Resource for environment nodes (like [WorldEnvironment]) that define multiple environment operations (such as background [Sky] or [Color], ambient light, fog, depth-of-field...). These parameters affect the final render of the scene. The order of these operations is:
Sets the intensity of the glow level [code]idx[/code]. A value above [code]0.0[/code] enables the level. Each level relies on the previous level. This means that enabling higher glow levels will slow down the glow effect rendering, even if previous levels aren't enabled.
The [Texture2D] or [Texture3D] lookup table (LUT) to use for the built-in post-process color grading. Can use a [GradientTexture1D] for a 1-dimensional LUT, or a [Texture3D] for a more complex LUT. Effective only if [code]adjustment_enabled[/code] is [code]true[/code].
If [code]true[/code], enables the [code]adjustment_*[/code] properties provided by this resource. If [code]false[/code], modifications to the [code]adjustment_*[/code] properties will have no effect on the rendered scene.
Defines the amount of light that the sky brings on the scene. A value of [code]0.0[/code] means that the sky's light emission has no effect on the scene illumination, thus all ambient illumination is provided by the ambient light. On the contrary, a value of [code]1.0[/code] means that [i]all[/i] the light that affects the scene is provided by the sky, thus the ambient light parameter has no effect on the scene.
[b]Note:[/b] [member ambient_light_sky_contribution] is internally clamped between [code]0.0[/code] and [code]1.0[/code] (inclusive).
If [code]true[/code], enables the tonemapping auto exposure mode of the scene renderer. If [code]true[/code], the renderer will automatically determine the exposure setting to adapt to the scene's illumination and the observed light.
Blend factor between the fog's color and the color of the background [Sky]. Must have [member background_mode] set to [constant BG_SKY].
This is useful to simulate [url=https://en.wikipedia.org/wiki/Aerial_perspective]aerial perspective[/url] in large scenes with low density fog. However, it is not very useful for high-density fog, as the sky will shine through. When set to [code]1.0[/code], the fog color comes completely from the [Sky]. If set to [code]0.0[/code], aerial perspective is disabled.
The lower threshold of the HDR glow. When using the OpenGL renderer (which doesn't support HDR), this needs to be below [code]1.0[/code] for glow to be visible. A value of [code]0.9[/code] works well in this case.
The overall brightness multiplier of the glow effect. When using the OpenGL renderer, this should be increased to 1.5 to compensate for the lack of HDR rendering.
The texture that should be used as a glow map to [i]multiply[/i] the resulting glow color according to [member glow_map_strength]. This can be used to create a "lens dirt" effect. The texture's RGB color channels are used for modulation, but the alpha channel is ignored.
[b]Note:[/b] The texture will be stretched to fit the screen. Therefore, it's recommended to use a texture with an aspect ratio that matches your project's base aspect ratio (typically 16:9).
How strong of an impact the [member glow_map] should have on the overall glow effect. A strength of [code]0.0[/code] means the glow map has no effect on the overall glow effect. A strength of [code]1.0[/code] means the glow has a full effect on the overall glow effect (and can turn off glow entirely in specific areas of the screen if the glow map has black areas).
The strength of the glow effect. This applies as the glow is blurred across the screen and increases the distance and intensity of the blur. When using the OpenGL renderer, this should be increased to 1.3 to compensate for the lack of HDR rendering.
The number of cascades to use for SDFGI (between 1 and 8). A higher number of cascades allows displaying SDFGI further away while preserving detail up close, at the cost of performance. When using SDFGI on small-scale levels, [member sdfgi_cascades] can often be decreased between [code]1[/code] and [code]4[/code] to improve performance.
If [code]true[/code], enables signed distance field global illumination for meshes that have their [member GeometryInstance3D.gi_mode] set to [constant GeometryInstance3D.GI_MODE_STATIC]. SDFGI is a real-time global illumination technique that works well with procedurally generated and user-built levels, including in situations where geometry is created during gameplay. The signed distance field is automatically generated around the camera as it moves. Dynamic lights are supported, but dynamic occluders and emissive surfaces are not.
[b]Performance:[/b] SDFGI is relatively demanding on the GPU and is not suited to low-end hardware such as integrated graphics (consider [LightmapGI] instead). To improve SDFGI performance, enable [member ProjectSettings.rendering/global_illumination/gi/use_half_resolution] in the Project Settings.
[b]Note:[/b] Meshes should have sufficiently thick walls to avoid light leaks (avoid one-sided walls). For interior levels, enclose your level geometry in a sufficiently large box and bridge the loops to close the mesh.
If [code]true[/code], screen-space reflections are enabled. Screen-space reflections are more accurate than reflections from [VoxelGI]s or [ReflectionProbe]s, but are slower and can't reflect surfaces occluded by others.
The fade-in distance for screen-space reflections. Affects the area from the reflected material to the screen-space reflection). Only positive values are valid (negative values will be clamped to [code]0.0[/code]).
The fade-out distance for screen-space reflections. Affects the area from the screen-space reflection to the "global" reflection. Only positive values are valid (negative values will be clamped to [code]0.0[/code]).
