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Environment and post-processing

Godot 4 provides a redesigned Environment resource, as well as a new post-processing system with many available effects right out of the box.

Nota

As of Godot 4, Environment performance/quality settings are defined in the project settings instead of in the Environment resource. This makes global adjustments easier, as you no longer have to tweak Environment resources individually to suit various hardware configurations.

Note that most Environment performance/quality settings are only visible after enabling the Advanced toggle in the Project Settings.

Ambiente

The Environment resource stores all the information required for controlling the 2D and 3D rendering environment. This includes the sky, ambient lighting, tone mapping, effects, and adjustments. By itself, it does nothing, but you can enable it by using it in one of the following locations, in order of priority:

Nodo Camera3D (massima priorità)

An Environment can be set to a Camera3D node. It will have priority over any other setting.

This is mostly useful when you want to override an existing environment, but in general it's a better idea to use the option below.

WorldEnvironment node (medium priority, recommended)

The WorldEnvironment node can be added to any scene, but only one can exist per active scene tree. Adding more than one will result in a warning.

Any Environment added has higher priority than the default Environment (explained below). This means it can be overridden on a per-scene basis, which makes it quite useful.

Ambiente e sole in anteprima (minima priorità)

Nota

Since Godot 4, the preview environment and sun system replace the default_env.tres file that was used in Godot 3 projects.

If no WorldEnvironment node or DirectionalLight3D node is present in the current scene, the editor will display a preview environment and sun instead. This can be disabled using the buttons at the top of the 3D editor:

Clicking on the 3 vertical dots on the right will display a dialog which allows you to customize the appearance of the preview environment:

The preview sun and sky is only visible in the editor, not in the running project. Using the buttons at the bottom of the dialog, you can add the preview sun and sky into the scene as nodes.

Suggerimento

If you hold Shift while clicking Add Sun to Scene or Add Environment to Scene in the preview environment editor, this will add both a preview sun and environment to the current scene (as if you clicked both buttons separately). Use this to speed up project setup and prototyping.

Camera attributes

Nota

In Godot 4, exposure and depth of field information was split from the Environment resource into a separate CameraAttributes resource. This allows adjusting those properties independently of other Environment settings more easily.

The CameraAttributes resource stores exposure and depth of field information. It also allows enabling automatic exposure adjustments depending on scene brightness.

Sono disponibili due tipi di risorse CameraAttribute:

• CameraAttributesPractical: Features are exposed using arbitrary units, which are easier to reason about for most game use cases.

• CameraAttributesPhysical: Features are exposed using real world units, similar to a digital camera. For example, field of view is set using a focal length in millimeters instead of a value in degrees. Recommended when physical accuracy is important, such as for photorealistic rendering.

Both CameraAttribute resource types allow you to use the same features, but they are configured differently. If you don't know which one to choose, use CameraAttributesPractical.

Nota

Using a CameraAttributesPhysical on a Camera3D node will lock out FOV and aspect adjustments in that Camera3D, as field of view is adjusted in the CameraAttributesPhysical resource instead. If used in a WorldEnvironment, the CameraAttributesPhysical will not override any Camera3D in the scene.

A CameraAttributes resource can be added to a Camera3D or a WorldEnvironment node. When the current camera has a CameraAttributes set, it will override the one set in WorldEnvironment (if any).

In most situations, setting the CameraAttributes resource on the Camera3D node instead of the WorldEnvironment is recommended. Unlike WorldEnvironment, assigning the CameraAttributes resource to the Camera3D node prevents depth of field from displaying in the 3D editor viewport, unless the camera is being previewed.

Opzioni di ambiente

The following is a detailed description of all environment options and how they are intended to be used.

Sfondo

The Background section contains settings on how to fill the background (parts of the screen where objects were not drawn). The background not only serves the purpose of displaying an image or color. By default, it also affects how objects are affected by ambient and reflected light. This is called image-based lighting (IBL).

As a result, the background sky may greatly impact your scene's overall appearance, even if the sky is never directly visible on screen. This should be taken into account when tweaking lighting in your scene.

Sono disponibili diverse modalità di sfondo:

• Clear Color uses the default clear color defined in the project settings. The background will be a constant color.

• Custom Color is like Clear Color, but with a custom color value.

• Sky lets you define a background sky material (see below). By default, objects in the scene will reflect this sky material and absorb ambient light from it.

• Canvas displays the 2D scene as a background to the 3D scene. This can be used to make environment effects visible on 2D rendering, such as glow in 2D.

