may make it appear to move.

Power Has a Price

The material script gives the designer, artist and programmer a great deal of easily accessible power over the appearance of and potential special effects that may be applied to surfaces in the game world. But it is power that comes with a price tag attached, and the cost is measured in performance speed. Many OpenGL 2.0 effects attached with material keywords (such as water shader, refraction cubemap, offset mapping) makes renderer to do more calculations, which take more CPU/GPU time and make game slower. Water shader surface will draw a world 2 times to get reflective and refractive image, refraction cubemap will add one more texture sampler, parallax mapping will make more texture lookups (from 3 for traditional offset mapping to 14-15 for relief mapping). Blended surfaces will be drawn twice if lit by one or more realtime lights (this means their triangle count will have double effect on r_speeds).

RGB Color

RGB means "Red, Green, Blue". Mixing red, green and blue light in differing intensities creates the colors in computers and television monitors. This is called additive color (as opposed to the mixing of pigments in paint or colored ink in the printing process, which is subtractive color). In Darkplaces engine and most higher-end computer art programs (and the color selector in Windows), the intensities of the individual Red, Green and Blue components are expressed as number values. When mixed together on a screen, number values of equal intensity in each component color create a completely neutral (gray) color. The lower the number value (towards 0), the darker the shade. The higher the value, the lighter the shade or the more saturated the color until it reaches a maximum value of 255 (in the art programs). All colors possible on the computer can be expressed as a formula of three numbblack is 0 0 0. The value for ers. The value for complete complete white is 255 255 255. However, the Darkplaces graphics engine requires that the color range be "normalized" into a range between 0.0 and 1.0.

NOTE: often you can see RGBA abbreviation which stands for 'RGB + alpha', this is RGB with one more channel - transparency channel. 32-bit images is RGBA, while 24-bit is RGB.

Normalization: a scale of 0 to 1

The mathematics in Darkplaces engine use a scale of 0.0 to 1.0 instead of 0 to 255. Most computer art programs that can express RGB values as numbers use the 0 to 255 scale. To convert numbers, divide each of the art program's values for the component colors by 255. The resulting three values are your Darkplaces formula for that color component. The same holds true for texture coordinates.

Texture Sizes

Texture files are measured in pixels (picture elements). Textures are measured in powers of 2, with 16 x16 pixels being the smallest (typically) texture in use. Most will be larger. Textures need not be square, so long as both dimensions are powers of 2. Examples include: 32x256, 16x32, 128x16.

Measurements

The measurements used in the materials are in either game units, color units, or texture coordinates.

Game unit

A game unit is used by deformations to specify sizes relative to the world. In Blood Omnicide 16 units equals one foot, 48 units equals to one meter. The default texture scale used by the NetRadiant map editor results in two texels for each game unit, but that can be freely changed and perturbated with material scripts.

Color units

Colors scale the values generated by the texture units to produce lighting effects. A value of 0.0 will be completely black, and a value of 1.0 will leave the texture unchanged. Colors are sometimes specified with a single value to be used across all red, green, and blue channels, or sometimes as separate values for each channel.

Texture coordinates

This is the normalized (see above) dimensions of the original texture image. A full texture, regardless of its original size in texels, has a normalized measurement of 1.0 x 1.0. For normal repeating textures, it is possible to have value greater than 1.0 or less than 0.0, resulting in repeating of the texture. The coordinates are usually assigned by the level editor or modeling tools, but you still need to be aware of this for scrolling or turbulent movement of the texture at runtime.

Waveform Functions

Some of the material rendering functions use waveforms to modulate measurements over time. Where appropriate, additional information is provided with wave modulated keyword functions to describe the effect of a particular waveform on that process. Currently there are five waveforms in use in material scripts:

  • sin: sine wave, a regular smoothly flowing wave ranging from -1 to 1.
  • triangle: triangle is a wave with a sharp ascent and a sharp decay, ranging from 0 to 1. It will make a choppy looking wave forms.
  • square: a square wave simply switches from -1 to 1 with no in-between.
  • sawtooth: in the sawtooth wave, the ascent is like a triangle wave from 0 to 1, but the decay cuts off sharply back to 0.
  • inversesawtooth: this is the reverse of the sawtooth... instant ascent to the peak value (1), then a triangle wave descent to the valley value (0). The phase on this goes from 1.0 to 0.0 instead of 0.0 to 1.0. This wave is particularly useful for additive cross-fades.

