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What Is Caustic in Optics? A Clear Explanation with Render Tutorial

As we enjoy sunlight sparkling through water or glass, many wonder what is caustic. These bright, focused light patterns appear naturally when light bends or reflects off surfaces. Therefore, understanding caustic helps explain everyday phenomena such as shimmering pools and shiny objects. Beyond curiosity, caustics are essential in visual effects and computer graphics to create realistic scenes. So, this article breaks down what caustic is and how to render caustic in detail.

what is caustic in optics

 

Part 1. What is Caustic in Optics?

Caustics are bright patterns formed when light rays bend or reflect sharply. These patterns occur when curved surfaces focus multiple light rays onto smaller areas to increase brightness. Plus, everyday examples include sunlight passing through a glass of water or shiny metal objects reflecting light.

define caustic in optics

Caustics also appear on the bottom of swimming pools as rippling or concentrated light patterns. The effect depends on surface shape, material, and light angle. Also, studying caustics helps understand light behavior in digital simulations, bridging physics and visual applications in various fields.

How Does It Form?

It basically forms when many light rays bend and crowd together along curves or surfaces. This focusing creates regions with very high light intensity to produce bright patterns visible. When light reflects from curved mirrors or refracts through transparent objects like glass or water, each surface point redirects rays.

Moreover, the curved surfaces make some rays converge, forming an envelope of rays where density is highest. According to the caustic definition, this envelope determines the bright lines or curves observed. So, reflection from shiny curves makes reflective types like catacaustic.

Common Caustic Phenomena in Daily Life

1. Water Glass: Sunlight passing through a glass of water creates shimmering caustic light patterns. These patterns move gently as the water surface ripples and shifts constantly.

2. Shiny Metals: Reflective spoons or metal objects focus light into small, intense, bright regions. This reflection produces noticeable caustic light, especially under intense direct illumination.

3. Glass Bottles: Sunlight through a colored bottle forms colorful caustic light on surfaces. The curved bottle surface focuses light to produce vibrant and bright spots easily seen.

4. Eyeglasses: Light passing through curved lenses can project bright caustic light patterns nearby. Lenses bend rays differently to create concentrated lines or shapes on surfaces.

5. Water Fountains: Moving water in fountains bends sunlight, forming shifting caustic light reflections below. The constantly changing water surface produces lively and focused light areas.

 

Part 2. Why Caustics Look Brighter Than Surrounding Light?

Caustics appear much brighter than the surrounding light because rays converge in small areas. Understanding why light caustics intensify helps explain their unique appearance in everyday life:

why caustics look brighter

1. Ray Convergence: Many nearby light rays gather along a curve or small region, so the same light energy spreads over a smaller area, making caustics appear brighter.

2. Surface Curvature: Curved surfaces bend rays unevenly, directing more light toward certain small areas. These areas receive extra energy and make them brighter than their surroundings.

3. Reflection Focus: When light reflects from shiny surfaces to enhance intensity at concentrated spots. Reflective surfaces naturally produce strong, sharp light caustics easily observed by viewers.

4. Envelope Formation: The envelope of rays forms where density is highest, producing brighter regions. It appears along these envelopes due to concentrated illumination on surfaces.

5. Small Area: Focusing light onto a smaller surface increases intensity, enhancing visible brightness. The smaller the area, the stronger and clearer light caustics become naturally.

 

Part 3. Caustics in Computer Graphics and Rendering

In computer graphics, caustics recreate bright and focused light patterns for realistic scenes. The following part covers a few key points to help simulate how rays reflect or refract:

caustics in computer graphics

1. Realism Boost: Adding caustics increases scene realism by simulating natural light behavior accurately. Light caustics make reflections and refractions appear vibrant and believable to viewers.

2. Water Effects: Rendered water uses caustics to produce rippling patterns below moving surfaces. These simulations enhance depth and realism in pools, rivers, or fountains digitally.

>> Related: 6 Easy Steps to Create Water Shader in Blender

3. Glass Surfaces: Light passing through glass forms distinct caustics on nearby surfaces in renders. These concentrated patterns mimic physical behavior for a more lifelike result.

4. Photon Mapping: Renderers trace and record photon interactions to compute caustics efficiently and clearly. Photon mapping reduces noise while generating focused, accurate caustic lighting in final renders.

5. Real-Time: Modern GPUs allow near-real-time caustics in games or interactive applications. Light caustics enhance immersion by simulating dynamic reflections and refractions in real-time on screens.

