Fact-checked by Grok 2 weeks ago

Value noise

Value noise is a type of procedural noise commonly employed in computer graphics as a primitive for generating smooth, pseudo-random patterns in textures and procedural content. It operates by assigning random scalar values—typically uniformly distributed between -1 and 1—to the vertices of a regular integer lattice in one or more dimensions, then interpolating these values using smooth functions such as linear, cubic, or hermite interpolation to produce continuous output across the space.^[1] Unlike more complex gradient-based methods, value noise relies solely on the interpolated values without incorporating directional gradients, resulting in a simpler and computationally efficient algorithm that avoids artifacts like sharp discontinuities at lattice boundaries when higher-order interpolation is used.^[2] Emerging alongside early procedural generation techniques during the 1980s, value noise served as a foundational tool for simulating natural phenomena in visual effects and simulations, complementing Ken Perlin's seminal gradient noise function introduced in his 1985 SIGGRAPH paper "An Image Synthesizer," which addressed limitations in machine-like textures for films like Tron. Its deterministic nature—yielding identical output for the same input due to seeded pseudo-random number generation—makes it reproducible and suitable for real-time applications, though it can exhibit biases toward low frequencies compared to gradient noise, potentially requiring modifications like offsetting or fractal summation (e.g., fBm) for more natural results.^[3] In practice, value noise is widely applied in terrain generation, where it models elevation variations by blending grid-based random heights; in surface texturing for organic materials like marble or clouds; and in animation for subtle motion effects, often layered with octaves of scaled and amplified noise to enhance detail and realism.^[2] Implementations typically use hash functions or pseudo-random generators for lattice values, with optimizations for hardware acceleration in shaders to support GPU-based rendering. While less artifact-prone than pure white noise, value noise's simplicity can lead to grid-aligned patterns if not perturbed, prompting variants like random-access or periodic value noise for improved isotropy in modern graphics pipelines.

Overview

Definition

Value noise is a fundamental type of procedural noise used as a primitive in computer graphics for generating textures, terrains, and other visual effects. It operates by assigning random scalar values to the points of a regular lattice, such as a uniform grid in two or three dimensions, and then interpolating these values to create a continuous noise field across space.^[4]^[1] Unlike gradient-based noises, value noise relies on random scalar values at the lattice points rather than directional gradients, which results in a simpler structure that can produce smoother transitions in basic implementations by avoiding the directional biases inherent in gradient interpolation. This approach yields noise fields that exhibit gradual variations, making it suitable for applications requiring organic, non-directional randomness without the computational overhead of gradient computations.^[5]^[4] Value noise emerged during the 1980s and 1990s as part of the broader development of procedural generation techniques in computer graphics, serving as a straightforward alternative to image-based texturing amid hardware limitations of the era. It predates the widespread adoption of more complex noise functions but, unlike Perlin noise—which was invented by Ken Perlin in 1985 and attributed to him specifically—value noise lacks a single credited inventor and evolved as a general method within the field. Interpolation plays a key role in value noise by smoothing the discrete lattice values into continuous outputs suitable for rendering.^[4]^[1]

Key Properties

Value noise is characterized by its pseudo-random yet deterministic behavior, where the same input coordinates consistently produce identical output values due to its procedural algorithm based on fixed lattice points and interpolation.^[4] This reproducibility is essential for generating consistent procedural textures in computer graphics applications without requiring stochastic variation across evaluations.^[6] The function produces smooth, continuous fields through interpolation of random values at lattice points, and it supports differentiability when using smooth interpolants such as cubic or quintic polynomials, enabling analytical derivatives that avoid inaccuracies from numerical approximations. This property enhances its utility in scenarios requiring gradient information, such as normal mapping in rendering. Value noise features a band-limited frequency spectrum dominated by low-to-mid frequencies, which contributes to organic-looking patterns but can introduce grid-aligned artifacts due to its lattice structure, lacking the high-frequency sharpness found in other noises.^[4] Its spectrum is weakly controlled, making it prone to some aliasing in high-detail contexts compared to more refined procedural methods.^[4] In terms of computational efficiency, value noise is simpler and requires fewer operations per evaluation than gradient-based noises, involving primarily lattice sampling and interpolation rather than vector computations.^[6] For low-order interpolants, it offers a balance of speed suitable for real-time graphics.^[6] Outputs are typically normalized to a specific range, such as [-1, 1] or [0, 1], by scaling the underlying random inputs, ensuring predictable amplitude for layering in fractal Brownian motion or texture synthesis.^[4]