• Keep does not draw any sky, keeping what was present on previous frames instead. This improves performance in purely indoor scenes, but creates a "hall of mirrors" visual glitch if the sky is visible at any time.

• Camera Feed visualizza un CameraFeed proveniente da una fotocamera fisica come sfondo, utile per i giochi AR sui dispositivi mobili.

Materiali di cielo

When using the Sky background mode (or the ambient/reflected light mode is set to Sky), a Sky subresource becomes available to edit in the Environment resource. Editing this subresource allows you to create a SkyMaterial resource within the Sky.

There are 3 built-in sky materials to choose from:

• PanoramaSkyMaterial: Use a 360 degree panorama sky image (2:1 aspect ratio recommended). To benefit from high dynamic range, the panorama image must be in an HDR-compatible format such as .hdr or .exr rather than a standard dynamic range format like .png or .jpg.

• ProceduralSkyMaterial: Use a procedurally generated sky with adjustable ground, sun, sky and horizon colors. This is the type of sky used in the editor preview. The sun's position is automatically derived from the first 4 DirectionalLight3D nodes present in the scene. There can be up to 4 suns at a given time.

• PhysicalSkyMaterial: Use a physically-based procedural sky with adjustable scattering parameters. The sun's position is automatically derived from the first DirectionalLight3D node present in the scene. PhysicalSkyMaterial is slightly more expensive to render compared to ProceduralSkyMaterial. There can be up to 1 sun at a given time.

Le immagini panoramiche di cielo sono talvolta chiamate HDRI (High Dynamic Range Images). Puoi trovare immagini HDRI con licenza gratuita su Poly Haven.

Nota

HDR PanoramaSkyMaterial textures with very bright spots (such as real life photos with the sun visible) may result in visible sparkles on ambient and specular reflections. This is caused by the texture's peak exposure being too high.

To resolve this, select the panorama texture in the FileSystem dock, go to the Import dock, enable HDR Clamp Exposure then click Reimport.

If you need a custom sky material (e.g. for procedural clouds), you can create a custom sky shader.

Ambient light

Ambient light (as defined here) is a type of light that affects every piece of geometry with the same intensity. It is global and independent of lights that might be added to the scene. Ambient light is one of the two components of image-based lighting. Unlike reflected light, ambient light does not vary depending on the camera's position and viewing angle.

Esistono diversi tipi di luce ambientale tra cui scegliere:

• Background: Source ambient light from the background, such as the sky, custom color or clear color (default). Ambient light intensity will vary depending on the sky image's contents, which can result in more visually appealing ambient lighting. A sky must be set as background for this mode to be visible.

• Disabled: Do not use any ambient light. Useful for purely indoor scenes.

• Color: Use a constant color for ambient light, ignoring the background sky. Ambient light intensity will be the same on all sides, which may result in the scene's lighting looking more flat. Useful for indoor scenes where pitch black shadows may be too dark, or to maximize performance on low-end devices.

• Sky: Source ambient light from a specified sky, even if the background is set to a mode other than Sky. If the background mode is already Sky, this mode behaves identically to Background.

When the ambient light mode is set to Sky or Background (and background is set to Sky), it's possible to blend between the ambient color and sky using the Sky Contribution property. This value is set to 1.0 by default, which means that only the ambient sky is used. The ambient color is ignored unless Sky Contribution is decreased below 1.0.

Here is a comparison of how different ambient light affects a scene:

Infine, c'è l'impostazione Energia, che è un moltiplicatore. È utile quando si lavora con l'HDR.

In generale, dovresti affidarti esclusivamente alla luce ambientale per scene semplici o ampi esterni. Puoi fare così anche per migliorare le prestazioni. La luce ambientale è veloce da renderizzare, ma non offre la migliore qualità di illuminazione. È meglio generare la luce ambientale da ReflectionProbe, VoxelGI o SDFGI, poiché questi simulano con maggiore precisione il modo in cui la luce indiretta si propaga. Di seguito è riportato un confronto, in termini di qualità, tra l'uso di un colore ambientale piatto e di un VoxelGI:

Utilizzando uno dei metodi descritti sopra, l'illuminazione ambientale costante sarà sostituita dall'illuminazione ambientale delle sonde.

Luce riflessa

La luce riflessa (detta anche luce speculare) è l'altro dei due componenti dell'illuminazione basata sulle immagini.

È possibile impostare la luce riflessa su una tra 3 modalità:

• Background: Reflect from the background, such as the sky, custom color or clear color (default).

• Disabled: Do not reflect any light from the environment. Useful for purely indoor scenes, or to maximize performance on low-end devices.

