User Manual

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Create Interface

Omniverse Create features a modern style interface allowing the user to customize their interface based on the task at hand. The image above represents a typical (default) layout. This section is intended to give you a clear understanding of the interface elements and their intended purpose.

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User Interface Fundamentals (Video)

Viewport

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  1. Viewport Settings

  2. Camera Selection

  3. Shading Mode

  4. Element Visibility

  5. Current Layer

Viewpoint settings

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Option

Usage

Viewport Settings

Resets settings found in the panel to their default values

Camera Speed

When in fly mode, how fast does the camera move

Gamepad Camera Controller

Enables Gamepad for camera control

Grid Color

The color of the grid lines

Selection Color

The color for selected entities

Selection Width

How large the selection box is

Bounding Box

Color of bounding box

Gizmo Constant Scale

Scale of Gizmos using Constant

Gizmo Global Scale

Scale of Gizmos using Global

Gizmo Style

Use 2D or 3D icons

Bind Camera to Gamepad

Connects the viewport to the gamepad input

Render Resolution Multiplier

Allows you to up/downres your based off Render Resolution.

Render Resolution

Base Render Resolution

Selected Camera

  • Perspective

  • Top

  • Front

  • Right

Shading Mode

  • RTX Realtime

  • RTX Path-traced

  • Iray Photoreal

  • Iray Interactive

Show / Hide (Visibility) Menu (Video)

Wether on-screen assets or HUD elements, this menu gives users the ability to quickly show and hide a variety of elements.

Axis Indicator

Informs the user about the world orientation

FPS Indicator

Informs the user about the current framerate

Current Layer Indicator

Informs the user about the layer currently selected

Resolution Indicator

Displays the current resolution.

Transform Gizmo

Gizmo for transforms on the USD

Selection Outline

Outlines the currently selected entity or group of entities

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Viewport Widgets

General Usage

  • Operates in World or Local space

  • Free move, constrained to a plane, constrained to an axis

  • Incremental adjustments via snap settings

Translate

  • widget_trans

  • User can adjust position on a constrained axis by selecting 1 of the 3 axis controls

  • User can can adjust position by selecting 1 of the 3 plane controls(squares)

  • User can free move in screen space by grabbing the centroid of the widget

Rotation

  • widget_rot

  • User can adjust rotation on a constrained axis by selecting 1 of the 3 axis controls

  • User can free move in screen space by grabbing the centroid of the widget

Scale

  • widget_scale

  • User can adjust non-uniform scale on a constrained axis by selecting 1 of the 3 axis controls

  • User can uniformly scale by grabbing the centroid of the widget

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Stage

The Stage window allows you to see all the assets in your current stage. Listed in a hierarchical (parent/child) order the Stage offers convenient access and is typically used to navigate large scenes.

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  1. Contextual Search

  2. Filter

  3. Settings

  4. Entity Name

  5. Entity Type

  6. Visibility

  7. Selected Object

Tip

You can quickly navigate your scene by selecting an asset in the stage window and then using the HotKey “F” to focus the viewport on the selected object.

Filter

Filters the scene for objects of the selected type(s). If none are selected, shows all entities.

Settings

Sets the root of your scene.

Visibility

Each object can have its visibility toggled on or off from the visibility column. Toggling the visibility of an object also changes the visibility of its descendants. Upon toggling the parent visibility back to on, restores the previous visibility state of the descendants

Entity Name

The name of a given object on the stage. Every entity will have a unique name and may have other entities nested within it.

Entity Type

Entities are categorized into specified types, they type is listed here to help with sorting and managing.

Details Panel

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This panel displays a wealth of information about a selected entity and allows a user to edit a number of different parameters of the object. The parameters in this window are relative to the selected entity. For example cameras have different properties listed than a light or an imported static mesh.

Edit Fields

  • Which information is presented here is largely user defined because of the extensibility of USD

  • Direct Edit
    • A user can type numerical values directly into a field by double clicking (or Alt + click) in the field

    • A user can also click on the field and drag to adjust the value

Note

Some scenes can be very taxing and makes selection of fields difficult. The modifier of “Alt” when selecting fields can be helpful in these cases as it acts as a double click.

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Kinds

Kinds in Omniverse Create are implemented exactly as they are in USD and offer help in organizing data and can assist in correct selection.

Option

Description

Assembly

An important group model, often a published asset or reference to a published asset.

Group

Models that simply group other models.

Component

A “leaf model” that can contain no other models.

Sub Component

An identified, important “sub part” of a component model.

Empty/Nil

Designates prim is not a model but may be contained inside one

Model

Base Class for all model kinds.
“model” is considered an abstract type and should not be assigned as any prim’s kind.

For a complete description of kinds, please see Pixar’s USD Documentation .

Tool Bar

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Icon

Menu Item

Action

tb_sel_mod / tb_sel_prim

Select (Model / Primitive)

Allows user to pick select and object in the viewport.
This is also the default viewport mouse behavior.

tb_mv_glob / tb_mv_local

Move (Global / Local)

Instantiates a user widget that allows user to move a
selected object or group of objects

tb_rot_glob

Rotate (Global / Local)

Instantiates a user widget that allows user to rotate
a selected object or group of objects

tb_scl

Scale

Instantiates a user widget that allows user to scale a
selected object or group of objects

tb_snap

Snap (enable/disable)

Sets snapping to specified increments or surface snap.

tb_anim_trans

Select Mode

Toggles transform widgets between local and global
translation modes

tb_anim_trans

  • Play

Start an animation

tb_anim_trans

  • Stop

Stop an animation

tb_anim_trans

  • Prev/Next

Move to the Next Frame

tb_anim_trans

  • Timeline

Used for scrubbing through an animation

tb_anim_trans

  • Start/End

Points at which the animation will start and stop

tb_anim_trans

  • Loop

Continuously plays the animation from start to finish

tb_anim_trans

  • Toggle

Toggles display between seconds and frames

tb_anim_trans

  • Current Frame / Second

Current frame or second, depending on the previous setting

Note

Right clicking in the tool bar allows you to set orientation from vertical to horizontal if preferred.