Generation Process

Lattice and Random Values

Value noise begins with the construction of a regular integer lattice, consisting of points at integer coordinates in n-dimensional space, which serve as the discrete sample points for noise evaluation. In two dimensions, for instance, the lattice points are located at integer pairs (x, y), forming a grid suitable for planar textures; in three dimensions, points are at (x, y, z), enabling volumetric applications such as terrain generation. This lattice structure provides a uniform spacing that ensures consistent sampling across the domain.^[4] At each lattice point, a pseudo-random scalar value is assigned to create the foundational randomness of the noise. These scalars are typically generated using a pseudo-random number generator (PRNG) or hash function based on the point's coordinates, with values often drawn uniformly from the interval [-1, 1] to provide a balanced range for subsequent processing. For example, implementations may employ functions like drand48() in C for uniform distribution in [0, 1], which can then be scaled and offset to [-1, 1]. The use of hashing the lattice coordinates—such as successive application of a pseudo-random permutation—ensures that the values appear random while remaining deterministic given the input.^[4]^[1] Value noise supports arbitrary dimensionality, making it versatile for various applications: one-dimensional lattices along lines for simple animations, two-dimensional grids for surface texturing, three-dimensional structures for volume rendering or simulations, and even higher dimensions when needed. Periodic boundaries can be incorporated optionally by wrapping the lattice, such as making the table indices modular, to enable seamless tiling without visible seams in repeated patterns.^[4] To ensure reproducibility across different runs, sessions, or devices, a fixed seed is used to initialize the PRNG or permutation table, guaranteeing that the same lattice coordinates always yield identical random values. This determinism is crucial for procedural content generation in graphics, where consistent results are required for rendering or simulation stability.^[4] For efficient evaluation, especially in real-time applications, a precomputed permutation table is commonly used to hash lattice coordinates and generate random values on-the-fly, keeping memory usage compact at a few kilobytes. For bounded domains, the random values can instead be precomputed and stored in small multi-dimensional arrays corresponding to the lattice; in three dimensions, for example, a 16×16×16 array of scalars allows fast lookups via integer indexing while using about 64 KB of memory. This approach avoids repeated PRNG calls during noise queries, improving performance without sacrificing the procedural nature.^[1]

Interpolation Techniques

In value noise generation, interpolation blends the discrete random values assigned to lattice points to produce a smooth, continuous noise function across space. This step transforms the grid-based randomness into a differentiable field suitable for applications like procedural texturing, where abrupt transitions would introduce visible artifacts. The process typically involves identifying the surrounding lattice points for a given query position and computing a weighted average based on the position's fractional offsets within the cell.^[5] In two dimensions, bilinear interpolation is the standard method, calculating the noise value as a weighted combination of the four nearest lattice points. For a point (x, y) within a unit cell bounded by lattice points at integer coordinates, the fractional parts u = x - \lfloor x \rfloor and v = y - \lfloor y \rfloor determine the weights. The interpolation proceeds in two stages: first along one axis (e.g., x) to blend the bottom and top edges, then along the other axis to combine those results. This yields:

n(x, y) = \text{lerp}(v, \text{lerp}(u, n_0, n_1), \text{lerp}(u, n_2, n_3))

where n_0, n_1, n_2, n_3 are the random values at the cell corners, and \text{lerp}(t, a, b) = a + t(b - a) is linear interpolation. To enhance smoothness and reduce grid-aligned artifacts, the linear weights u and v are often replaced by faded versions using a curve that eases in and out, ensuring C^0 continuity at cell boundaries.^[5]^[1] Extending to three dimensions, trilinear interpolation incorporates an additional axis, blending eight surrounding lattice points. For a point (x, y, z), the fractional offsets u, v, w are computed similarly, and the process nests three linear interpolations:

n(x, y, z) = \text{lerp}(w, \text{lerp}(v, \text{lerp}(u, n_{000}, n_{100}), \text{lerp}(u, n_{010}, n_{110})), \text{lerp}(v, \text{lerp}(u, n_{001}, n_{101}), \text{lerp}(u, n_{011}, n_{111})))

