Scene > Camera Editor > Image Processing
All camera image processing parameters are found in this tab.
Makes it possible to map the high dynamic range rendering for display onto an output device with lower dynamic range.
Selects an algorithm to adjust the appearance of a 32-bit render.
Uses the tone mapping methods, based on Erik Reinhard’s methods. The tone mapping takes place, based on the luminance values of a pixel. The pixel color information is retained.
Uses the tone mapping methods, based on Erik Reinhard’s methods. The tone mapping takes place separately for each channel of an RGB pixel. Bright pixels are desaturated, as with a digital camera sensor. When selected, the Colorspace option appears. Select from sRGB or ACES.
Uses a logarithmic mapping, based on the luminance values. This mapping corresponds approximately to the human perception. The color information remains unchanged.
Uses a logarithmic mapping that affects each channel of an RGB pixel separately. Bright pixels are desaturated. When selected, the Colorspace option appears. Select from sRGB or ACES.
Uses an s-curve mapping that reproduces the behavior of a photographic film. RGB channels are mapped separately. Two parameters control the shape of the s-curve:
Shoulder Strength - Controls the gradient in the area of bright pixels.
Toe Strength - Controls the gradient in the area of the dark pixels.
Enables the option to work with physical values like F-stop, Shutter Speed, and ISO to control the tonemapping of the image. Additionally, presets of response camera curves can be loaded and edited to adjust the appearance of the rendering. These values affect the amount of motion blur and depth of field. Also, a focal length change affects the exposure of the rendering.
Only available when the Physical Camera Tonemapper is selected.
Sets the ratio of the focal length to the aperture.
Only available when the Physical Camera Tonemapper is selected.
Defines a custom shutter speed in 1 over the input value (1/x).
Only available when the Physical Camera Tonemapper is selected.
Determines the sensitivity of the image sensor; the lower the number, the less sensitive the camera is to light.
Only available when the Physical Camera Tonemapper is selected.
Provides the following options:
Custom Response Curve - Allows the use of a custom sensor response curve for RGB or Luminance.
Response Curve Editor Size - Sets the response curve editor size to small, medium, or large.
Response Curve Mode - Sets the response curve mode to use luminance, red, green, or RGB.
Response Curve - Allows a custom response curve, from or to a file, to be loaded or saved.
ACES 1.0 - Uses sensor response behavior, as defined in the Academy Color Encoding System, so there will be a filmic color shift. For example, red glowing objects shift to yellow.
ACES 0.7 - Uses sensor response behavior, as defined in the Academy Color Encoding System, so there will be a digital look, where red glowing objects shift to white.
Shows the luminance values in the scene. Luminance is the light reflected from a surface, so this is what a human eye would see. When selected, the following options appear:
Luminance (cd/m2) Range - Sets the luminance values in the scene when looking at it from a particular angle or point of view.
Mapping Mode - Select one of the following mapping modes: Logarithmic RGB Scale, Logarithmic HSV Scale, Linear RGB Scale, or Linear HSV Scale.
Shows the illuminance arriving at a surface. When selected, the following options appear:
Lux (lm/m2) Range - Sets the speed at which the illuminance arrives at the surface.
Mapping Mode - Select one of the following mapping modes: Logarithmic RGB Scale, Logarithmic HSV Scale, Linear RGB Scale, or Linear HSV Scale.
Sets the scaling factor for the luminance of the image.
Sets the luminance value, which is mapped to the value 1 (that is, the maximum luminance of the display device).
Sets the colorspace used when rendering your images.
Uses the standard RGB color space for vibrant saturated consistently displayed colors.
Helps reproduce the color shifts that occur when filming a bright light. For example, think of a taillight where red gets shifted to yellow or a bright sky that gets slightly desaturated.
VRED provides different modes of blending. By default, this will be off.
No blending.
Renders a vignette on top of the rendering. A vignette darkens the corners of an image.
Sets the opacity of the vignette. The amount can be used to control the darkness of the vignette.
Sets the radius of the vignette.
Sets the shape of the vignette. A roundness of 0 indicates the ellipse fits the render resolution.
Defines the blurriness of the vignette.
Multiplies a texture on top of the rendering. Can be used for texture overlays.
Sets the opacity of the image.
Allows the use of blending textures at pixel level. At a final pass, the input image is multiplied with the rendering. In stereo mode, it is possible to define different images for left and right eye.