The screen-space ambient occlusion intensity on materials that have an AO texture defined. Values higher than [code]0[/code] will make the SSAO effect visible in areas darkened by AO textures.
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.
If [code]true[/code], the screen-space ambient occlusion effect is enabled. This darkens objects' corners and cavities to simulate ambient light not reaching the entire object as in real life. This works well for small, dynamic objects, but baked lighting or ambient occlusion textures will do a better job at displaying ambient occlusion on large static objects. Godot uses a form of SSAO called Adaptive Screen Space Ambient Occlusion which is itself a form of Horizon Based Ambient Occlusion.
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 [code]0.0-1.0[/code] range. A value of [code]1.0[/code] results in no occlusion.
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.
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 [code]0[/code] will make the SSAO effect visible in direct light.
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.
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.
If [code]true[/code], the screen-space indirect lighting effect is enabled. Screen space indirect lighting is a form of indirect lighting that allows diffuse light to bounce between nearby objects. Screen-space indirect lighting works very similarly to screen-space ambient occlusion, in that it only affects a limited range. It is intended to be used along with a form of proper global illumination like SDFGI or [VoxelGI]. Screen-space indirect lighting is not affected by individual light's [member Light3D.light_indirect_energy].
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.
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.
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.
The tonemapping mode to use. Tonemapping is the process that "converts" HDR values to be suitable for rendering on a LDR display. (Godot doesn't support rendering on HDR displays yet.)
The [Color] of the volumetric fog when interacting with lights. Mist and fog have an albedo close to [code]Color(1, 1, 1, 1)[/code] while smoke has a darker albedo.
Scales the strength of ambient light used in the volumetric fog. A value of [code]0[/code] means that ambient light will not impact the volumetric fog.
The direction of scattered light as it goes through the volumetric fog. A value close [code]1[/code] means almost all light is scattered forward. A value close to [code]0[/code] means light is scattered equally in all directions. A value close to [code]-1[/code] means light is scattered mostly backward. Fog and mist scatter light slightly forward, while smoke scatters light equally in all directions.
The distribution of size down the length of the froxel buffer. A higher value compresses the froxels closer to the camera and places more detail closer to the camera.
The emitted light from the volumetric fog. Even with emission, volumetric fog will not cast light onto other surfaces. Emission is useful to establish an ambient color. As the volumetric fog effect uses single-scattering only, fog tends to need a little bit of emission to soften the harsh shadows.
Enables the volumetric fog effect. Volumetric fog uses a screen-aligned froxel buffer to calculate accurate volumetric scattering in the short to medium range. Volumetric fog interacts with [FogVolume]s and lights to calculate localized and global fog. Volumetric fog uses a PBR single-scattering model based on extinction, scattering, and emission which it exposes to users as density, albedo, and emission.
Scales the strength of Global Illumination used in the volumetric fog. A value of [code]0[/code] means that Global Illumination will not impact the volumetric fog.
The distance over which the volumetric fog is computed. Increase to compute fog over a greater range, decrease to add more detail when a long range is not needed. For best quality fog, keep this as low as possible.
The amount by which to blend the last frame with the current frame. A higher number results in smoother volumetric fog, but makes "ghosting" much worse. A lower value reduces ghosting but can result in the per-frame temporal jitter becoming visible.
Enables temporal reprojection in the volumetric fog. Temporal reprojection blends the current frame's volumetric fog with the last frame's volumetric fog to smooth out jagged edges. The performance cost is minimal, however it does lead to moving [FogVolume]s and [Light3D]s "ghosting" and leaving a trail behind them. When temporal reprojection is enabled, try to avoid moving [FogVolume]s or [Light3D]s too fast.
Keeps on screen every pixel drawn in the background. This is the fastest background mode, but it can only be safely used in fully-interior scenes (no visible sky or sky reflections). If enabled in a scene where the background is visible, "ghost trail" artifacts will be visible when moving the camera.
Linear tonemapper operator. Reads the linear data and passes it on unmodified. This can cause bright lighting to look blown out, with noticeable clipping in the output colors.
Reinhardt tonemapper operator. Performs a variation on rendered pixels' colors by this formula: [code]color = color / (1 + color)[/code]. This avoids clipping bright highlights, but the resulting image can look a bit dull.
Filmic tonemapper operator. This avoids clipping bright highlights, with a resulting image that usually looks more vivid than [constant TONE_MAPPER_REINHARDT].
Use the Academy Color Encoding System tonemapper. ACES is slightly more expensive than other options, but it handles bright lighting in a more realistic fashion by desaturating it as it becomes brighter. ACES typically has a more contrasted output compared to [constant TONE_MAPPER_REINHARDT] and [constant TONE_MAPPER_FILMIC].
[b]Note:[/b] This tonemapping operator is called "ACES Fitted" in Godot 3.x.
Replace glow blending mode. Replaces all pixels' color by the glow value. This can be used to simulate a full-screen blur effect by tweaking the glow parameters to match the original image's brightness.