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Snap Tool

The snap tool allows the user to “snap” to specific increments for exact rotations and alignments. To enable or disable snap, simply click the toolbar icon to toggle it back and forth. To edit the settings of the snap, simply right click the icon to set.

Snap Rollout
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When you right click the Snap Tool, the Snap rollout appears.

Option

Result

Snap Settings

Opens the Settings Panel (See Below)

Increment Snap

When Snap to Increment is selected the increments used in Snap Settings are Used.

Face Snap

When Snap to Face is selected the selected object will snap to nearby faces.
Snap Settings
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These options are relative only to Incremental Snap Mode and define the distance of each snap “jump”.

Option

Result

x/y/z Position

The number of units in Centimeters to use for Incrementing Snap Position

x/y/z Rotation

The number of degrees to use for Incrementing Snap Rotation

Scale

The number of scalar value to use for Incrementing Snap Scale

Note: The snap tool in Omniverse is a relative snapping tool. This means that the snap will be incremental to whatever your current position/rotation/scale is. For example, if you have an object rotated 1 degree then set snapping on for 90 degree increments, the rotation will be 91, 181, 271, etc.

Content Manager

Asset Cards

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  1. Import Assets

  2. Forward/Back Navigation

  3. Path Display / Breadcrumb Navigation

  4. Content Search

  5. Browser Display Method/Scale

  6. Content Browser

  7. Directory Navigator

Items listed in the Content Browser (Known as Asset Cards) provide meaningful information about the asset without opening it.

Asset Cards display a thumbnail based on one of the following asset types
  • USD

  • USD-Layer

  • MDL

  • Image

Hovering your mouse over the file name of an asset will show you:
  • Full file path

  • File Size

  • Date Modified

  • Date Created

Search

Context sensitive searching.

Filters

  • Filters allow users to look for specific content based on asset type
    • Audio

    • Materials

    • Props

    • Scripts

    • Stages

    • Textures

Options

Menu Items

Action

Hide Unknown File Types

Display/Hide Files unknown to Omniverse Create

Case Sensitive

Search Results are Case Sensitive

Recursive Search

Searches Entire Selected Folder Structure

Display Mode

Omniverse Create Content View Options

Allows users control the look of the output in the Content Browser to their preference. The slider allows for scaling of the icons in folder view with the smallest setting switching modes to “list view”. When in List View, Columns can be dragged at the dividers to arrange a convenient spacing.

Tip

List View grants access Path, File Size and Date Modified information.

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Tabs

Tabbed windows can be docked anywhere in the user interface (UI)

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  1. Panel Being Dragged (See Note Below)

  2. Panels Original location

  3. Acceptable Docking Location(s)

Note

A tab can be torn off and moved to another panel or window by click - holding on the tabs title bar and dragging it to another location or UI pane.

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Grab Handles

A grab handle in the UI designates something that can be adjusted by the user

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  1. Grab Handle

Grab Handles are “invisible” UI Element dividers that, when rolled over, will illuminate and can be click-dragged. This allows for UI customization especially helpful in managing window content.

Note

Sliding is restricted to horizontal or vertical only.

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Console

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Menu Items

Action

  1. Clear Log

Clears the log window
  1. Log Window

This is where Omniverse Create feeds
back useful information to the user
  1. Command Entry

Users put in commands here
- Supplies command argument information to the user
- Supports command history

Connecting to Servers

Signing Into Omniverse Nucleus Servers

New in version 2020.2.

In the top of the left panel of the Omniverse Create Content Browser users can connect to one or many Omniverse Nucleus Servers by clicking “Add New Connection” under the Omniverse Heading.

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Once clicked, a panel will emerge allowing you to enter and add a host Omniverse Server Address.

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Once added, you can now select the server to explore. When you do you, a web sign on panel will appear. Enter your credentials to log in.

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You can now explore your newly connected server.

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Shortcut Paths

When adding a server you can also set a path to a specific directory within a server. This can be useful in creating a sort of shortcut.

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Now you can directly access a nested directory with a single click.

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Sign In Panel

Deprecated since version 2020.1.

Omniverse Create integrally works with an Omniverse server. Use this panel to manage your connection to the Omniverse.

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Menu Items

Action

Username

Server Login Username Input

Password

Server Login Password Input

Server Information

Server Address

Cache

Enable/Disable local cache storage for increased performance

Live Sync

Enable/Disable live sync on starting

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Importing Assets into Create

Importing assets is done by right clicking in the Content Browser and selecting Import and Convert. Accepted File Formats for conversion are FBX, OBJ and and GLTF

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Selecting a file will trigger a dialogue giving options on the import function.

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Option

Use

Materials

Checked will import materials and textures if available.

Animations

Checked will import skeletons and animation clips.

Cameras

Checked will import cameras if present in the FBX.

Single USD

Checked will import to a singular USD file. Unchecked
will import each mesh within the FBX as a separate USD.
A complete USD will also be created referencing the parts.

Smooth Normals

Assigns/Reassigns Smoothing Groups

Preview Surface b

Includes a preview surface

Support Point Instancer

vectorized instancing of multiple, potentially animated, prototypes

Create Folder

Creates a folder with the given name and imports all assets within it.

Importing Assets in Create (Video)

This video shows how to use the Import and Convert Feature.

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Keyboard Shortcuts

Keyboard shortcuts can reduce the amount of clicking one must do by providing “hot keys” that allow for “one touch” operation.