This section contains options for color correction:
Defines the white balance value that affects the image in the post-processing procedure.
Defines the hue-shift value.
Sets the overall contrast.
Sets the overall brightness.
Sets the color saturation.
Applies the camera color correction and the camera's white balance to the backplate. Otherwise it is only applied to the rendered geometry.
Applies the camera color correction and the camera's white balance to the frontplate. Otherwise it is only applied to the rendered geometry.
This section contains glow parameters:
Enables/disables glow. When enabled, Threshold, Size, and Intensity are activated.
Determines the threshold of the brightness of a pixel where the glow effect sets in.
The glow size determines the size of the glow surrounding an object.
The glow intensity determines the brightness of the glow.
This section contains parameters for glare:
Enables/disables glare.
Determines the threshold of the brightness of a pixel for where the glare effect sets in.
Determines the size of the glare.
Determines the brightness of the glare.
Sets the rotation of streaks in a specified angle.
Determines the maximum count of streaks. Higher values appear like stars.
This section contains parameters for fog. To see how to use fog, see Working with Fog.
Defines the characteristics of fog as it gets farther away. As it travels further into the scene, objects become less visible and the fog gets thicker, just like in real life. So, if you want your object to stand out against your background, this is an elegant way to achieve this.
Determines the color of the fog. Use the slider or enter the RGB value for the color of your Distance fog. The color you set is blended with the lit material color and factors in the Falloff value you've set.
Describes how the fog changes in density as you travel deeper into a scene. There are two options:
Creates fog that slowly thickens as you move deeper into the scene and away from the camera, ultimately creating less fog than Realistic.
Creates life-like fog that quickly thickens (exponentially) as you move deeper into the scene and away from the camera.
Sets how near or far the camera is from the beginning of the fog.
Determines the thickness of the fog, based on the selected Falloff option and distance. When set to a high value, objects in the scene quickly blend into the background, getting obstructed by the fog.
Creates noise in the fog density. The density of the fog appears to be different in different places, not uniform. Use it to roughly approximate clouds or similar phenomena.
Determines the size of the irregularities in the fog, made by the noise function or texture. When Noise Intensity is greater than zero, you can change their size. Use the three sliders to scale the size of the irregularities in one or all three directions (X, Y, and Z). If you want uniform scaling, tick the Uniform Scaling check box.
Determines whether noise functions/textures are all scaled uniformly or at different rates when Noise Size is set.
Changes the position of the irregularities in the fog, made by the noise function or texture, when Noise Intensity is greater than zero.
Helps you simulate effects like ground fog or fog at the top of high buildings. Like Distance fog, Height fog depends how far away things are and where they are inside the fog.
Things that are closer are move visible. As things get further away, the fog gets thicker.
When things are inside the fog, you won't notice a difference between Distance fog and Height Fog. Where you will notice a difference is where parts of objects can be outside the fog, unobscured, while others won't be and are obstructed.
Determines the color of the fog. Use the slider or enter the RGB value for the color of your Distance fog. The color you set is blended with the lit material color and factors in the Falloff value you've set.
Describes how the fog changes in density as you travel deeper into a scene. There are two options:
Creates fog that slowly thickens as you move deeper into the scene and away from the camera, ultimately creating less fog than Realistic.
Creates life-like fog that quickly thickens (exponentially) as you move deeper into the scene and away from the camera.
Determines the thickness of the fog, based on the selected Falloff option and distance. When set to a high value, objects in the scene quickly blend into the background, getting obstructed by the fog.
Min defines at what height from the ground the fog begins. Max defines at what height from the ground the fog ends. To see Height fog, the Max value must be greater than Min.
Creates noise in the fog density. The density of the fog appears to be different in different places, not uniform. Use it to roughly approximate clouds or similar phenomena.
Determines the size of the irregularities in the fog, made by the noise function or texture. When Noise Intensity is greater than zero, you can change their size. Use the three sliders to scale the size of the irregularities in one or all three directions (X, Y, and Z). If you want uniform scaling, tick the Uniform Scaling check box.
Determines whether noise functions/textures are all scaled uniformly or at different rates when Noise Size is set.
Normally, fog density is constant, resulting in unpleasant sharp transitions between foggy and non-foggy areas. Use the Blend Range slider to gradually change fog density as you get higher into the fog. At the beginning, the fog gradually builds, until it's reached maximum density, then gradually fades away. The fog disappears when Blend Range is set to 1.