Waveforms all have the following properties:

base

Where the wave form begins. Amplitude is measured from this base value.

amplitude

This is the height of the wave created, measured from the base. You will probably need to test and tweak this value to get it correct for each new shader stage. The greater the amplitude, the higher the wave peaks and the deeper the valleys.

phase

This is a normalized value between 0.0 and 1.0. Changing phase to a non-zero value affects the point on the wave at which the wave form initially begins to be plotted. Example: In Sin or Triangle wave, a phase of 0.25 means it begins one fourth (25%) of the way along the curve, or more simply put, it begins at the peak of the wave. A phase of 0.5 would begin at the point the wave re-crosses the base line. A phase of 0.75 would be at the lowest point of the valley. If only one wave form is being used in material, a phase shift will probably not be noticed and phase should have a value of zero (0). However, including two or more stages of the same process in a single material, but with the phases shifted can be used to create interesting visual effects. Phase changes can also be used when you have two uses of the same effect near each other, and you don't want them to be synchronized. You would write a separate material for each, changing only the phase value.

freq

Frequency. This value is expressed as repetitions or cycles of the wave per second. A value of 1 would cycle once per second. A value of 10 would cycle 10 times per second. A value of 0.1 would cycle once every 10 seconds.

General Keywords

surfaceparm

This is, by the fact, most widely used and most tricky material keyword.

All surfaceparm keywords are preceded by the word surfaceparm as follows: surfaceparm nonsolid or surfaceparm trans. Each surfaceparm have corresponding q3map_surfaceparmname keyword (q3map_nonsolid, q3map_trans etc.) which is only acquired by Q3map2. Surfaceparm keywords change the physical nature of the materials and the brushes that are marked with them. Changing any of these values will likely require the map to be re-compiled. These are global and affect the entire shader.

NOTE: This document skips all Q3map2 surfaceparms that is not used by Blood Omnicide.

General surfaceparms

surfaceparm alphashadow

This keyword applied to a side on a brush, patch or model will cause the lighting phase of the Q3Map2 process to use the texture's alpha channel as a mask for casting static shadows in the game world.
Used by Q3map2 light phase.
Design Notes: Alphashadow does not work well with fine line detail on a texture. Fine lines may not cast acceptable shadows. It appears to work best with well-defined silhouettes and wider lines within the texture. It is possible to increase the resolution of the lightmap receiving the shadows with a slight the cost of memory. This can be achieved with the q3map_lightmapSampleSize keyword on the shadow receiving shader or by creating a func_group of the shadow receiving brushes and adding the _ls key with a floating-point value for the scale of the lightmap.

surfaceparm detail

This surface attribute causes a brush to be ignored by the Q3Map2 process for generating possible break-points in the BSP tree. It functionality is same as marking brush as detail in level editor.
Used by Q3map2 BSP phase

surfaceparm lava

Assigns to the material the game properties set for lava. This affects contents of the brush.
Used by engine (BIH collision) and q3map2 (bsp phase).
Design Notes: This keyword is used on common/ilava material.

surfaceparm lightfilter

Use the texture's RGB and alpha channels to generate colored alpha shadows in the lightmap. For example, this can be used to create the colored light effect cast by stained glass windows. This can be used with surfaceparm alphashadow.
Used by Q3map2 light phase.

surfaceparm nodraw

Prevents Q3map2 from generating drawsurfaces for this material.
Used by Q3map2 BSP phase.

surfaceparm nomarks

Prevents engine from spawning decals for this surface.
Used by engine renderer.
Design Notes:Use this on any surface with a deformVertexes keyword. Otherwise, the marks will appear on the unmodified surface location of the texture with the surface wriggles and squirms through the marks.

surfaceparm nolightmap

This surface will have no lightmap generated. This will save some memory and make map compilation faster.
Used by Q3map2 light phase.
Design Notes: This keyword have no effect at vertex-based lighting (lighting calculated for vertices and being saved to their rgba attributes). Surface with no lightmap will be rendered with vertex-based lighting. To disable vertex lignting calculation, use q3map_noVertexLight keyword.