 

Part 4. How Renderers Simulate Optical Caustics

Renderers simulate optical effects by tracing how light interacts with reflective or transparent surfaces. In this part, you will explore standard techniques to create realistic water caustic patterns:

1. Concentrating Light Paths

Concentrating light paths means tracing rays from the light to reflective or refractive surfaces. Rays that hit glass or mirrors are guided toward diffuse surfaces to form bright caustics. Standard path tracing often misses these difficult paths, so renderers use focused sampling to capture energy. So, this approach ensures that each light ray contributes properly to visible caustic patterns on surfaces.

caustics concentrating light paths

2. Photon Mapping

It sends photons from light sources through reflective or refractive surfaces. Each photon's impact on diffuse surfaces is stored to create a photon map. When rendering, nearby photons are gathered to estimate brightness, producing focused caustics efficiently. According to the caustics definition, this method accurately reproduces bright light patterns with minimal noise to improve realism in complex scenes.

3. Bidirectional Methods

This method traces light paths from both the camera and light sources simultaneously. Connecting these paths increases the probability of capturing complex caustic light accurately. Algorithms like Vertex Connection and Merging combine path tracing with photon mapping for sharper results. This approach ensures concentrated caustic light patterns appear clearly, even in challenging scenes.

caustics bidirectional methods

4. GPU Caustics

It uses graphics cards to accelerate photon tracing for real-time rendering efficiently. Photon samples are written into a caustics buffer as small footprints, reducing the need for costly density calculations. Adaptive methods adjust sample size and distribution over time to preserve sharp patterns. This approach creates interactive caustic effects while balancing performance and visual accuracy in games or simulations.

5. Artistic Controls

Artistic controls let artists adjust the caustics' intensity, radius, and photon counts. Renderers allow selective enabling of photon-based or hybrid caustics only where necessary. These settings help balance visual quality, noise, and rendering time efficiently. By tweaking parameters, artists can emphasize or soften caustic effects creatively while maintaining realistic light behavior.

caustics artistic controls

 

Part 5. Why Is It Difficult to Render Caustic?

Rendering caustics is challenging because light paths are complex and highly concentrated. Here are a few points that explain why it is challenging to render caustic:

1. Complex Paths: Light rays have complex paths on the reflective or refractive surfaces. To achieve realism in caustic light, it is necessary to capture all the relevant rays.

2. High Intensity: Caustic light concentrates energy into tiny areas on surfaces. This makes the patterns extremely bright and difficult to simulate without artifacts.

3. Small Details: Tiny surface features affect how rays converge, altering the caustic light pattern. Missing these details can make renders look unrealistic or flat quickly.

4. Refraction Complexity: Clear substances refract light in diverse ways with respect to thickness and contour. These refractions are essential to be simulated correctly to create realistic effects of caustic light.

5. Dynamic Scenes: Moving objects or changing lights require the recalculation of caustics for each frame. This adds further difficulty in maintaining sharp, consistent caustic light patterns.

To overcome these challenges, a render farm is here to help. Fox Renderfarm offers a powerful cloud rendering solution that handles complex lighting effects, such as caustics. With high-performance GPU and CPU nodes, it enables faster, more accurate light calculations while maintaining stability in dynamic scenes. Its scalable infrastructure enables artists to render bright, detail-rich caustic patterns without artifacts, making it ideal for achieving realistic results under tight deadlines.

render farm workbench

 

Conclusion

To conclude, caustics light up our world with bright patterns from bent rays. This guide showed what is caustic from pools to computer screens clearly. Simulating them accurately requires advanced rendering techniques and careful computation. Artists can also control intensity and sharpness to achieve desired results. For fast and efficient online rendering of complex caustics, using a reliable render farm like Fox Renderfarm is highly recommended.