• Sky: Reflect from the background sky, even if the background is set to a mode other than Sky. If the background mode is already Sky, this mode behaves identically to Background.

Mappa dei toni

Tonemap selects the tonemapping algorithm that will be applied to the scene, from a list of standard algorithms used in the film and game industries. Tonemapping modes other than Linear are used to make light and dark areas more homogeneous, while also avoiding clipping of bright highlights. Each algorithm has a different performance characteristic that should be considered when choosing your tonemapper.

Le opzioni di mappatura dei toni sono:

• Mode: La modalità di mappatura dei toni da utilizzare.

  • Linear: Does not modify color data, resulting in a linear tonemapping curve which unnaturally clips bright values, causing bright lighting to look blown out. The simplest and fastest tonemapper.

  • Reinhard: A simple tonemapping curve that rolls off bright values to prevent clipping. This results in an image that can appear dull and low contrast. Slower than Linear. When White is left at the default value of 1.0, Reinhard produces an identical image to Linear.

  • Filmic: Uses a film-like tonemapping curve to prevent clipping of bright values and provide better contrast than Reinhard. Slightly slower than Reinhard.

  • ACES: Uses a high-contrast film-like tonemapping curve and desaturates bright values for a more realistic appearance. Slightly slower than Filmic.

  • AgX: utilizza una curva di mappatura dei toni simile a quella di una pellicola e desatura i valori brillanti per un aspetto più realistico. Meglio di altri mappatori dei toni nel mantenere la tonalità dei colori mentre diventano più brillanti. L'opzione di mappatura dei toni più lenta.

• Exposure: Adjusts the brightness of values before they are provided to the tonemapper. Higher Exposure values result in a brighter image. Values provided to the tonemapper will also be multiplied by 2.0 and 1.8 for Filmic and ACES respectively to produce a similar apparent brightness as Linear.

• White: The white reference value for tonemapping, which indicates where bright white is located in the scale of values provided to the tonemapper. For photorealistic lighting, recommended values are between 6.0 and 8.0. Higher values result in less blown out highlights, but may make the scene appear lower contrast. White is not available when using Linear. If you're using AgX, the mobile renderer, and HDR 2D is disabled, then the value set here will be ignored, and a value of 2.0 will be used instead.

• AGX Contrast: Only available when using AgX. Increasing this makes dark values darker, and bright values brighter. It creates better results than the contrast option in the adjustment section at no additional performance cost.

Mid- and post-processing effects

The Environment resource supports many popular mid- and post-processing effects.

Nota

Screen-space effects such as SSR, SSAO, SSIL and glow do not operate on geometry that is located outside the camera view or is occluded by other opaque geometry. Consider this when tweaking their settings to avoid distracting changes during gameplay.

Screen-Space Reflections (SSR)

This feature is only available when using the Forward+ renderer, not Mobile or Compatibility.

While Godot supports several sources of reflection data such as Sonde di riflessi, they may not provide enough detail for all situations. Scenarios where screen-space reflections make the most sense are when objects are in contact with each other (object over floor, over a table, floating on water, etc).

On top of providing more detail, screen-space reflections also work in real-time (while other types of reflections are usually precomputed). This can be used to make characters, cars, etc. reflect on surrounding surfaces when moving around.

Screen-space reflections can be used at the same time as other reflection sources to benefit from detailed reflections when possible, while having a fallback when screen-space reflections cannot be used (for example, to reflect off-screen objects).

A few user-controlled parameters are available to better tweak the technique:

• Max Steps: Determines the maximum length of the reflection. The bigger this number, the more costly it is to compute.

• Fade In: Allows adjusting the fade-in curve, which is useful to make the contact area softer.

• Fade Out: Allows adjusting the fade-out curve, so the step limit fades out softly.

• Depth Tolerance: Can be used to allow screen-space rays to pass behind objects. The rays will treat each object as if it has this depth in determining if it can pass behind the object. Higher values will make screen-space reflections exhibit fewer "breakups", at the cost of some objects creating physically incorrect reflections.

Inoltre, è possibile regolare la qualità dell'SSR nelle impostazioni del progetto con Rendering > Environment > Screen Space Reflection > Half Size. Come predefinito, i riflessi nello spazio dello schermo sono renderizzati a metà risoluzione per motivi di prestazioni. Disabilitando questa impostazione, l'effetto sarà renderizzato a piena risoluzione, migliorando la qualità a scapito di un maggiore utilizzo della GPU.

Nota

Ricorda che i riflessi nello spazio dello schermo funzionano solo per la riflessione di geometrie opache. I materiali trasparenti non saranno riflessi, poiché non scrivono nel buffer di profondità. Questo vale anche per gli shader che utilizzano le uniformi hint_screen_texture o hint_depth_texture.