surfaceparm nonsolid

Surface does not block the movement of entities in the game world. This affects the content of a brush. This still make q3map2 generate collision surfaces.
Used by engine (BIH collision) and q3map2 (bsp phase).

surfaceparm slime

Assigns to the material the game properties set for slime. In Blood Omnicide, slime is a swamp.
Used by engine (BIH collision) and q3map2 (bsp phase).
Design Notes: This keyword is used on common/islime material.

surfaceparm trans

Tells Q3Map2 that pre-computed visibility should not be blocked by this surface.
Used by q3map2 BSP phase.
Design Notes: Any materials that have blendfunc's should be marked as surfaceparm trans (anything behind them will not get culled).

surfaceparm water

Assigns to the material the game properties set for water. This affects both the surface and the content of a brush.
Used by engine (BIH collision) and q3map2 (bsp phase).
Design Notes: This keyword is used on common/iwater material.

System surfaceparms

This is surfaceparms is only used in common materials. You dont need to specify them on your new materials.

surfaceparm hint

When Q3Map2 calculates the vis data, it tries to place portals in places in the map in an attempt to limit the potential viewable set (PVS). Brushes marked by a hint shader are used to manually place portals to force a break in the PVS.
Used by Q3map2 BSP phase. This keyword is used on common/hint material.

surfaceparm monsterclip

Surface with this flag will block NPC movement. Should be used with surfaceparm nonsolid.
Used by engine (collision). This keyword is used on common/monsterclip material. You dont need to specify it on your new materials.

surfaceparm lightgrid

The min/max bounds of brushes with this material in a map will define the bounds of the map's Lightgrid.
Used by Q3map2 light phase. This keyword is used on common/lightgrid material. You dont need to specify it on your new materials.

surfaceparm playerclip

Surface with this flag will block player movement. Should be used with surfaceparm nonsolid.
Used by engine (collision). This keyword is used on common/playerclip material.

surfaceparm origin

Rotating entities need to contain an origin brush in their construction. The brush must be rectangular (or square). The origin point is the exact center of the origin brush.
Used by q3map2 BSP phase. This keyword is used on common/origin material

surfaceparm structural

This surface attribute causes a brush to be seen by the Q3Map2 process as a possible break-point in a BSP tree. It is used as a part of common/hint material. Generally speaking, any opaque material not marked as "detail" is, by default, structural, so you shouldn't need to specify this.
Used by q3map2 BSP phase.

Custom surfaceparms

This surface parameters are defined by custinfoparms.txt and used to assign a game-related properties to material, such as hit effect and step sound.

Blood Omnicide have this game-physics materials:

  • grass
  • ice
  • dirt
  • wood
  • oldwood
  • ground
  • sand
  • dullmetal
  • brookwater
  • glass
  • fur
  • marble
  • hay
  • slate
  • flesh
  • metal
  • oldmetal
  • stone
  • oldstone
  • plan

IMPORTANT NOTE: Blood Omnicide allows only one custom surfaceparm per material.

cull none / cull disable

Every surface of a polygon has two sides, a front and a back. Typically, we only see the front side. For example, a solid block you only show the front side. In some situations we see both (grates, screens etc.).

To "cull" means to remove. This keyword allows to disable side culling, so both sides of the surfaces would be visible.

NOTE: Realtime lightning and lightmaps dont work well with twosided surfaces, caused back side to be lit same as front. To avoid that, should create two one-sided surfaces in game.