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How to Create the Entrance of 'For Honor'
How to Create the Entrance of 'For Honor'
The leading cloud rendering service provider and render farm in the CG industry, Fox Renderfarm, will show you in this post a scene inside "For Honor," the Entrance, created by a student who is learning 3D modeling. The creator completed this work over a period of four weeks by solving problems and challenges with the help of his/her teacher and his/her own efforts. This article is a summary of his/her experience in the creation of this scene.Final result:Analyzing Concept Art &x26; Building Rough ModelsThis is a case of the PBR workflow, specifically utilizing 3ds Max for low-poly modeling, ZBrush for high-poly sculpting, TopoGun for retopology, Substance Painter and Photoshop for texture, and ultimately rendering with Marmoset Toolbag 4.To ensure production progress, in the early stages, the scene was initially constructed in 3ds Max based on the concept art as a large-scale reference for proportions, and then the actual production process began.Rough modelMaking Mid-poly ModelsHouse Structure: serving as the foundation of the scene framework. The house was divided into several parts for construction, including the roof, walls, floor, door frames, steps, and two side stone platforms. Through analyzing the concept art, it was determined that the stone walls and roof tiles employ a repeating texture pattern, which was subsequently applied throughout the scene.The scene props included stone lion statues, lanterns, ropes of hanging tassels, and more. Among them, the stone statues, steps, and several wooden elements were sculpted using ZBrush.The process of creating the mid-poly model involved continuously refining and adding more intricate details based on the rough model. It was important to analyze which models require sculpting and retopology during the initial stages of production, and which models could be reduced in detail to serve as the low-poly model. Conducting this analysis early on significantly improved efficiency in the production process.Mid-poly modelMaking High-poly ModelsThe high-poly modeling stage was relatively intense, involving numerous wooden doors, plaques, walls, as well as stone steps and statues. However, the task became less laborious when it came to identical wooden boards in the scene, as they could be easily adjusted and reused.Statue sculpting:Since the only element in this scene that required complete sculpting was the stone lion, I decided to challenge and improve my sculpting skills by starting from a sphere. After several days of sculpting, I began to see some progress. Then, with guidance from my teacher, I delved deeper into proportions, structure, and finer details.Props sculpting:The wooden boards, during the sculpting process, were meticulously sculpted stroke by stroke to enhance the texture and bring out the grain. Additionally, props like stone steps were also carved.Afterward, the UV unwrapping and baking process followed.Making Low-poly ModelsIn the early stages, we conducted an analysis of the assets. 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Eventually, we identified the problems as certain areas of the model lacking smooth group separation in the UVs and flipped normals. When placing the UVs, it is important to fully utilize the UV space to avoid wasting resources. Additionally, we needed to redo some of the UV work later on. It should be noted that in 3ds Max, when using automatic smoothing groups, it may not be apparent if the normals are flipped. Therefore, it is advisable to double-check after completing each section.Next was the normal map baking. We matched the high-poly and low-poly models in 3ds Max and ensured that there was some distance between all the models to avoid overlapping during the baking process. If any issues arose with the baked normals, we would repair them in Photoshop. Fortunately, there were no major problems throughout the entire baking process, so minor adjustments in Photoshop were sufficient.Low-poly modelMaking MaterialsI initially conducted material rendering for the sculpture and showed it to my teacher. However, the teacher pointed out some shortcomings. With guidance from the teacher, I gained a new understanding of material rendering. The key is to focus on volume first and then details. Volume here does not solely refer to the presence of volume under lighting conditions, but also the perception of volume even in the absence of lighting, relying only on colors. The addition of darker shades and textures further enhances the sense of volume in the model. Finally, sharpening was performed to make the details more prominent. 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Learn How to Make a Handheld Fan in 3D
Learn How to Make a Handheld Fan in 3D
Today, Fox Renderfarm, the industry's leading cloud rendering service provider and render farm, will bring you a 3D tutorial that explains how to make a handheld fan. Let's get started right now.First import the image, use the straight line tool to draw the length of the handle, then use the rotational molding tool to create the handle and add a cover.Generate a rectangle using the center point, adjust it to the appropriate size, and then generate a circular runway. At this point, use the fitting tool to get the appropriate shape.Select the circular runway that was just generated, hold down Shift to extrude the faces on both sides and add a cover, then use the shell tool to shell both sides.Copy the inner edge line of the shell, extrude the face and add the cover, pull off the inner face to keep only the outer side, and then chamfer to generate the outer layer of the shell that needs to be hollowed out.Use curves to draw the edge shape of the connecting axis, then use rotational molding to generate the surface, and then add the cover to generate the solid.Connect the rectangle diagonal, use the diagonal to generate a round tube, and adjust the angle and thickness of the tube so that the angle and thickness of the tube match the reference picture.Draw a diagonal line again and use the Line Array tool to array along this line, where the number of arrays is 18.Use the object intersection line function to select the round tube and the shell to be hollowed out, determine whether the position matches by the object intersection line, adjust the position and then cut to get the hollowed out object.Use the Rectangle tool to generate a runway circle, adjust it to the right size, then cut and combine it with the hollow object and offset it inward to get the solid. 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How to Use VFace and Make Effects in Arnold?
How to Use VFace and Make Effects in Arnold?