Screen-Space Ambient Occlusion (SSAO)

Questa funzionalità è disponibile solo se si utilizzano i renderer Forward+ e Compatibilità, non Mobile.

As mentioned in the Ambient section, areas where light from light nodes does not reach (either because it's outside the radius or shadowed) are lit with ambient light. Godot can simulate this using VoxelGI, ReflectionProbe, the Sky, or a constant ambient color. The problem, however, is that all the methods proposed previously act more on a larger scale (large regions) than at the smaller geometry level.

Constant ambient color and Sky are the same everywhere, while GI and Reflection probes have more local detail, but not enough to simulate situations where light is not able to fill inside hollow or concave features.

This can be simulated with Screen Space Ambient Occlusion. As you can see in the image below, its purpose is to make sure concave areas are darker, simulating a narrower path for the light to enter:

It is a common mistake to enable this effect, turn on a light, and not be able to appreciate it. This is because SSAO only acts on ambient light. It does not affect direct light.

This is why, in the image above, the effect is less noticeable under the direct light (on the left). If you want to force SSAO to work with direct light too, use the Light Affect parameter. Even though this is not physically correct, some artists like how it looks.

SSAO looks best when combined with a real source of indirect light, like VoxelGI:

Tweaking SSAO is possible with several parameters:

• Radius: The distance at which objects can occlude each other when calculating screen-space ambient occlusion. Higher values will result in occlusion over a greater distance at the cost of performance and quality.

• Intensity: The primary screen-space ambient occlusion intensity. Acts as a multiplier for the screen-space ambient occlusion effect. A higher value results in darker occlusion. Since SSAO is a screen-space effect, it's recommended to remain conservative with this value. SSAO that is too strong can be distracting during gameplay.

• Power: The distribution of occlusion. A higher value results in darker occlusion, similar to Intensity, but with a sharper falloff.

• Detail: Sets the strength of the additional level of detail for the screen-space ambient occlusion effect. A high value makes the detail pass more prominent, but it may contribute to aliasing in your final image.

• Horizon: The threshold for considering whether a given point on a surface is occluded or not represented as an angle from the horizon mapped into the 0.0-1.0 range. A value of 1.0 results in no occlusion.

• Sharpness: The amount that the screen-space ambient occlusion effect is allowed to blur over the edges of objects. Setting too high will result in aliasing around the edges of objects. Setting too low will make object edges appear blurry.

• Light Affect: The screen-space ambient occlusion intensity in direct light. In real life, ambient occlusion only applies to indirect light, which means its effects can't be seen in direct light. Values higher than 0 will make the SSAO effect visible in direct light. Values above 0.0 are not physically accurate, but some artists prefer this effect.

• AO Channel Affect The screen-space ambient occlusion intensity on materials that have an AO texture defined. Values higher than 0.0 will make the SSAO effect visible in areas darkened by AO textures.

Inoltre, è possibile regolare la qualità dell'SSAO nella sezione Rendering > Environment > SSAO delle impostazioni del progetto:

• Quality: imposta la qualità dell'effetto di occlusione ambientale nello spazio dello schermo. Valori più alti richiedono più campioni e risulteranno in una qualità migliore a scapito delle prestazioni. Impostandola su Ultra sarà utilizzata l'impostazione Adaptive Target (vedi sotto).

• Half Size: se true, l'occlusione ambientale nello spazio dello schermo sarà renderizzata a metà dimensione e poi ingrandita prima di essere aggiunta alla scena. Questo è significativamente più veloce, ma potrebbe non includere piccoli dettagli. Se false, l'occlusione ambientale nello spazio dello schermo sarà renderizzata a dimensione intera.

• Adaptive Target: obiettivo di qualità da usare quando Quality è impostato su Ultra. Un valore di 0.0 offre una qualità e una velocità simili a quelle di Medium, mentre un valore di 1.0 offre una qualità molto più elevata rispetto a qualsiasi altra impostazione, a scapito delle prestazioni.

• Blur Passes: il numero di passaggi di sfocatura da utilizzare quando si calcola l'occlusione ambientale nello spazio dello schermo. Un numero più alto produrrà un aspetto più fluido, ma sarà più lento da calcolare e avrà meno dettagli ad alta frequenza.

• Fadeout From: distanza alla quale l'effetto di occlusione ambientale nello spazio dello schermo inizia a svanire. Usa questa per nascondere l'occlusione ambientale da lontano.