Design Notes: When making things like grates and screens with brushes, put the texture with the cull none property on one face only. On the other faces, use a non-drawing texture.

deformVertexes

This function performs a general deformation on the surface's vertexes, changing the actual shape of the surface before drawing the material. You can stack multiple deformVertexes commands to modify positions in more complex ways, making an object move in two dimensions, for instance.

deformVertexes <wave> <div> <func> <base> <amplitude> <phase> <freq>

Designed for water surfaces, modifying the values differently at each point. It accepts the standard wave functions. The "div" parameter is used to control the wave "spread" - a value equal to the tesselatino distance (see q3map_tessSize, a subdivision size, in game units, used for the material when seen in the game world).

deformVertexes normal <div> <func> <base> <amplitude ~0.1-~0.5> <frequency ~1.0-~4.0>

This deformation affects the normals of a vertex without actually moving it, which will effect later material options like lighting (especially specular) and environment mapping (see stage specific keywords for tcGen environment). If the materialdon't use normals in any of their calculations, there will be no visible effect.
IMPORTANT NOTE: In Darkplaces, offset mapping uses vertex normals for the calculations. deformVertexes normal most likely will mess it up.
Design Notes: Putting values of 0.1 t o 0.5 in Amplitude and 1.0 to 4.0 in the Frequency can produce some satisfying results.

deformVertexes bulge <bulgeWidth> <bulgeHeight> <bulgeSpeed>

This forces a bulge to move along the given S and T directions. Designed for use on curved pipes.

deformVertexes move <x> <y> <z> <func> <base> <amplitude> <phase> <freq>

This keyword is used to make a brush, curve patch or model appear to move together as a unit. The <x> <y> and <z> values are the distance and direction in game units the object appears to move relative to it's point of origin in the map.
The product of the function modifies the values x, y, and z. Therefore, if you have an amplitude of 5 and an x value of 2, the object will travel 10 units from its point of origin along the x axis. This results in a total of 20 units of motion along the x axis, since the amplitude is the variation both above and below the base.
It must be noted that an object made with this shader does not actually change position, it only appears to.
Design Notes: If an object is made up of surfaces with different shaders, all must have matching deformVertexes move values or the object will appear to tear itself apart.

DeformVertexes autosprite

This function can be used to make any given triangle quad (pair of triangles that form a square rectangle) automatically behave like a sprite without having to make it a separate entity. This means that the "sprite" on which the texture is placed will rotate to always appear at right angles to the player's view as a sprite would. Any four-sided brush side, flat patch, or pair of triangles in an .md3 model can have the autosprite effect on it. The brush face containing a texture with this shader keyword must be square.
Design Notes: This is best used on objects that would appear the same regardless of viewing angle. An example might be a glowing light flare.

DeformVertexes autosprite2

Is a slightly modified "sprite" that only rotates around the middle of its longest axis. This allows you to make a pillar of fire that you can walk around, or an energy beam stretched across the room.

Specific parameter definitions for deform keywords

div

This is roughly defined as the size of the waves that occur. It is measured in game units. Smaller values create a greater density of smaller wave forms occurring in a given area. Larger values create a lesser density of waves, or otherwise put, the appearance of larger waves. To look correct this value should closely correspond to the value (in pixels) set for tessSize (tessellation size) of the texture. A value of 100.0 is a good default value (which means your tessSize should be close to that for things to look "wavelike").

func

This is the type of wave form being created. Sin stands for sine wave, a regular smoothly flowing wave. Triangle is a wave with a sharp ascent and a sharp decay. It will make a choppy looking wave forms. A square wave is simply on or off for the period of the frequency with no in between. The sawtooth wave has the ascent of a triangle wave, but has the decay cut off sharply like a square wave. An inversesawtooth wave reverses this.

base

This is the distance, in game units that the apparent surface of the texture is displaced from the actual surface of the brush as placed in the editor. A positive value appears above the brush surface. A negative value appears below the brush surface. An example of this is the Quad effect, which essentially is a shell with a positive base value to stand it away from the model surface and a 0 (zero) value for amplitude.

amplitude

The distance that the deformation moves away from the base value. See Wave Forms in the introduction for a description of amplitude.

phase

See Wave Forms in the introduction for a description of phase.

frequency

See Wave Forms in the introduction for a description of frequency/

Design Notes: The <div> and <amplitude> parameters, when used in conjunction with liquid volumes like water should take into consideration how much the water will be moving. A large ocean area would have have massive swells (big div values) that rose and fell dramatically (big amplitude values). While a small, quiet pool may move very little.

Q3Map2 Specific Keywords

All of q3map2 specific keywords are processed during map compile. If this keywords changes, recompiling the map is required for the changes to take effect.