where the subscripts denote the lattice indices (e.g., n_{100} at (1,0,0)). This method maintains efficiency while producing isotropic noise in 3D space, commonly used for volumetric effects. As in 2D, fade curves are applied to u, v, w to mitigate blockiness and ensure seamless transitions across cells.^[5] Common fade functions modulate the interpolation weights to achieve varying degrees of smoothness. A simple linear fade f(t) = t is computationally cheap but results in sharp transitions and visible grid lines due to discontinuities in higher derivatives. The cubic fade, f(t) = 3t^2 - 2t^3, provides C^1 continuity (smooth first derivatives), significantly reducing seam visibility compared to linear methods. For even greater artifact suppression, the quintic fade f(t) = 6t^5 - 15t^4 + 10t^3 ensures C^2 continuity, minimizing second-order discontinuities that can cause unwanted ripples in rendered surfaces like terrain. These polynomial fades, derived from Hermite splines, weight contributions inversely to distance while preserving the noise's band-limited nature. Higher-order interpolation thus effectively eliminates blockiness inherent in basic linear blending, producing more natural-looking procedural patterns.^[5]

Mathematical Formulation

Basic Value Noise Function

The basic value noise function computes a continuous noise value at an arbitrary point in space by interpolating pseudo-random values assigned to the vertices of a regular integer lattice. In two dimensions, for a point (x, y), the process begins by determining the enclosing lattice cell: compute the integer coordinates i = \lfloor x \rfloor and j = \lfloor y \rfloor, along with the fractional offsets u = x - i and v = y - j, where $0 \leq u, v < 1. The noise value is then obtained by interpolating the random values at the four corners of this cell: A = \text{random}(i, j), B = \text{random}(i+1, j), C = \text{random}(i, j+1), and D = \text{random}(i+1, j+1).^[4]^[7] The interpolation is typically bilinear to ensure smoothness within the cell, expanding to the explicit form:

\text{noise}(x, y) = (1 - u)(1 - v) A + u (1 - v) B + (1 - u) v C + u v D.

This weighted average produces a C^0 continuous function across the plane, with the interpolation kernel providing the necessary blending based on the fractional parts.^[4]^[7] The random values at lattice points are generated using deterministic pseudo-random functions to ensure reproducibility and efficiency, avoiding full random number generators. Common approaches include permutation tables, where a precomputed array of shuffled integers indexes into a random value table (often 256 or 512 entries), or simple hash functions such as (i \cdot 1619 + j \cdot 31337) \mod 2^{31} to produce a seed for scaling to the desired range (e.g., [-1, 1]). These methods decorrelate neighboring lattice values while maintaining periodicity if needed for tiling.^[4]^[7] To map the raw interpolated output, typically in [0, 1] or [-1, 1] depending on the random source, normalization scales it to a standard range like [-1, 1] via ( \text{noise}_\text{raw} - 0.5 ) \times 2 if the raw values are in [0, 1], ensuring zero mean and unit variance for compositing in procedural textures.^[4]^[7] The formulation extends naturally to three dimensions using trilinear interpolation over eight lattice points. For a point (x, y, z), compute i = \lfloor x \rfloor, j = \lfloor y \rfloor, k = \lfloor z \rfloor, and fractional parts u = x - i, v = y - j, w = z - k. The noise is the trilinear blend of random values at the cube corners, analogous to the 2D case but with an additional weighted sum along the z-direction.^[4]^[7]

Derivatives and Extensions

Value noise functions can be analytically differentiated to compute partial derivatives, which is particularly useful for cubic interpolation schemes. In the cubic case, the interpolation function is given by u(x) = 3x^2 - 2x^3, with its derivative u'(x) = 6x(1 - x). The partial derivative with respect to x is then \frac{\partial n}{\partial x} = (k_1 + k_4 v + k_6 w + k_7 v w) \cdot u'(x), where the coefficients k_i are derived from the lattice values at the surrounding grid points (e.g., k_1 = b - a, with a, b being values at adjacent lattice points), and v, w are interpolated values along the other axes.^[5] For three-dimensional value noise, the partial derivatives \frac{\partial n}{\partial x}, \frac{\partial n}{\partial y}, and \frac{\partial n}{\partial z} follow a similar multivariate form, applying the chain rule to the trilinear or tricubic interpolation terms across each dimension. This allows for the simultaneous computation of the noise value and its gradient vector in a single evaluation, often implemented in shader code for efficiency.^[5] These analytical derivatives find practical applications in graphics rendering, such as computing surface normals directly from heightmap noise without relying on finite difference approximations, or determining raymarching step directions in volumetric rendering of terrains and clouds. Compared to finite differences, this approach can be up to 5-6 times faster, enabling real-time performance in demos like the "Elevated" 4K production.^[5] Basic extensions of value noise include domain warping, where the noise output is used to offset the input coordinates before feeding them back into the noise function, creating distorted or eroded patterns suitable for natural formations. Another extension involves value offsetting, layering multiple noise evaluations with additive or multiplicative shifts to produce more complex, non-uniform distributions.^[5] Higher-order extensions, such as quintic interpolation, further smooth the noise by using u(x) = 6x^5 - 15x^4 + 10x^3, with derivative u'(x) = 30x^2(x^2 - 2x + 1), which minimizes visible discontinuities at lattice boundaries compared to cubic methods.^[5]