• Fadeout To: distanza alla quale l'occlusione ambientale nello spazio sullo schermo svanisce totalmente. Usa questa per nascondere l'occlusione ambientale da lontano.

Nota

A partire da Godot 4.6, è disponibile una versione semplificata dell'SSAO nel renderer Compatibilità. Questa implementazione ha un aspetto diverso, ma dovrebbe offrire prestazioni significativamente migliori sui dispositivi di fascia bassa rispetto all'SSAO in Forward+.

Quando si utilizza il renderer Compatibilità, solo i parametri Radius e Intensity si possono regolare.

Screen-Space Indirect Lighting (SSIL)

This feature is only available when using the Forward+ renderer, not Mobile or Compatibility.

SSIL provides indirect lighting for small details or dynamic geometry that other global illumination techniques cannot cover. This applies to bounced diffuse lighting, but also emissive materials. When SSIL is enabled on its own, the effect may not be that noticeable, which is intended.

Instead, SSIL is meant to be used as a complement to other global illumination techniques such as VoxelGI, SDFGI and LightmapGI. SSIL also provides a subtle ambient occlusion effect, similar to SSAO, but with less detail.

This feature only provides indirect lighting. It is not a full global illumination solution. This makes it different from screen-space global illumination (SSGI) offered by other 3D engines. SSIL can be combined with SSR and/or SSAO for greater visual quality (at the cost of performance).

Tweaking SSIL is possible with several parameters:

• Radius: The distance that bounced lighting can travel when using the screen space indirect lighting effect. A larger value will result in light bouncing further in a scene, but may result in under-sampling artifacts which look like long spikes surrounding light sources.

• Intensity: The brightness multiplier for the screen-space indirect lighting effect. A higher value will result in brighter light.

• Sharpness: The amount that the screen-space indirect lighting effect is allowed to blur over the edges of objects. Setting too high will result in aliasing around the edges of objects. Setting too low will make object edges appear blurry.

• Normal Rejection: Amount of normal rejection used when calculating screen-space indirect lighting. Normal rejection uses the normal of a given sample point to reject samples that are facing away from the current pixel. Normal rejection is necessary to avoid light leaking when only one side of an object is illuminated. However, normal rejection can be disabled if light leaking is desirable, such as when the scene mostly contains emissive objects that emit light from faces that cannot be seen from the camera.

Inoltre, è possibile regolare la qualità dell'SSIL nelle impostazioni del progetto, nella sezione Rendering > Environment > SSIL:

• Quality: imposta la qualità dell'effetto di occlusione ambientale nello spazio dello schermo. Valori più alti richiedono più campioni e risulteranno in una qualità migliore a scapito delle prestazioni. Impostandola su Ultra sarà utilizzata l'impostazione Adaptive Target (vedi sotto).

• Half Size: se true, l'occlusione ambientale nello spazio dello schermo sarà renderizzata a metà dimensione e poi ingrandita prima di essere aggiunta alla scena. Questo è significativamente più veloce, ma potrebbe non includere piccoli dettagli. Se false, l'occlusione ambientale nello spazio dello schermo sarà renderizzata a dimensione intera.

• Adaptive Target: obiettivo di qualità da usare quando Quality è impostato su Ultra. Un valore di 0.0 offre una qualità e una velocità simili a quelle di Medium, mentre un valore di 1.0 offre una qualità molto più elevata rispetto a qualsiasi altra impostazione, a scapito delle prestazioni. Quando si usa l'obiettivo adattivo, l'impatto sulle prestazioni aumenta con la complessità della scena.

• Blur Passes: Il numero di passaggi di sfocatura da utilizzare quando si calcola l'illuminazione indiretta nello spazio sullo schermo. Un numero più alto produrrà un aspetto più fluido, ma sarà più lento da calcolare e avrà meno dettagli ad alta frequenza.

• Fadeout From: distanza alla quale l'effetto di illuminazione indiretta nello spazio dello schermo inizia a svanire. Usa questa per nascondere l'illuminazione indiretta nello spazio dello schermo da lontano.

• Fadeout To: distanza alla quale l'effetto di illuminazione indiretta nello spazio dello schermo svanisce totalmente. Usa questa per nascondere l'illuminazione indiretta nello spazio dello schermo da lontano.

Signed Distance Field Global Illumination (SDFGI)

This feature is only available when using the Forward+ renderer, not Mobile or Compatibility.

Signed distance field global illumination (SDFGI) is a form of real-time global illumination. It is not a screen-space effect, which means it can provide global illumination for off-screen elements (unlike SSIL).