General use keywords

q3map_globalTexture

This keyword disables texture coordinates optimization for texture projection on brusshes (optimization tries to keep texture coordinates closer to 0-1 range), making them to be related to the world center, not brush. This is useful when applying tcMod scale to several adjastent brushes, which can be wrong if not using this parameter.

q3map_tessSize <amount>

Controls the tessellation size (how finely a surface is chopped up in to triangles), in game units, of the surface. This is only applicable to solid brushes, not curves, and is generally only used on surfaces that are flagged with the deformVertexes keyword.
IMPORTANT NOTE:Abuse of this can create a huge number of triangles.

q3map_backShader <shadername>

This allows a brush to use a different shader on the back side of surface. By way of example, this would allow a water brush (or other) surfaces to have a different appearance when seen from the inside. 'Design Notes: q3map_backShader is a better alternative to cull none because it is consistent with lighting. Drawback are that it produces more geometry data (larger loading times, more memory required), which may be abusing if surface is used many times.

Lightmap keywords 

q3map_sun <red> <green> <blue> <intensity> <degrees> <elevation>
This keyword in a sky shader will create the illusion of light cast into a map by a single, infinitely distance light source (sun, moon, hellish fire, etc.). This is only processed during the lighting phase of  q3map.
<red> <green> <blue> Color is described by three normalized rgb values. Color will be normalized to a 0.0 to 1.0 range, so it doesn't matter what range you use.
<intensity> is the brightness of the generated light. A value of 100 is a fairly bright sun. The intensity of the light falls off with angle but not distance.
<degrees> is the angle relative to the directions on the map file. A setting of 0 degrees equals east. 90 is north, 180 is west and 270 is south.
<elevation> is the distance, measured in degrees from the horizon (z value of zero in the map file). An elevation of 0 is sunrise/sunset. An elevation of 90 is noon
DESIGN NOTE: Sky shaders should probably still have a q3map_surfacelight value. The "sun" gives a strong directional light, but doesn't necessarily give the fill light needed to soften and illuminate shadows. Skies with clouds should probably have a weaker q3map_sun value and a higher q3map_surfacelight value. Heavy clouds diffuse light and weaken shadows. The opposite is true of a cloudless or nearly cloudless sky. In such cases, the "sun" or "moon" will cast stronger, shadows that have a greater degree of contrast.
Design Trick: Not certain what color formula you want to use for the sun's light? Try this. Create a light entity. Use the Q3Radiant editor's color selection tools to pick a color. The light's _color key's value will be the normalized RGB formula. Copy it from the value line in the editor (CTRL+c) and paste it into your shader.

q3map_surfaceLight <light value>
The texture gives off light equal to the <light value> set for it. The relative surface area of the texture in the world affects the actual amount of light that appears to be radiated. To give off what appears to be the same amount of light, a smaller texture must be significantly brighter than a larger texture. Unless the qer_lightimage keyword is used to select a different source for the texture's light color information, the color of the light will be the averaged color of the texture.

q3map_lightimage <texturepath/texturename>
The keyword q3map_lightimage generates lighting from the average color of the TGA image specified by the q3map_lightimage.
The keyword sequence for generating light on a q3map_surfacelight should be ordered as follows:
1) q3map_lightimage ; (the texture providing the light and the color of the light)
2) qer_editorimage ; (the editor-only image used to select the source map for the texture)
3) the average color of the light emitted from the shader is calculated from the lightimage.)

q3map_lightsubdivide <value>
This allows the user to define how large, or small to make the subdivisions (triangles) in a textured surface, particularly aimed at light-emitting textures like skies. It defaults to 120 game units, but can be made larger (256 or 512) for sky boxes or smaller for light surfaces at the bottoms of cracks. This can be a dominant factor in processing time for q3map lighting.

Editor Specific Keywords

These keywords only affect the texture when it is seen and manipulated in the Radiant editor. They should be grouped with the surface parameters but ahead of them in sequence.

qer_editorImage <textureName>

This keyword makes level editor to display different texture in 3D viewport.

The editor maps a texture using the size attributes of the TGA file used for the editor image. When that editor image represents a shader, any texture used in any of the shader stages will be scaled up or down to the dimensions of the editor image. If a 128x128 pixel image is used to represent the shader in the editor, then a 256x256 image used in a later stage will be shrunk to fit. A 64x64 image would be stretched to fit.