Comparisons

With Gradient Noise

Gradient noise, such as Perlin noise, fundamentally differs from value noise by assigning random gradients—unit vectors—at lattice points instead of scalar values. For a given point, the contribution from each lattice is determined by the dot product of the gradient with the offset vector from the lattice point to the evaluation location, followed by interpolation of these contributions; this introduces directional variation and smoother transitions absent in value noise's direct scalar interpolation.^[4]^[8] In terms of artifacts, value noise often exhibits pronounced grid alignment and low-frequency bias, manifesting as uniform blobs and axis-aligned patterns due to the simplicity of its bilinear or trilinear interpolation, which can emphasize lattice structure. Gradient noise, by contrast, distributes energy more evenly across frequencies and directions through the gradient-based computation, reducing squareness and producing less artifact-prone, more isotropic results that better mimic natural randomness.^[9]^[4] Computationally, value noise is more efficient, involving only scalar random values and standard interpolation without the vector dot products required in gradient noise, leading to lower overhead in basic implementations. However, gradient noise provides enhanced smoothness and temporal stability, making it preferable for animations despite the modest increase in cost.^[4] Historically, Ken Perlin developed gradient noise in 1985 to address limitations in earlier procedural texturing methods, which relied on value-like random assignments and suffered from mach-band artifacts—sharp discontinuities resembling perceptual intensity bands. This innovation enabled more organic, band-limited textures invariant to rotation and translation.^[8]^[10] Regarding frequency response, value noise's simple interpolation heightens the risk of coherent low-frequency alignments along grid axes, potentially creating striped or columnar patterns, whereas gradient noise's directional contributions promote a broader, less biased spectral distribution.^[4]

With Other Procedural Noises

Value noise, which interpolates random values assigned to points on a regular lattice, differs from simplex noise primarily in its grid structure and interpolation method. Simplex noise employs an irregular simplex tessellation rather than a cubic lattice, resulting in fewer neighboring points to evaluate in higher dimensions (e.g., 3 neighbors in 2D versus 4 for lattice-based methods), which reduces computational cost and mitigates directional artifacts common in lattice-based methods like value noise.^[4] Despite these differences, both approaches achieve smooth transitions through interpolation, though simplex noise incorporates gradients at simplex vertices for more varied local behavior compared to value noise's purely scalar interpolation.^[11] In contrast to value noise's smooth, gradient-like fields, Voronoi or Worley noise generates patterns based on distances to randomly distributed feature points, creating explicit cellular structures with edges and blobs rather than uniform interpolation across a lattice. This distance-based evaluation produces distinct boundaries and varying cell sizes, making it suitable for effects like cracks or organic clustering, whereas value noise yields more homogeneous, cloud-like results without predefined cells.^[4] Computationally, Worley noise requires evaluating distances to multiple nearest points, increasing expense over value noise's simple lattice lookups and bilinear or trilinear interpolation.^[12] Wavelet noise addresses limitations in traditional lattice noises like value noise by using a multi-resolution representation derived from band-limited wavelet coefficients, which enhances isotropy and reduces aliasing artifacts during rendering. Unlike value noise's straightforward lattice sampling, wavelet noise involves preprocessing to generate tiled, aperiodic patterns with controlled frequency distributions, leading to better visual quality in fine details but at the cost of higher memory usage and setup complexity.^[13] This makes wavelet noise preferable for applications demanding high-fidelity, artifact-free textures, while value noise remains simpler for rapid prototyping.^[4] Value noise excels as a low-cost foundational method for generating broad, smooth variations in procedural content, whereas simplex noise offers efficiency gains in higher dimensions, Worley noise specializes in structured cellular effects, and wavelet noise provides superior anti-aliasing for detailed rendering. These distinctions guide selection based on performance needs and desired patterns, with value noise often serving as a quick base layer. Hybrids combining value noise with these methods—such as modulating value noise with Worley cells for patterned textures or layering it under wavelet details—enable more complex, natural-looking procedural patterns without relying on a single noise type.^[4]