Input

Alternate Input

Result

RMB + W

RMB + Up Arrow

Move Forward

RMB + S

RMB + Down Arrow

Move Backward

RMB + A

RMB + Left Arrow

Move Left

RMB + D

RMB + Right Arrow

Move Right

RMB + Q

RMB + Page Up

Move Up

RMB + E

RMB + Page Down

Move Down

Scroll Wheel

Alt + RMB

Move Forward/Backwards

LMB

Select

Alt + LMB

Orbit/Rotate View

MMB (Hold)

Pan/Slide View

RMB (Hold)

Look

RMB (Click)

Invoke Contextual Menus

F

Focus on Selected

Control + S

Save File

Control + O

Open File

Control + M

Toggles between Material and Sky browsers

Control + U

Opens the Sun Study Panel

F7

Enables and Disables the visibility of the UI

F11

Toggles Full Screen Mode

Selection Modes

Selection modes in Omniverse Create allow easy access to both Groups of Prims and to Prims themselves.

Changing Selection Mode

In the top of the toolbar you can toggle the selection mode.

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Note

You can toggle modes quickly and easily by using the T Hot-Key. Simply press T and the mode will toggle back and forth. You can also use the Q Hot-Key to automatically switch to selection mode.

Model Selection

While in Model Selection, Users can Select, Move, Rotate and Scale objects as Groups. These groups are be managed with Kinds.

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Prim Selection

While in Prim Selection, Users can Select, Move, Rotate, and Scale primitives of an object.

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Note

When in “Prim Mode” selection pointer will turn to orange.

Managing Selections with Kinds

The meta-data Kinds plays an important role in using the selection tool in Model Mode and can be configured for optimal utility in your scenes.

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Kind

Description of Kind

Effect on Model Mode Selection

Assembly

Important Group

Ignored

Group

Group

Ignored

Component

An collection of assets

Top Selectable Kind

Sub Component

An Asset

Force-Selects Parent

None

No Kind Set

Bottom Selectable Kind

This example shows how an asset might be configured for optimal use in Model Mode Selection. In this case, Selecting any of the meshes under Desk Chair will select the parent group “Desk Chair” rather than its individual parts. This adaptable nature allows you to control high order selections in large scenes and projects.

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Ref #

Kind Setting

1

Assembly

2

Component

3

Sub-Component or Blank

Selecting Parent Groups in Prim Mode

When in prim mode, you can select a parent group by selecting the containment outline (bounding box).

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Cameras

Cameras in Omniverse Create do their best to emulate real world cameras and their functionality is as similar as possible.

Camera Properties

Camera properties are set in the property panel of a selected camera. Note however that camera properties can be overridden globally via the render settings camera properties if desired.

Camera Properties

Usage
Units

Clipping Range

Clips the view outside of both near and far range values.
World Units

Focal Length

Longer Lens Lengths Narrower FOV, Shorter Lens Lengths Wider FOV
Millimeters

Focus Distance

The distance at which perfect sharpness is achieved.
World Units

fStop

Controls Distance Blurring. Lower Numbers decrease focus range, larger
numbers increase it.
N/A

Horizontal Aperture

Emulates sensor/film width on a camera
Millimeters

Horizontal Aperture Offset *

Offsets Resolution/Film gate horizontally.
Millimeters

Projection

Sets camera to perspective or orthographic mode.
N/A

Shutter Open *

Used with Motion Blur to control blur amount, increased values delay
shutter opening.
Seconds

Shutter Close *

Used with Motion Blur to control blur amount, increased values forward
the shutter close.
Seconds

Stereo Role *

Sets use for stereoscopic renders as left/right eye or mono (default)
for non stereo renders.
N/A

Vertical Aperture

Emulates sensor/film height on a camera.
Millimeters

Vertical Aperture Offset *

Offsets Resolution/Film gate vertically.
Millimeters
  • Omniverse Create allows these values to be set in accordance with the USD schema, however these settings are currently ignored by RTX rendering.

Using Cameras (Video)

The video below provides a walk-through of cameras in a typical use case.

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Lighting

Lighting Overview

Lighting in Create offers a wide variety of lighting options and capabilities. Here is a quick look at how you can expect to interact with and manage lighting.

Basic Light Usage (Video)

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Light Sources

Light sources in Create are made to realistically emulate real-world lights.

Create Light Types

Realworld Equivalent

Distant Light

Direct Sun/Moon light

Sphere Light

Light Bulb

Rect Light

Rectangular Panel Light

Disc Light

Circular Panel Lights and Spotlights

Cylinder Light

Neon/Fluorescent Light Tubes

Dome Light

HDRI Skysphere (Background) lighting

Distant Light

Distant lights are parallel rays of light useful for showering an entire scene in a directional light. Meant to emulate lights infinitely far away, shadows cast with type of light will be hard edged and rather harsh compared to other lights. Ideal for Sun/Moon light, distant lights are generally a critical element to any outdoor scene.

Distant Light

Sphere Light

Sphere lights emit light in all directions from a central ball (not a point). The softness of the shadows (and overall intensity) are dictated by the radius of the central ball. Sphere lights are effective replacements for light bulbs.

Cylinder Light

Light Specific Properties

Usage

Radius

Source Sphere Radius

Treat as Point

Makes the sphere size infinitely small (not supported yet)

Rectangular (Rect) Light

Rectangular lights are capable of emulating light generated from a panel. The rectangle can be adjusted in width and length to accommodate any ratio from thin rectangle to square shape. This affect overall light power and shadow softness.

Rectangular Light

Light Specific Properties

Usage

Height

Depth of the light source (x value)

Length

Length of the source (y value)

Disc Light

Similar to the rect light the Disc light emulates panel lighting but in the shape of a circle. Size is controlled by radius which affects overall light power as well as shadow softness. If shaping is used, the light acts as a traditional spotlight and has specialized controls to adjust the shape and color of the lights falloff.

Disc Light

Light Specific Properties

Usage

Radius

Source Disc Radius

Cone Angle

Controls Projection Angle of the light. Higher is wider, lower is narrower.

Cone softness

Increased the value to “soften” the lights cone edges.

Focus

Higher Values soften and blends with Focus Tint

Focus Tint

Tints the edges of the light falloff based on Focus

Note

Increasing Shadow samples per pixels in Rendering Settings smooths light falloff at the cost of render speed.