In this article, Fox Renderfarm, the CG industry's leading cloud rendering service provider and render farm, will share with you how to use VFace and how to restore effects in the Arnold renderer. The author is CaoJiajun.Firstly I purchased some VFace materials from the official website to get the following files.We will mainly use the above files for this sharing, they are our main materials to make high quality details of the face. VFace provides 2 types of facial models, one for the head with open eyes and one for the head with closed eyes, choose one of them according to your needs. If you are doing a model that needs to be animated with expressions in post, I would recommend choosing the model with closed eyes, as the open eyes model will cause the eyelids to stretch when you do the blink animation. You don't need to worry about this for still-frame work.Let's start with the production process. It's actually very simple, wrap your own model with a VFace model through Wrap or Zwrap, then pass the map and finally render it in Maya or other 3D software. 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At this point we need to set the custom channels DIFF\DISP\UNITY\ to import the VFace map.Firstly, the DIFF channel is set at the original size of 16k and the Depth is set at 16bit (later on there can be more color depth control and of course it can be set to 8bit). The key point is that when the color depth is set to 16bit or 32bit, the color space needs to be set to linear and 8bit to srgb.Keep the size of displacement map at 16k. I recommend setting the Depth to 32bit, as you will get more detail of displacement, and keep the color space linear, with Scalar Data ticked (as the displacement map is a color map with 3 channels of RGB, you need to keep the greyscale data).The blend map settings are the same as the color map, but Scalar Data also needs to be ticked (this map is used as a color mask for toning or as a weighting mask).Next we can use the object panel to append our own model in preparation for the transfer of the map.Right-click on any channel and select the Transfer command in the pop-up menu to bring up the menu for transferring the map.In the transfer menu select the channel which needs to be transferred in the first step, set the transfer object in the second step, click on the arrow in the third step, set the size in the fourth step and finally click on the ok button.I generally recommend passing one channel at a time as it is very slow and takes a long time to wait. For size I usually choose 4k for color, 8k for displacement and 4k for mixing channels. This step requires a lot of patience!VFace original effectThe effect after transferAfter the transfer we can export the map. The export map settings are shown in the figure. We need to pay attention to the color space setting (in the red box). The color space of the color channel is set to linear and should also be set to linear when exporting. The export of displacement and hybrid maps is a bit more unusual, as we set the color space to linear when creating the channel, but the export needs to be set to srgb, as both the displacement and hybrid maps are a combination of the 3 channels R,G,B to form a color map. Finally click the export button and it's done.VFace original color effectColor effects after exportingVFace original displacementEffect after exportIn short, your output map needs to be the same color as the map provided by VFace, either too bright or too dark is an error.3 Arnold RenderingDefault settingsAt this point we can go to Maya and render the VFace map we have created (we won't go into the lighting environment and materials here, we will focus on the link to the replacement map). First we import the passed VFace map and render it by default to see what we get. Obviously we get an ugly result, so how to set it to get it right?Here we add an aisubtract node (which you can interpret as a subtraction or exclusion node), because the default median value of VFace is 0.5 and arnold prefers a replacement map with a median value of 0. So we enter the VFace color into input1 and change the color of input2 to a luminance value of 0.5. This is equivalent to subtracting the 0.5 luminance info from the default 0.5 median luminance of VFace, and we get a displacement with a median value of 0.Median value 0.5Median value 0After setting the median we can add an aimultply node. This node can be interpreted as a multiplyDivide node, which has the same function as Maya's own multiplyDivide node and controls the overall strength of the VFace displacement. We can output the color of the aisubract node to the input1 node of aimultply and adjust the overall strength of the detail displacement of VFace by using the black, grey and white of input2 (any value multiplied by 1 equals 1, any value multiplied by 0 equals 0, all the colors we can see in the computer are actually numbers to the computer. We can change the value and thus the strength of the map by simple mathematical calculations, once we know this we can see why we use the multiplyDivide node to control the strength of the displacement).Next we add an ailayerRgba node. The R, G and B channels of the aimultipy are connected to the R channels of input1, 2 and 3 of ailayerRgba, and through the mix attribute of this node we can control the intensity of the displacement of each of the three VFace channels (R, G and B), and after a series of settings we can get a correct and controlled rendering of the VFace displacement.VFace-dispZBrush-dispVFace+ZBrush dispZBrush Export Displacement SettingsAlthough we have a correct and controlled VFace displacement result, it does not combine with the displacement we sculpted in Zbrush and we need to find a way to combine the two to get our final displacement effect.Here I used the aiAdd node to add the two displacement maps together to get our VFace displacement + ZBrush displacement effect (of course you can also use Maya's plusMinus node).It doesn't matter how many displacement map elements you have (such as the scar on the face, etc.), you can structure them through the aiAdd node to get a composite displacement effect. The advantage of making it this way is that you can adjust the strength and weakness of each displacement channel at any time, without having to import and export them in different software. It is a very standard linear process approach.Default effectAfter color correctionFinally we apply the passed color to the subsurface color, and by default we get a very dark color mapping, which is not wrong. The VFace default model will be the same color. We can correct the skin color by using the hue, saturation and lightness of the colourCorrect node. This is why I choose 16bit colors to bake with, so I can get more control over the colors and get a correct result after color correction (of course the current result is just a rough mapping, we can still do deeper work on the map to get a better result).As a powerful render farm offering arnold cloud rendering services, Fox Renderfarm hopes this article can give you some help.Source: Thepoly
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2023-07-19
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