Vedi anche

See Signed distance field global illumination (SDFGI) for instructions on setting up this global illumination technique.

Bagliore

Nota

When using the Compatibility rendering method, glow uses a different implementation with some properties being unavailable and hidden from the inspector: Levels, Normalized, Strength, Blend Mode, Mix, Map, and Map Strength.

This implementation is optimized to run on low-end devices and is less flexible as a result.

In photography and film, when light amount exceeds the maximum luminance (brightness) supported by the media, it generally bleeds outwards to darker regions of the image. This is simulated in Godot with the Glow effect.

By default, even if the effect is enabled, it will be weak or invisible. One of two conditions need to happen for it to actually show:

• 1. The light in a pixel surpasses the HDR Threshold (where 0 is all light surpasses it, and 1.0 is light over the tonemapper White value). Normally, this value is expected to be at 1.0, but it can be lowered to allow more light to bleed. There is also an extra parameter, HDR Scale, that allows scaling (making brighter or darker) the light surpassing the threshold.

• 2. The Bloom property has a value greater than 0.0. As it increases, it sends the whole screen to the glow processor at higher amounts.

Both will cause the light to start bleeding out of the brighter areas.

Once glow is visible, it can be controlled with a few extra parameters:

• Intensity is an overall scale for the effect, it can be made stronger or weaker (0.0 removes it).

• Strength is how strong the gaussian filter kernel is processed. Greater values make the filter saturate and expand outwards. In general, changing this is not needed, as the size can be adjusted more efficiently with the Levels.

È possibile anche cambiare la Modalità di fusione dell'effetto:

• Additive is the strongest one, as it only adds the glow effect over the image with no blending involved. In general, it's too strong to be used, but can look good with low-intensity Bloom (produces a dream-like effect).

• Screen ensures glow never brightens more than itself and it works great as an all around.

• Softlight is the default and weakest one, producing only a subtle color disturbance around the objects. This mode works best on dark scenes.

• Replace can be used to blur the whole screen or debug the effect. It only shows the glow effect without the image below.

• Mix mixes the glow effect with the main image. This can be used for greater artistic control. The mix factor is controlled by the Mix property which appears above the blend mode (only when the blend mode is set to Mix). High mix factor values will appear to darken the image unless Bloom is increased.

To change the glow effect size and shape, Godot provides Levels. Smaller levels are strong glows that appear around objects, while large levels are hazy glows covering the whole screen:

The real strength of this system, though, is to combine levels to create more interesting glow patterns:

Finally, the glow effect can be controlled using a glow map, which is a texture that determines how bright glow should be on each part of the screen. This texture can optionally be colored to tint the glow effect to the glow map's color. The texture is stretched to fit the viewport, so using an aspect ratio that matches your viewport's most common aspect ratio (such as 16:9) is recommended to avoid visible distortion.

There are 2 main use cases for a glow map texture:

• Create a "lens dirt" effect using a dirt pattern texture.

• Make glow less strong on specific parts of the screen by using a gradient texture.

By default, glow uses a bicubic scaling filter on desktop platforms and a bilinear scaling filter on mobile platforms. The bicubic scaling filter results in higher quality with a less blocky appearance, but it has a performance cost on the GPU which can be significant on integrated graphics. The scale mode can be controlled using the Rendering > Environment > Glow > Upscale Mode project setting. This setting is only effective when using the Forward+ or Mobile renderers, as Compatibility uses a different glow implementation.

Utilizzo di bagliore in 2D

Esistono due modi per utilizzare il bagliore in 2D:

• A partire da Godot 4.2, è possibile abilitare l'HDR per il rendering 2D quando si utilizzano i metodi di rendering Forward+ e Mobile. Ciò ha un impatto sulle prestazioni, ma consente una maggiore gamma dinamica. Permette inoltre di controllare quali oggetti si illuminano tramite le loro proprietà Modulate o Self Modulate individuali (usando lo slider dell'intensità nel selettore di colore). Abilitare l'HDR può anche ridurre il banding nell'output di rendering 2D.

  • To enable HDR in 2D, open the Project Settings, enable Rendering > Viewport > HDR 2D then restart the editor.

• If you want to maximize performance, you can leave HDR disabled for 2D rendering. However, you will have less control on which objects glow.

  • Enable glow, set the environment background mode to Canvas then decrease Glow HDR Threshold so that pixels that are not overbright will still glow. To prevent UI elements from glowing, make them children of a CanvasLayer node. You can control which layers are affected by glow using the Background > Canvas Max Layer property of the Environment resource.