Applications and Uses

In Procedural Texturing

Value noise plays a central role in procedural texturing by enabling the synthesis of 2D textures through mapping noise values to surface UV coordinates, which can then drive effects such as bump mapping, displacement mapping, cloud patterns, or marble veining. In this approach, random lattice values are interpolated across the UV space to produce continuous variations in surface properties like height or color, avoiding the need for precomputed image textures and allowing infinite scalability without memory overhead. This method is particularly effective for generating organic, non-repetitive details on surfaces, as the noise introduces controlled irregularity that mimics natural imperfections.^[4] To achieve richer, multi-scale textures, value noise is often layered using octave summation, known as fractional Brownian motion (fBM), where multiple instances of the noise are added with progressively doubled frequencies and reduced amplitudes (typically halving each time). This creates hierarchical details, such as fine grains overlaid on broader rough structures, ideal for simulating materials like rough stone or weathered surfaces in real-time rendering. For instance, starting with a base octave at unit frequency and amplitude, subsequent layers at frequencies of 2, 4, 8, and so on, with amplitudes of 0.5, 0.25, 0.125, etc., yield a 1/f spectrum that approximates natural roughness. Fractal extensions can further enhance these details, as explored in related variants.^[4]^[14] Implementation in shaders is straightforward and efficient, with value noise commonly coded in GLSL or HLSL for GPU acceleration, often as a core function in game engines like Unity and Unreal Engine. In Unity's Shader Graph, the Simple Noise node directly generates value noise from UV inputs, controllable via scale and used for material variations such as procedural albedo or normal maps. Similarly, in Unreal Engine, noise expressions support comparable procedural generation for texture blending and surface variation. These implementations leverage bilinear or higher-order interpolation for smoothness, enabling real-time computation without artifacts.^[9] For seamless tiling in repeating textures, value noise employs modulo wrapping on the lattice coordinates to ensure continuity across boundaries, combined with a periodic random number generator to assign consistent values at wrapped points, thus breaking visible repetition while maintaining seamlessness. Randomization of the lattice seed further varies instances, preventing uniformity in tiled applications like infinite ground cover. This technique is widely used in games for procedural flooring or wall textures and in films for organic surfaces, such as skin or foliage in early CGI productions.^[4]

In Terrain and Simulation

Value noise finds extensive application in terrain generation, where 2D variants serve as foundational elevation data for creating realistic landscapes. By interpreting noise values as height levels—typically mapping lower values to valleys and higher ones to peaks—developers can produce heightmaps that form the basis of 3D models. This approach leverages the smooth interpolation inherent in value noise to avoid abrupt discontinuities, resulting in natural-looking contours suitable for virtual environments. For enhanced realism, erosion simulations are often layered atop these heightmaps, simulating hydraulic or thermal processes to carve valleys and deposit sediments, thereby refining the initial noise-derived topology.^[15]^[16]^[17]^[18] In volumetric contexts, 3D value noise enables the simulation of semi-transparent phenomena such as clouds, fog, and fire within rendering pipelines like raymarching. The noise defines density variations across a 3D grid, where interpolated values modulate opacity and scattering to produce ethereal effects; for instance, higher noise amplitudes can represent denser cloud formations or turbulent fire regions. Derivatives of the noise function facilitate efficient ray stepping by estimating safe traversal distances through the volume, minimizing computational overhead in real-time applications. This makes value noise particularly valuable for dynamic atmospheric simulations in 3D modeling software and games.^[19] To introduce temporal dynamics, value noise can incorporate time as a fourth dimension, allowing for evolving terrains or fluid-like behaviors in animations. By feeding a time parameter into the noise evaluation—effectively creating 4D noise—static heightmaps transform into undulating landscapes that shift over frames, simulating erosion, seismic activity, or wind-driven changes in games and films. This extension preserves the method's efficiency while enabling seamless procedural animation without precomputing entire sequences.^[20] Integration with physics engines further extends value noise's utility, serving as a base for particle systems and vector fields like wind in procedural environments. In tools such as Houdini, noise fields derived from value noise principles perturb particle velocities or force directions, generating realistic motion for elements like debris flows or atmospheric turbulence. This approach allows artists to prototype complex simulations rapidly, where noise values scale force magnitudes to create organic, non-uniform interactions.^[21] Real-world implementations highlight value noise's role in large-scale procedural worlds, such as those in No Man's Sky, where similar noise techniques generate infinite terrains for exploration, and Minecraft-inspired generators that employ layered value noise for quick prototyping of blocky yet varied landscapes. These examples demonstrate how value noise balances computational speed with visual coherence, enabling vast, seed-based worlds without manual design.^[22]^[23]