Later, Q3map2 will use this texture to generate texture coordinates on brushes.

Conventions: All textures supplied for qer_editorImage should be stored in radiant/ folder (like radiant/textures/town/wall1_1, radiant/models/mapobjects/crypt/statue1 etc.)

Design Notes: It is useful to always specify qer_editorImage on materials that could be used on brushes. This will separate material's real texture from the editor texture and give ability to replace game real texture with upscaled/downscaled one without re-editing a map.

qer_trans <N.N>

This keyword defines the percentage of transparency that a surface will have when seen in the editor (no effect on game rendering at all). It can have a positive value between 0 and 1. The higher the value, the less transparent the texture. Example: qer_trans 0.2 means the surface is 20% opaque and nearly invisible.

qer_alphaFunc <func> <N.N>

If material have alphaFunc, this keyword will make it to be rendered with alpha test in level editor too.

Functions are:

  • greater - greater than
  • gequal - greater or equal
  • lesser - lesser than
  • lequal - lesser or equal
  • equal - equal

Stage Specific Keywords

Texture Map Specification

map <textureName>

Specifies the source texture map (a 24 or 32-bit TGA or JPEG file) used for this stage. The texture may or may not contain alpha channel information.

The texture name can have no extension as engine will automatically add it. For texture/blah, darkplaces will search for this textures:

  • dds/texture/blah.dds
  • texture/blah.tga
  • texture/blah.png
  • texture/blah.jpeg

map $lightmap

This is the overall lightmap for the game world. It is calculated during the Q3Map2 process. It is only applicable in last lightmap stage.

clampMap <textureName>

Specifies the source texture map (see map). Clamping keeps texture from tiling (texture coordinates is clamped to 0-1). Design note: level editor doesnt show clampMap properly, moreover brushes use texture projection which is converted to real texture coordinates when map is compiled. To bypass that limitation use "Fit" instrument in surface/patch inspector as it always make 0-1-compliant texture projection.

animMap <frequency> <texture1> ... <texture64>

The surfaces in the game can be animated by displaying a sequence of 1 to 64 frames (separate texture maps). These animations are affected by other keyword effects in the same and later shader stages.

  • frequency : The number of times that the animation cycle will repeat within a one second time period. The larger the value, the more repeats within a second. Animations that should last for more than a second need to be expressed as decimal values.
  • texture1...texture64: the texture path/texture name for each animation frame must be explicitly listed. Up to 64 frames (64 separate texture files) can be used to make an animated sequence. Each frame is displayed for an equal subdivision of the frequency value.

If you want to clamp texture coordinates such as in clampMap, put animClampMap instead of animMap.

Example: 

// A 4 frame animated sequence, calling each frame in sequence over a cycle length of 4 seconds.
// Each frame would be displayed for 1 second before the next one is displayed.
// The cycle repeats after the last frame in sequence shown.
animMap 0.25 models/fx/flame1 models/fx/flame2 models/fx/flame3 models/fx/flame4

Design Notes: To make a texture image appear for an unequal (longer) amount of time (compared to other frames), repeat that frame more than once in the sequence.

blendFunc <func>

Blend functions are the keyword commands that tell engine's renderer how material will be mixed with objects that is behind it.

Simplified Blend Functions

The most common blend functions are set up here as simple commands, and should be used unless you really know what you are doing.

  • blend : Traditional alpha blending (shorthand command for blendFunc GL_SRC_ALPHA GL_ONE_MINUS_SRC_ALPHA).
  • add : Additive blending (shorthand command for blendFunc GL_ONE GL_ONE).
  • addalpha : Additive blending with alpha (shorthand command for blendFunc GL_ONE GL_ONE_MINUS_SRC_ALPHA).
  • filter : A filter will always result in darker pixels than what is behind it, but it can also remove color selectively. Lightmaps are filters. Shorthand command that can be substituted for either blendFunc GL_DST_COLOR GL_ZERO or blendFunc GL_ZERO GL_SRC_COLOR).

Explicit Blend Functions

Credits

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