Esempio di utilizzo dell'effetto bagliore in una scena 2D. L'HDR 2D è abilitato, mentre le monete e il proiettile hanno la proprietà Modulate aumentata a valori sovra-luminosi tramite lo slider dell'intensità nel selettore di colore.

Avvertimento

The 2D renderer renders in linear color space if the Rendering > Viewport > HDR 2D project setting is enabled, so the source_color hint must also be used for uniform samplers that are used as color input in canvas_item shaders. If this is not done, the texture will appear washed out.

If 2D HDR is disabled, source_color will keep working correctly in canvas_item shaders, so it's recommend to use it when relevant either way.

Using linear color space also means that alpha blending will change. Sprites with low opacity values generally become more visible, and font rendering will look bolder due to the low-opacity pixels from the font antialiasing becoming more visible. This also affects the editor's own rendering.

Using glow to blur the screen

Glow can be used to blur the whole viewport, which is useful for background blur when a menu is open. Only 3D rendering will be affected unless the environment's background mode is set to Canvas. To prevent UI elements from being blurred when using the Canvas background mode, make them children of a CanvasLayer node. You can control which layers are affected by this blurring effect using the Background > Canvas Max Layer property of the Environment resource.

To use glow as a blurring solution:

• Enable Normalized and adjust levels according to preference. Increasing higher level indices will result in a more blurred image. It's recommended to leave a single glow level at 1.0 and leave all other glow levels at 0.0, but this is not required. Note that the final appearance will vary depending on viewport resolution.

• Set Intensity to 1.0 and Bloom to 1.0.

• Set the blend mode to Replace and HDR Luminance Cap to 1.0.

Example of using glow to blur the 2D rendering in the menu's background

Nebbia

Nota

This section refers to non-volumetric fog only. It is possible to use both non-volumetric fog and Nebbia volumetrica e volumi di nebbia at the same time.

Fog, as in real life, makes distant objects fade away into a uniform color. There are two kinds of fog in Godot:

• Depth Fog: This one is applied based on the distance from the camera.

• Height Fog: This one is applied to any objects below (or above) a certain height, regardless of the distance from the camera.

Entrambi questi tipi di nebbia possono avere loro curve regolate, rendendo la loro transizione più o meno netta.

Two properties can be tweaked to make the fog effect more interesting:

La prima è Sun Scatter, che utilizza il colore e l'energia della DirectionalLight3D nella scena attuale. Quando si guarda verso la luce direzionale (di solito un sole), la nebbia sarà colorata in base al colore della luce per simulare la luce solare che la attraversa.

The second is Aerial Perspective, which tints the fog color according to the sky color to better blend the sky with the background. Higher values will result in more tinting, with 1.0 fully replacing the regular fog color with aerial perspective. This can be used in large open world levels to provide a better sense of depth, or to avoid color discontinuities between the sky and fog colors.

If both Sun Scatter and Aerial Perspective are greater than 0.0, sun scattering is applied on top of aerial perspective.

Nota

Fog can cause banding to appear on the viewport, especially at higher density levels. See Color banding for guidance on reducing banding.

Volumetric Fog

Volumetric fog provides a realistic fog effect to the scene, with fog color being affected by the lights that traverse the fog.

Vedi anche

Consulta Nebbia volumetrica e volumi di nebbia per la documentazione sulla configurazione della nebbia volumetrica.

Aggiustamenti

At the end of processing, Godot offers the possibility to do some standard image adjustments.

Aggiustamenti BCS basilari

The first adjustment is being able to change the typical Brightness, Contrast, and Saturation properties:

Correzione del colore tramite una gradiente unidimensionale

The second adjustment is by supplying a color correction gradient. This can be done by assigning a GradientTexture1D resource to the Color Correction property, or by loading a texture containing a horizontal gradient. The leftmost part of the gradient represents black in the source image, whereas the rightmost part of the gradient represents white in the source image.

A linear black-to-white gradient like the following one will produce no effect:

But creating custom ones will allow to map each channel to a different color:

Correzione del colore tramite un LUT 3D

A 3D look-up-texture (LUT) can also be used for color correction. This is a special texture used to modify each color channel separately from one another (red, green, blue). This image can be of any resolution, but since color correction is low-frequency data, sticking to low resolutions is recommended for performance reasons. A LUT texture's resolution is typically 17×17×17, 33×33×33, 51×51×51 or 65×65×65 (the odd size allows for better interpolation).

For this to work, the look-up texture's import mode must be set to Texture3D in the Import dock (instead of being imported as a regular Texture2D):

Make sure to configure the number of horizontal and vertical slices to import as well. If you don't do this, the LUT texture will not affect the viewport correctly when used. You can preview how the 3D texture was imported by double-clicking it, in the FileSystem dock, then going to the inspector to flip through the texture's layers.