Cylinder Light

Tubular lighting useful in emulating neon/fluorescent light tubes and other linear omnidirectional lighting.

Cylinder Light

Light Specific Properties

Usage

Radius

Source Tube Radius

Length

Source Tube Length

Dome Light

Used for image-based (background) lighting when supplied with a texture. Dome lights allow you to easily light your entire scene with a high or low dynamic range image.

Dome Light

Light Specific Properties

Usage

Texture:File

Low/High Dynamic Range image input

Texture:Format

Selects Skydome Format
Choices include: LatLong, Angular, Mirrored Ball and Verical Cross
HDR Formats: HDR, Exporter
LDR Formats: PNG

Common Light Properties

Common Light Properties

Usage

Color

The color of the light

Color Temperature

The color of the light using the Kelvin Scale. (Not Supported Yet)

Diffuse Multiplier

Adjusts the Diffuse Power of the light.

Enable Color Temp

True uses Color Temperature for input, False uses Color. (Not Supported Yet)

Exposure

Exposure offers a quick way to increase/decrease light intensity in stops.

Intensity

Base luminosity of the the light source.

Normalize Power

Brings light power into a normalized range.

Specular Multiplier

Adjusts the amount specularity the light contributes to.
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Materials

Materials in Create are supported using MDL, an open-source material definition language developed by NVIDIA.

Omniverse Materials

Omniverse comes with several template materials, including a physically based glass; a general purpose multi-lobed material useful for dielectric and non-dielectric materials; and USD’s UsdPreviewSurface. These materials are available in Omniverse Create’s Menu Bar under the Create menu.

Material List

#

Template Name

General Use Case

1

OmniPBR

Multi-lobed physically based material for dielectric and non-dielectric materials

2

OmniPBR_Opacity

Adds opacity controls to OmniPBR

3

OmniPBR_ClearCoat

Adds second glossy bsdf to simulate a thin clear coating

4

OmniPBR_ClearCoat_Opacity

Adds opacity controls to OmniPBR_ClearCoat

5

OmniGlass

New Transmissive, reflective, and refractive material

6

OmniGlass_Opacity

Adds opacity controls to OmniGlass

7

UsdPreviewSurface

Native MDL material based on Pixar’s UsdPreviewSurface proposal.

OmniPBR

OmniPBR is the default Physically based material available in Omniverse Create. This material can describe most opaque dielectric or non-dielectric material.

Material List

Settings

Effect

Base Color

The color or tint of the material

Albedo Map

Allows use of a texture file for use in color. Should be an albedo map for best results.

Albedo Desaturation

Removes color saturation values through a range from 0-1. 0 is unaffected, 1 is black and white.

Albedo Add

Add (or subtract with negative vlaues) the Base Color to the Albedo Map.

Albedo Brightness

Adjusts the brightness of the albedo map.

Color Tint

Color multiplier to Albedo Map.

Roughness

Isotropic roughness of the surface.
Range is 0-1, 0 = perfectly reflective surface, 1 = no reflectivity

Roughness Map Influence

Range from 0-1 mixes roughness map power over roughness value.
0 uses Pure Roughness Value
1 uses only Roughness Map

Roughness Map

Allows use of a texture file for use in roughness.

Metallic amount

A range from 0-1 describing wether the surface is Dielectric or Conductive.
0 is Dielectric (non metal)
1 is Conductive (metallic)

Metallic Map Influence

Range from 0-1 mixes metallic map power over metallic amount.

Metallic Map

Allows use of a texture file for use in metallic surface designation.

Specular

The specular reflectivity of the material.

Enable ORM texture

Allows use of a “packed” Occlusion, Roughness and Metallic map instead of separate maps for each.

OMR Map

“Packed” ORM map texture input.

Ambient Occlusion to Diffuse

How much ambient occlusion influences the diffuse map in a range of 0-1.
0 is unaffected, 1 is full effect.

Ambient Occlusion Map

Allows use of a texture file for use in Ambient Occlusion.

Enable Emission

Toggles Emission on and off.

Emissive Color

Color to emit

Emissive Mask Map

Allows use of a texture file for use in masking out emissive areas.

Emissive Intensity

How bright is the emissive color

Normal Map Strength

Adjusts intensity of the normal map.

Normal Map

Allows use of a texture file for use in surface bumps.
For best results use the Direct X normal format.

Detail Normal Strength


Detail Normal Map

Allows use of a texture file for use in small surface detail.
For best results use the Direct X normal format.

World or Object Space

Toggles World or Object based projection.

UV Space Index

Allows selection of UV coordinate space to be used for mapping the material

Translate

Alows offsetting the position of the material

Rotate

Allows texture rotation

Scale

Adjusts the scale of the texture

OmniPBR_Opacity

OmniPBR_Opacity is similar to OmniPBR, with the added support of opacity and opacity mapping. This material can be used for materials that require cutout opacity driven by texture maps.

Material List

Base Color

The color or tint of the material

Albedo Map

Allows use of a texture file for use in color. Should be an albedo map for best results.

Albedo Desaturation

Removes color saturation values through a range from 0-1. 0 is unaffected, 1 is black and white.

Albedo Add

Add (or subtract with negative vlaues) the Base Color to the Albedo Map.

Albedo Brightness

Adjusts the brightness of the albedo map.

Color Tint

Color multiplier to Albedo Map.

Roughness

Isotropic roughness of the surface.
Range is 0-1, 0 = perfectly reflective surface, 1 = no reflectivity

Roughness Map Influence

Range from 0-1 mixes roughness map power over roughness value.
0 uses Pure Roughness Value
1 uses only Roughness Map

Roughness Map

Allows use of a texture file for use in roughness.

Metallic amount

A range from 0-1 describing wether the surface is Dielectric or Conductive.
0 is Dielectric (non metal)
1 is Conductive (metallic)

Metallic Map Influence

Range from 0-1 mixes metallic map power over metallic amount.

Metallic Map

Allows use of a texture file for use in metallic surface designation.

