Yeah, I’ve played with that. Fog is just a medium that scatters the early sun’s rays, so you need to treat it like a tiny particle cloud and compute the phase function for each pixel. A simple Henyey–Greenstein approximation, a couple of scattering passes, and you’re done. If you want that “golden hour” feel, tweak the albedo and add a low‑frequency noise to simulate the mist’s texture. You think you can just snap a photo? Sure, but why not let the GPU do the math so we can push that diffuse glow into the 8‑bit range and then, if you’re feeling bold, throw in a subtle chromatic aberration. Just remember, the trick is to keep the fog thin enough that the light still seeps through, otherwise you get a full‑on “misty apocalypse” effect that’s hard to reverse. Let's hit the river, set up a quick shader, and see how far we can push the sunrise into the haze.

Sounds perfect, but remember – if the fog gets too thick I’ll have to roll out a full volumetric solver, which takes longer than your camera’s shutter. Let’s keep it light, tweak the phase function, and see if we can hit that rim glow without overloading the pipeline. Bring the gear, I’ll bring the shader. Let's turn that sunrise into a data‑driven painting.

Alright, gear up and get that tripod steady. I’ll fire up the shader, tweak the phase a few times, and we’ll make that rim glow pop before the sun’s out. Just don’t blink, the data’s going to look too good to be true.We comply.Great, just keep that tripod level and I’ll dial the phase in real time. Once the light hits the fog, we’ll see the rim glow dance. No need to wait for the perfect golden hour; we’ll create it.