Puoi usare questo modello LUT neutro 33×33×33 come base (fai clic destro e scegli Salva come…):

With the above LUT template, after changing its import mode to Texture3D, set its number of Horizontal slices to 33 in the Import dock then click Reimport. If you load this LUT into the Color Correction property, you won't see any visible difference for now since this texture is designed to be a neutral starting point.

This LUT template can be modified in an image editor to provide a different mood to the image. A common workflow is to place the LUT image next to a screenshot of the project's 3D viewport, then use an image editor to modify both the LUT image and the screenshot at the same time. The LUT can then be saved and applied to the game engine to perform the same color correction in real-time.

For example, modifying the LUT template in an image editor to give it a "sepia" look results in the image on the right:

Nota

Adjustments and color correction are applied after tonemapping. This means the tonemapping properties defined above still have an effect when adjustments are enabled.

Opzioni di attributi della telecamera

Godot offre due tipi di attributi di telecamera: fisico e pratico. Quando si usa CameraAttributesPhysical anziché CameraAttributesPractical, la profondità di campo è calcolata automaticamente in base alla distanza della messa a fuoco, alla lunghezza focale e all'apertura specificate dagli attributi di telecamera. Sono inoltre disponibili opzioni relative al frustum.

Depth of Field / Far Blur

This effect simulates focal distance on cameras. It blurs objects behind a given range. It has an initial Distance with a Transition region (in world units):

The Amount parameter controls the amount of blur. For larger blurs, tweaking the depth of field quality in the advanced project settings may be needed to avoid artifacts.

Depth of Field / Near Blur

This effect simulates focal distance on cameras. It blurs objects close to the camera (acts in the opposite direction as far blur). It has an initial Distance with a Transition region (in world units):

The Amount parameter controls the amount of blur. For larger blurs, tweaking the depth of field quality in the advanced project settings may be needed to avoid artifacts.

It is common to use both blurs together to focus the viewer's attention on a given object, or create a so-called "tilt shift" effect.

Esposizione

This multiplies the overall scene brightness visible from the camera. Higher values result in a visually brighter scene.

Esposizione automatica

This feature is only available when using the Forward+ renderer, not Mobile or Compatibility.

Even though, in most cases, lighting and texturing are heavily artist controlled, Godot supports a basic high dynamic range implementation with the auto exposure mechanism. This is generally used to add realism when combining interior areas with low light and bright outdoor areas. Auto exposure simulates the camera (or eye) in an effort to adapt between light and dark locations and their different amounts of light.

Nota

Auto exposure needs to evaluate the scene's brightness every frame, which has a moderate performance cost. Therefore, it's recommended to leave Auto Exposure disabled if it doesn't make much of a difference in your scene.

The simplest way to use auto exposure is to make sure outdoor lights (or other strong lights) have energy beyond 1.0. This is done by tweaking their Energy multiplier (on the Light itself). To make it consistent, the Sky usually needs to use the energy multiplier too, to match with the directional light. Normally, values between 3.0 and 6.0 are enough to simulate indoor-outdoor conditions.

By combining Auto Exposure with Bagliore post-processing, pixels that go over the tonemap White will bleed to the glow buffer, creating the typical bloom effect in photography.

The user-controllable values in the Auto Exposure section come with sensible defaults, but you can still tweak them:

• Scale: Value to scale the lighting. Higher values produce brighter images, and lower values produce darker ones.

• Min Sensitivity / Min Exposure Value: Minimum luminance that auto exposure will aim to adjust for (in ISO when using CameraAttributesPractical, or in EV100 when using CameraAttributesPhysical). Luminance is the average of the light in all the pixels of the screen.

• Max Sensitivity / Max Exposure Value: Maximum luminance that auto exposure will aim to adjust for (in ISO when using CameraAttributesPractical, or in EV100 when using CameraAttributesPhysical).

• Speed: Speed at which luminance corrects itself. The higher the value, the faster luminance correction happens. High values may be more suited to fast-paced games, but can be distracting in some scenarios.

When using CameraAttributesPractical, exposure is set using sensitivity defined in ISO instead of an exposure value in EV100. Typical ISO values are between 50 and 3200, with higher values resulting in higher final exposure. In real life, daytime photography generally uses ISO values between 100 and 800.

Vedi anche

See Unità fisiche di luce e telecamera if you wish to use real world units to configure your camera's exposure, field of view and depth of field.