Specular

The specular reflectivity of the material.

Enable ORM texture

Allows use of a “packed” Occlusion, Roughness and Metallic map instead of separate maps for each.

OMR Map

“Packed” ORM map texture input.

Ambient Occlusion to Diffuse

How much ambient occlusion influences the diffuse map in a range of 0-1.
0 is unaffected, 1 is full effect.

Ambient Occlusion Map

Allows use of a texture file for use in Ambient Occlusion.

Enable Emission

Toggles Emission on and off.

Emissive Color

Color to emit

Emissive Mask Map

Allows use of a texture file for use in masking out emissive areas.

Emissive Intensity

How bright is the emissive color

Enable Opacity

Toggles Opacity on and off.

Opacity Amount

Adjusts the opacity of the mesh.

Opacity Map

Allows use of a texture file to control opacity.

Normal Map Strength

Adjusts intensity of the normal map.

Normal Map

Allows use of a texture file for use in surface bumps.
For best results use the Direct X normal format.

Detail Normal Strength

Adjusts intensity of the detail normal map.

Detail Normal Map

Allows use of a texture file for use in small surface detail.
For best results use the Direct X normal format.

World or Object Space

Toggles World or Object based projection.

UV Space Index

Allows selection of UV coordinate space to be used for mapping the material

Translate

Alows offsetting the position of the material

Rotate

Allows texture rotation

Scale

Adjusts the scale of the texture

OmniPBR_ClearCoat

OmniPBR_ClearCoat is similar to OmniPBR but with an additional glossy bsdf layer. Ideal for car paint or any surface with a thin clear finish.

Material List

Settings

Effect

Base Color

The color or tint of the material

Albedo Map

Allows use of a texture file for use in color. Should be an albedo map for best results.

Albedo Desaturation

Removes color saturation values through a range from 0-1. 0 is unaffected, 1 is black and white.

Albedo Add

Add (or subtract with negative vlaues) the Base Color to the Albedo Map.

Albedo Brightness

Adjusts the brightness of the albedo map.

Color Tint

Color multiplier to Albedo Map.

Roughness Amount

Isotropic roughness of the surface.
Range is 0-1, 0 = perfectly reflective surface, 1 = very dull rough surface

Roughness Map Influence

Range from 0-1 mixes roughness map over roughness amount.
0 uses Pure Roughness Amount
1 uses only Roughness Map

Roughness Map

Allows use of a texture file for use in roughness.

Metallic amount

A range from 0-1 describing wether the surface is Dielectric or Conductive.
0 is Dielectric (non metal)
1 is Conductive (metallic)

Metallic Map Influence

Range from 0-1 mixes metallic map over metallic amount.

Metallic Map

Allows use of a texture file for use in metallic surface designation.

Specular

The specular reflectivity of the material.

Enable ORM texture

Allows use of a “packed” Occlusion, Roughness and Metallic map instead of separate maps for each.

OMR Map

“Packed” ORM map texture input.

Ambient Occlusion to Diffuse

How much ambient occlusion influences the diffuse map in a range of 0-1.
0 is unaffected, 1 is full effect.

Ambient Occlusion Map

Allows use of a texture file for use in Ambient Occlusion.

Enable Emission

Toggles Emission on and off.

Emissive Color

Color to emit

Emissive Mask Map

Allows use of a texture file for use in masking out emissive areas.

Emissive Intensity

How bright is the emissive color.

Enable Clearcoat Layer

Enables clear coat layer.

Clearcoat Tint

Base color of the clearcoat layer.

Clearcoat Transparency

Weighted blend between the material and the clearcoat.
0 is clearcoat
1 is base material with clearcoat on top

Clearcoat Roughness

Isotropic roughness of the clearcoat. Usually 0.

Clearcoat Weight

The specular reflectivity of the clearcoat layer.

Clearcoat Flatten

Blends between the smooth normal and the bumped base normal.

Clearcoat IOR

Index of Refraction of the clearcoat layer.

Clearcoat Normal Map Strenght

Scalar mulitplier of the Clearcoat Normal Map.

Clearcoat Normal Map

Normal map for the clearcoat layer.

Normal Map Strength

Adjusts intensity of the normal map.

Normal Map

Allows use of a texture file for use in surface bumps.
For best results use the Direct X normal format.

Detail Normal Strength


Detail Normal Map

Allows use of a texture file for use in small surface detail.
For best results use the Direct X normal format.

World or Object Space

Toggles World or Object based projection.

UV Space Index

Allows selection of UV coordinate space to be used for mapping the material

Translate

Alows offsetting the position of the material

Rotate

Allows texture rotation

Scale

Adjusts the scale of the texture

OmniPBR_ClearCoat_Opacity

OmniPBR_ClearCoat_Opacity is similar to OmniPBR_Clearcoat with the added support of opacity and opacity mapping. Ideal for car paint or any surface with a thin clear finish.

Material List

Settings

Effect

Base Color

The color or tint of the material

Albedo Map

Allows use of a texture file for use in color. Should be an albedo map for best results.

Albedo Desaturation

Removes color saturation values through a range from 0-1. 0 is unaffected, 1 is black and white.

Albedo Add

Add (or subtract with negative vlaues) the Base Color to the Albedo Map.

Albedo Brightness

Adjusts the brightness of the albedo map.

Color Tint

Color multiplier to Albedo Map.

Roughness Amount

Isotropic roughness of the surface.
Range is 0-1, 0 = perfectly reflective surface, 1 = very dull rough surface

Roughness Map Influence

Range from 0-1 mixes roughness map over roughness amount.
0 uses Pure Roughness Amount
1 uses only Roughness Map

Roughness Map

Allows use of a texture file for use in roughness.

Metallic amount

A range from 0-1 describing wether the surface is Dielectric or Conductive.
0 is Dielectric (non metal)
1 is Conductive (metallic)

Metallic Map Influence

Range from 0-1 mixes metallic map over metallic amount.