Variants and Improvements

Fractal Integration

Fractal integration enhances value noise by layering multiple octaves to approximate fractional Brownian motion (fBM), creating self-similar patterns that range from broad features to fine details.^[4] In this approach, the total noise is computed as a weighted sum of value noise evaluations at successively higher frequencies:

\text{noise}_{\text{total}}(x, y) = \sum_{i=0}^{N} \left( \frac{1}{2^i} \right)^H \cdot \text{value\_noise}(x \cdot 2^i, y \cdot 2^i),

where N is the number of octaves, and H is the Hurst exponent controlling the roughness (e.g., H = 0.5 yields Brownian-like motion).^[2] This summation reuses the same underlying lattice grid for efficiency, simply scaling the input coordinates per octave rather than generating new random values.^[4] Octave parameters typically include a frequency multiplier of 2 (lacunarity) to double the scale each layer, an amplitude decay of 0.5 (persistence) to halve contributions progressively, and 4 to 8 octaves to balance computational cost with detail hierarchy.^[2] Persistence, tied to the Hurst exponent as $2^{-H}, tunes the overall texture: lower values (e.g., H > 0.5) produce smoother, rolling hills by emphasizing larger scales, while higher roughness (e.g., H < 0.5) generates jagged, turbulent surfaces akin to eroded mountains.^[24] Variants like ridged and billow noise adapt value noise as the base for fBM to emphasize sharp features. Ridged noise applies $1 - |\text{value\_noise}| per octave to form crests and valleys, simulating knife-edge ridges.^[24] Billow noise, conversely, uses |\text{value\_noise}| to create rounded, cloud-like undulations with prominent peaks.^[4] These modifications maintain the efficiency of value noise while altering the spectral characteristics for specialized fractal patterns.^[24]

Advanced Interpolation Methods

Higher-order polynomial interpolants enhance value noise by providing smoother transitions between lattice points, reducing visible grid artifacts compared to linear methods. Cubic interpolation, often based on the Hermite spline formula u(x) = 3x^2 - 2x^3, offers improved fade curves that minimize sharp edges at cell boundaries.^[5] Quintic interpolation further refines this with a higher-degree polynomial u(x) = 6x^5 - 15x^4 + 10x^3, enabling sharper yet more natural fades and significantly fewer discontinuity artifacts, as the increased smoothness distributes energy more evenly across frequencies.^[5] This approach, while computationally more intensive, yields higher-quality outputs in procedural generation tasks where visual seamlessness is critical.^[25] For achieving C1 continuity—ensuring not only continuous values but also smooth first derivatives (tangents) across lattice cells—Hermite and Catmull-Rom splines extend polynomial interpolation by incorporating derivative information at grid points. Hermite splines construct piecewise cubics that match both positions and tangents, preventing abrupt changes in slope that can appear as unnatural wobbles in basic value noise.^[26] Catmull-Rom splines, a variant of cubic Hermite, use finite differences to estimate tangents automatically from neighboring points, promoting local control and reducing overshoot in interpolated regions.^[27] These methods are particularly effective for applications requiring fluid motion or organic forms, as they maintain tangent smoothness without requiring explicit derivative storage.^[28] Noise shaping techniques address low-frequency biases inherent in uniform lattice sampling by pre-filtering random values or applying curved fade functions during interpolation. Pre-filtering involves convolving lattice values with a low-pass kernel before generation, which attenuates high-frequency components and promotes a more balanced spectral distribution.^[25] Curved fades, such as those from quintic polynomials, inherently shape the noise by warping linear transitions into S-curves, reducing the prominence of blocky low-frequency patterns and enhancing perceptual uniformity.^[9] These adjustments minimize the "checkerboard" effect in value noise, ensuring outputs closer to natural randomness without altering the core lattice structure.^[29] Anisotropic variants of value noise interpolation introduce directional bias to create stretched or oriented patterns, such as wood grain textures, by modulating the interpolation kernel along preferred axes. In these methods, the fade function is scaled non-uniformly based on a direction vector, effectively elongating noise features in one dimension while compressing in others.^[30] High-quality anisotropic filtering for such noises involves precomputing directionally adaptive samples, allowing interactive rendering of elongated procedural patterns with reduced aliasing.^[31] This is achieved by transforming the interpolation coordinates into an anisotropic space, where lattice queries prioritize alignment with the desired stretch direction.^[32] GPU optimizations for advanced interpolation in value noise leverage texture hardware for efficient lattice value retrieval, storing random grids as 2D or 3D textures to enable fast bilinear or trilinear sampling during shader evaluation.^[33] For higher-order methods like quintic or Hermite, analytical evaluation in fragment shaders avoids numerical approximation, achieving up to 5-6 times faster performance than finite-difference alternatives in volumetric rendering scenarios.^[5] On mobile GPUs, efficiency is maintained through approximations such as table-based lookups for polynomial coefficients or selective use of cubic over quintic interpolants, balancing quality with limited compute resources.^[6] Derivatives of these interpolants can be computed analytically on the GPU for seamless integration with gradient-based techniques (detailed in Derivatives and Extensions).^[5]