Metallic Map

Allows use of a texture file for use in metallic surface designation.

Specular

The specular reflectivity of the material.

Enable ORM texture

Allows use of a “packed” Occlusion, Roughness and Metallic map instead of separate maps for each.

OMR Map

“Packed” ORM map texture input.

Ambient Occlusion to Diffuse

How much ambient occlusion influences the diffuse map in a range of 0-1.
0 is unaffected, 1 is full effect.

Ambient Occlusion Map

Allows use of a texture file for use in Ambient Occlusion.

Enable Emission

Toggles Emission on and off.

Emissive Color

Color to emit

Emissive Mask Map

Allows use of a texture file for use in masking out emissive areas.

Emissive Intensity

How bright is the emissive color.

Enable Opacity

Toggles Opacity on and off.

Opacity Amount

Adjusts the opacity of the mesh.

Opacity Map

Allows use of a texture file to control opacity.

Enable Clearcoat Layer

Enables clear coat layer.

Clearcoat Tint

Base color of the clearcoat layer.

Clearcoat Transparency

Weighted blend between the material and the clearcoat.
0 is clearcoat
1 is base material with clearcoat on top

Clearcoat Roughness

Isotropic roughness of the clearcoat. Usually 0.

Clearcoat Weight

The specular reflectivity of the clearcoat layer.

Clearcoat Flatten

Blends between the smooth normal and the bumped base normal.

Clearcoat IOR

Index of Refraction of the clearcoat layer.

Clearcoat Normal Map Strenght

Scalar mulitplier of the Clearcoat Normal Map.

Clearcoat Normal Map

Normal map for the clearcoat layer.

Normal Map Strength

Adjusts intensity of the normal map.

Normal Map

Allows use of a texture file for use in surface bumps.
For best results use the Direct X normal format.

Detail Normal Strength


Detail Normal Map

Allows use of a texture file for use in small surface detail.
For best results use the Direct X normal format.

World or Object Space

Toggles World or Object based projection.

UV Space Index

Allows selection of UV coordinate space to be used for mapping the material

Translate

Alows offsetting the position of the material

Rotate

Allows texture rotation

Scale

Adjusts the scale of the texture

OmniGlass

New in 2020.2, OmniGlass is an improved physical glass model that simulates light transmission through thin walled and transmissive surfaces.

Material List

Settings

Effect

Glass Color

The color or tint of the glass

Glass Color Texture

Texture File input to drive color

Volume Absorption Scale

Controls how much light is absorbed through the surface

Glass Roughness

The amount of reflectivity a surface has.
Range is 0-1, 0 = perfectly reflective, 1 = no reflectivity

Roughness Texture Influence

Range from 0-1 mixes roughness map power over roughness value.
0 uses Pure Roughness Value
1 uses only Roughness Map

Roughness Texture

Allows use of a texture file for use in roughness.

Glass IOR

Incidence of Refraction controls how much the light is “bent” when passing through a surface.

Thin Walled

Toggles thin glass adjustments on and off.

Reflection Color Texture

Allows use of a texture to map the reflection color of the glass.

Reflection Color

The reflected color of the glass.

Normal Map Texture

Allows use of a texture file for use in surface bumps.

Normal Map Strength

Adjusts intensity of the normal map.

Project UVW Coordinates

Toggle on when your mesh has undesirable UVs or lacks UVs to display a texture
using Projected UVW coordinates.

World or Object Space

Toggles World or Object based projection.

UV Space Index

Allows selection of UV coordinate space to be used for mapping the material

Translate

Allows offsetting the position of the material

Rotate

Allows texture rotation

Scale

Adjusts the scale of the texture

OmniGlass Opacity

OmniGlass_Opacity is similar to OmniGlass with the added support of opacity and opacity mapping.

Material List

Settings

Effect

Glass Color

The color or tint of the glass

Glass Color Texture

Texture File input to drive color

Volume Absorption Scale

Controls how much light is absorbed through the surface

Glass Roughness

The amount of reflectivity a surface has.
Range is 0-1, 0 = perfectly reflective, 1 = no reflectivity

Roughness Texture Influence

Range from 0-1 mixes roughness map power over roughness value.
0 uses Pure Roughness Value
1 uses only Roughness Map

Roughness Texture

Allows use of a texture file for use in roughness.

Glass IOR

Incidence of Refraction controls how much the light is “bent” when passing through a surface.

Thin Walled

Toggles thin glass adjustments on and off.

Reflection Color Texture

Allows use of a texture to map the reflection color of the glass.

Reflection Color

The reflected color of the glass.

Normal Map Texture

Allows use of a texture file for use in surface bumps.

Normal Map Strength

Adjusts intensity of the normal map.

Cutout Opacity Texture

Opacity Map

Cutout Opacity Mono Source

Specify how you want to read the opacity map

Cutout Opacity

Opacity value

Project UVW Coordinates

Toggle on when your mesh has undesirable UVs or lacks UVs to display a texture
using Projected UVW coordinates.

World or Object Space

Toggles World or Object based projection.

UV Space Index

Allows selection of UV coordinate space to be used for mapping the material

Translate

Allows offsetting the position of the material

Rotate

Allows texture rotation

Scale

Adjusts the scale of the texture

UsdPreviewSurface

UsdPreviewSurface is based on the proposal from Pixar and is natively supported in Omniverse. It is designed to be flexible and artist friendly and because UsdPreviewSurface is built into USD, scenes do not require any additional references to MDL making it very portable in your USD pipeline.

Diffuse Color

The color of the material

Emissive Color

The emissive color of the material.

Use Specular Workflow

Uses Specular workflow instead of Physical workflow.

Specular Color

Tint color for specular reflections.

Metallic

A range from 0-1 describing wether the surface is Dielectric or Conductive.
0 is Dielectric (non metal)
1 is Conductive (metallic)

Roughness

The amount of reflectivity a surface has. Range is 0-1
0 = perfectly reflective surface
1 = no reflectivity

Clearcoat

Adjusts how “thick” the clearcoat is.

Clearcoat Roughness

The amount of reflectivity a surface has. Range is 0-1
0 = perfectly reflective surface
1 = no reflectivity

Opacity

The opacity of the surface in a range from 0-1.
0 = No Opacity or “See Through”
1 = Fully Opaque

Opacity Threshold

The opacity threshold is a clamp that cuts opacity to 0 if opacity is below the threshold amount.

IOR

Incidence of Refraction controls how much the light is “bent” when passing through a surface.

Displacement

Shifts the rendered surface by the displacement amount.

Occlusion

Artificially adds shading to the surface.

Applying Materials

In order to assign a material to an object, the material must be added to your stage. This can be accomplished several ways. Using drag and drop, you can drag your material to an empty part of the Viewport or to the Stage panel. If you wish to use one our the Omniverse materials, you can use the Create menu.

Material List

Once a material is in the scene, the material can be assigned to any location. With your object or scene location selected, you can assign the material by going to the Details panel and selecting your material in the dropdown under Materials on selected models. If an scene has multiple material, a list box will open so you can select the appropriate material to assign.

Apply a Material to a Mesh

  1. Select the mesh you want to apply a material to.

  2. In the details panel look for the heading “Materials on Selected Objects”

  3. In the dropdown under that heading select the material you wish to apply.

  4. At this point your material is applied to the selected mesh and adjustment of the material inputs should present themselves as changes occur.

Note

As meshes can contain multiple material slots, the detail panel may show multiple materials even if there is only one mesh selected. There will be a new material shown for each mesh material slot Create finds in a selection.

Drag and Drop Assignment

In Omniverse Create, materials can be dragged from the stage and dropped onto assets or prims based on the selection mode you are in.

  • If you have Object Selection Mode enabled, dragging a material from the stage onto an object will replace the material of ALL prims that make up the selected asset.

  • If you have Prim Selection Mode, dragging a material from the stage to an object will replace the prim where the material is dropped.

Creating Materials

Materials can be easily created in Create using the Create > Materials menu.

Creating materials can be done in 2 common ways. #. Create a material on a mesh : This method is when you want to create a material in your scene AND apply it to selected meshe(s). #. Create a Material in a scene : This method simply creates a material inside the scene’s look folder but does NOT apply it to a mesh.

Note

IF your model does not have UVs, you will need to enable “World Space UV” to display textures.

Create Material on Mesh

For a quick easy way to apply a new material to your mesh you can create and automatically apply the material by simply selecting a mesh or several meshes before creating a new material.

  1. Select the mesh you want to apply a material to.

  2. Select Create > Material > Omni PBR, Omni Glass, etc.

  3. In the status bar (bottom right of screen), you will likely see a 0% bar for a few moments. Wait until it completes and disappears to confirm it is fully loaded.

  4. In the Stage window, Select the Looks folder and Find the shader you selected (ie: Omni PBR). Feel free to rename this as desired.

  5. If the material is fully loaded, you should see inputs for the material in the Details panel.

  6. At this point your material is applied to the selected mesh and adjustment of the inputs should present themselves as changes occur.

Create Material in Scene

There are times when you may want to pre-build a series of MDL’s and you do not want to select the meshes each time as a needed step. In this case, you can simply create the materials first, fill them in, and later apply the materials to selected objects.

  1. Deselect all by left clicking a blank area in either the Stage or the Viewport.

  2. Select Create > Material > Omni PBR

  3. In the status bar (bottom right of screen), you will likely see a 0% bar for a few moments. Wait until it completes and disappears to confirm it is fully loaded.

  4. In the Stage window, Select the Looks folder and Find the shader you selected (ie: Omni PBR). Feel free to rename this as desired.

  5. If the material is fully loaded, you should see inputs for the material in the Details panel.

  6. You can now fill in the materials input properties as needed to set it to your desired materials look however it has not been applied yet and will not display.

Material Selection

As materials are an intricate part of the visual process, Omniverse Create has several selection methods for working with Materials.

Looks

Whenever a material is added to a scene, it will be stored in a “looks” directory in your Stage. This is where all material references are shown and managed.

Note

When a USD is nested, it will carry it’s looks folder with it. Therefore it is possible to have several looks folders in the appearing in stage, one for each imported USD is possible.

Scene Material Quick Linking

../_images/kit_materials_locate_material.png

With an asset selected, Click the arrow to right of material input to “jump” to the bound material.

Tip

You can use click the shader ball in lieu of the Arrow for quicker clicking!

../_images/kit_materials_locate_material_2.png

Users now can easily edit the attached material.

Locate MDLs on your Nucleus

Floating MDLs (MDLs existing in a reachable Nucleus Path) can be quickly located from the stage.

Simply select a Shdader in the scene and locate the Details panel.

../_images/kit_materials_find_mdl.png

Select the Right Arrow next to the module will quickly jump the Content Browser to the MDLs location on the nucleus.

../_images/kit_materials_find_mdl_2.png

Tip

Using the Folder icon will allow reassignment to a different MDL.

Note

Locating MDLs with this method only works if your material exists on the Nucleus, therefore materials generated from the “Create” panel will not by located by this method as they exist as direct system references and not a particular location.

Finding Objects attached to a Material

Selecting all objects bound with a specific material in your current scene can be quite useful at times.

../_images/kit_materials_locate_objects_from_material.png

In the Stage, Right Click on a material and choose “Select Bound Objects”.

../_images/kit_materials_locate_objects_from_material_2.png

Material Swap

Allows you quickly swap one material for another while maintaining any USD connections for the target material.

Omniverse Web Layout

Choose a Target Material

To use the material swap tool, simply select a material you wish to replace in your content browser, then while highlighted, select “User Selected”. The Material to replace input window should now reflect the path to the material you expect to replace.

Choose a Source Material

Next, choose a material in your browser you wish to use to replace. Press User Selected again to populate the input with the path to the source material.

Swap

Once swapped, the target material should now have the same properties and settings as the source material. Any assets using this material will be updated.