References

[1]
Value Noise and Procedural Patterns - Scratchapixel
Noise is unpredictable changes, and value noise is a simple function that blurs random values on a grid, used to create procedural textures.
[2]
[PDF] Procedural Generation of Infinite Terrain from Real-World Elevation ...
Mar 11, 2014 · Value noise interpolates and smooths between random heights at grid points. 77. Page 5. Journal of Computer Graphics Techniques. Designer Worlds ...
[3]
Value Noise and Procedural Patterns - Scratchapixel
Patterns are created by summing layers of noise, called a fractal sum, where frequency and amplitude are related, and can be used to create textures.Missing: definition | Show results with:definition
[4]
[PDF] A Survey of Procedural Noise Functions
Procedural noise functions are widely used in Computer Graphics, from off-line rendering in movie production to interactive video games.Missing: history | Show results with:history
[5]
Analytical Derivatives of Value Noise - Inigo Quilez
Here I will write some interesting facts about Value Noise (similar but not the same as Gradient Noise, of which Perlin Noise is one possible implementation).Missing: definition | Show results with:definition
[6]
[PDF] Hardware-Accelerated Gradient Noise for Graphics
1.1 Noise in Graphics. One of the simplest possible noise functions for computer graphics is value noise. Conceptually, this is produced by randomly sampling ...
[7]
[PDF] Texturing & Modeling
... Lattice Noises. 69 ... texturing (and modeling) is certainly still in the frontier of computer.
[8]
[PDF] SAN FRANCISCO JULY 22-26 Volume 19, Number 3, 1985 287
By using functions of Noise() to control the amount of DnolseO sPerturbation, we may simulate various types of surface (figure tucco. Donut), and use these in ...Missing: citation | Show results with:citation
[9]
Noise - The Book of Shaders
This technique is all about interpolating random values, which is why it's called value noise. ... At Siggraph 2001 he presented the "simplex noise" in ...
[10]
[PDF] Improving Noise - NYU Media Research Lab
Since its introduction 17 years ago [Perlin 1984; Perlin 1985; Perlin and Hoffert 1989], Noise has found wide use in graphics [Foley et al. 1996; Upstill 1990].Missing: citation | Show results with:citation
[11]
(PDF) Simplex noise demystified - ResearchGate
In 2001, Ken Perlin presented “simplex noise”, a replacement for his classic noise algorithm. Classic “Perlin noise” won him an academy award and has become an ...<|separator|>
[12]
[PDF] A Cellular Texture Basis Function
We present a new basis function which complements Perlin noise, based on a partitioning of space into a random array of cells. We have used this new basis ...
[13]
[PDF] Wavelet Noise - Pixar Graphics Technologies
PERLIN, K. 2002. Improving noise. In SIGGRAPH '02: Pro- ceedings of the 29th annual conference on Computer graphics and interactive techniques, ACM Press ...
[14]
Fractal Brownian Motion - The Book of Shaders
This technique is called “fractal Brownian Motion” (fBM), or simply “fractal noise”, and in its simplest form it can be created by the following code.
[15]
Generating Random Terrain: Value Noise - Merwan Achibet
To give our terrain a natural feel, we need to capture variations both at the macroscopic and microscopic levels. This is when value noise (not ...
[16]
(PDF) Algorithms and Approaches for Procedural Terrain Generation
PDF | This paper aims to discuss existing approaches to procedural terrain generation for games. This will include both the many functions that are used.
[17]
[PDF] Procedural Generation of Infinite Terrain from USGS Elevation Data
We describe how to use a version of Perlin noise called value noise [6], [7], [8], [9] for the procedural generation of terrain data for use in a video game or ...
[18]
[PDF] Procedurally Generating Terrain
These algorithms include the Diamond-Square Algorithm,. Midpoint Displacement, Value Noise, Perlin Noise, Simplex Noise, Cell Noise (Whorley. Noise), thermal ...<|separator|>
[19]
Metal by Tutorials, Chapter 18: Rendering with Rays - Kodeco
Noise is useful in creating random procedural content such as fog, fire or clouds. ... Value noise uses a method that creates a lattice of points which are ...
[20]
Using Noise in Pixel Shaders | LÖVE • Community Blogs
Apr 2, 2013 · Value noise is what you see in visual static; every pixel having a ... animation by using time as an extra dimension. Download Example ...Missing: evolving | Show results with:evolving
[21]
Noise Field dynamics node - SideFX
The Noise Field DOP describes a three dimensional noise field. The noise field can be used to modify forces and torques when attached to Force data.
[22]
Building Worlds with Noise Generation | Sean Murray - No Man's ...
Apr 11, 2017 · He talks about the issues with perlin noise being "unrealistic" so-to-speak as terrain, but I think what ultimately was used in NMS is ...Missing: value Minecraft
[23]
How To Create Infinite Worlds in Your Games Using Procedural ...
Sep 20, 2021 · Let me introduce you to value noise, which consists of a set of points whose values are influenced by their surrounding points. The fact ...
[24]
[PDF] 2 Procedural Fractal Terrains - Department of Computer Science
Abstract. These course notes describe the fundamentals of fractal terrain models, with an emphasis on procedural models. We describe in detail fractional ...<|control11|><|separator|>
[25]
Generating coherent noise - libnoise - SourceForge
This quintic coherent-noise function produces vastly improved textures over the linear coherent-noise function, but one flaw remains: the light and dark areas ...
[26]
Hermite Noise | briansharpe - WordPress.com
Jan 16, 2012 · Quintic Hermite Interpolation allows us to interpolate a value with respect to 3 variables. Its position, velocity and acceleration.
[27]
Cubic Hermite Interpolation - The blog at the bottom of the sea
Aug 8, 2015 · You can use a cubic Hermite spline to interpolate between any two data points. It interpolates the value between those points (as in, it passes through both ...
[28]
Improved Perlin Noise - Scratchapixel
While choosing a quintic function as an interpolant definitely reduces the visual artifacts and can be called an improvement, using predefined gradients over ...
[29]
Sharing everything I could understand about gradient noise
Jun 6, 2025 · To evaluate noise at a point p = ( x , y ) p=(x,y) p=(x,y), instead of a simple multiplication we compute the dot product of each gradient ...
[30]
[PDF] Anisotropic Noise
In this paper we present a technique, targeted at interactive applications, that provides high- quality anisotropic filtering for noise textures. We generate ...
[31]
Anisotropic noise | ACM SIGGRAPH 2008 papers
In this paper we present a technique, targeted at interactive applications, that provides high-quality anisotropic filtering for noise textures. We generate ...
[32]
Anisotropic noise node — Material Maker documentation
The Anisotropic noise node outputs a texture generated from x-axis interpolated value noise. _images/node_noise_anisotropic.png
[33]
Chapter 26. Implementing Improved Perlin Noise - NVIDIA Developer
Addison-Wesley. Perlin, Ken. 2002. "Improving Noise." ACM Transactions on Graphics (Proceedings of SIGGRAPH 2002) 21(3), pp. 681–682. Updated version ...