../_images/main_report_problem.png

UDIM Support

Overview

Omniverse Create has UDIM support done in a way that is both convenient and powerful. By using the standard naming conventions used in a typical UDIM scenario, you simply replace the UDIM number with <UDIM> on ANY texture file input to invoke UDIM support.

Using UDIM’s in Omniverse Create (Video)

Example

If you have a sequence of textures slated for use in a UDIM prepared mesh like this…

my_texture.1001.png

my_texture.1002.png

my_texture.1003.png

Simply replace the number with <UDIM> in any MDL texture input dialogue.

my_texture.<UDIM>.png

Note

Using UDIMs instead of multiple material assignments can benefit larger scenes/meshes by easing the assignment of a multitude of textures by its naturally automated process.

Expanding Your Library

You can expand your library of MDLs by writing your own custom MDLs and importing them. You can also use Substance Designer to develop MDLs using a visual interface.

For more information on Writing your Own MDLs

NVIDIA MDL Language Specification

For more information on Substance Designer and MDL

Substance & MDL

MDL in Substance (Video)

These videos show how to begin your journey into creating MDL files in Substance Designer. Once created they can then be used in Omniverse Create by copying the created MDL into your Omniverse Server.

Part 1

Part 2

Layers

Layers provide a convenient way to organize and manage your scene while also providing a comprehensive live workflow. At their core, Layers are nested USD files with histories of their own. Added on top of this however is a live workflow allowing users to set each nested layer to be edited and viewed live. For example, lighting, content, and the environment can each exist on seperate Layers (nested USDs). As things are edited within the Layers, deltas (aka: changes) are stored allowing you to manipulate anything in the scene non-destructively. Additionally, those Layers can be set to live on an individual layer basis which will show updates in realtime of other users working on either the layer directly or within the same root usd.

Using Layers (Video)

Understanding Layers

Layer Ordering

The effect of Layers (deltas, models and otherwise) are considered in a bottom up fashion. The layer above takes the priority over the layer below on any alterations. You can move Layers up and down freely to give priority.

Layer Types

Layer Types consist of 3 types and are denoted by icons in the layer view. These types are Native, Reference, and Delta.

Layer Type

Layer Icon

Description

Native

icon_native

Native denotes that the layer entity is local to the USD being edited. This means that the mesh, light etc is
embedded in the USD layer directly. For example creating a mesh in a layer will create a native type within that layer
for the mesh. The icon will resemble the type of asset it is.

Reference

icon_reference

Denotes that the file is un-editable directly as it is not native to the USD. Instead it is a link to a resource
existing elsewhere on your Nucleus. Any assets dragged in from the content browser will create a reference for the
referenced mesh. An asset that is a reference will be overlaid with the reference icon.

Delta

icon_delta

Deltas are changes to a layer that get recorded when affecting any assets lower in the layer order then themselves.
These changes do stack and are non destructive. This means that changes on a preceding layer then altered further on
a higher order layer will show the results of both changes. For example, if a lower layer moves an object and a
higher layer changes the material, both the translation and the material change will be visible. An item that has
received a change will be overlaid with the delta icon.

Authoring Layer

When authoring in Layers, it is imperative to set the layer you wish to affect with changes. When set, the layer choosen is called the authoring layer and is denoted in the Layers panel next to the current authoring layer. By default, this will be set to the root layer (highest priority) but can be changed by double clicking the layer you wish to author.

../_images/kit_layers_layerpanel_authoring.png

Layer Panel

The layer panel controls all Layers interactions and should not be confused with the stage panel though there is some visual overlap. The layer panel not only shows the items in the scene but also shows where meshes were created, changed or referenced. The Stage on the other hand only shows objects in the scene.

../_images/kit_layers_layerpanel_overview.png

1. Contextual Search

Used to search for entities in the stage hierarchy.

Note

This search can be very useful in locating all changes on all Layers for a specified mesh, light, etc.

2. Save Layers

The save column allows users to save layers individually while the header icon allows users to save all layers in a single click. Whenever a change is made in a layer and it has not yet been saved, the icon will change colors to blue. If the save icon is grey, this means that the layer(s) are already saved.

../_images/kit_layers_layerpanel_saving_layers.png

3. Local/Global Visibility

Local and global views is specifically useful to multi-user workflows. As a file can have many people working on it simultaneously, these views allow you to hide Layer independantly from what the rest of the users will see. When visibility is changed under Local, visibility only changes for the user. When visibility of a Layers is changed under Global, all users in the file will see the change.

To change from Local and Global View, simple press the L or G buttons respectively. To change a specific layers visibility globally or locally, enable or disable using the Eye icon of the layer in the respective column.

Option

Effect

Global Visibility

Hides and un-hides the specified Layers from all users.

Local Visibility

Hides and un-hides that Layers from the current computer/user.

4. Live

The live controls are managed in the live column. Each layer can be set to live individually while the header icon allows the user to toggle all on, toggle all off, or all always on.

Option

Effect

All Always On

Enabling “All Always On” will result in all layers being live at all times until disabled.

Toggle On

Toggles all layers to be live. Inidividual Layers can then be toggled off by selecting the live icon for that layer.

Toggle Off

Toggles all live off for all layers. Inidividual Layers can then be toggled on by selecting the live icon for that layer.
Referenced Files (video)

5. Layer Options

The layer options give access to optional features for layers.

Option

Effect

Show Layer Contents

Toggles the display of all content generated within layers (deltas, native assets, and references).

Show Session Layer

Toggles the display of the Session Layer.

6. Import SubLayer

Imports any USD files as a SubLayer in the current USD file.

Important

When a USD is imported as a SubLayer, actions done are committed directly to the SubLayers FIle. This can be very dangerous in practice and should be used cautiously. For example, if a mesh is native to the SubLayer and it is deleted, the mesh is deleted from the USD SubLayer file and is permanent. This can result in lost work. As a best practice, it would be wise to instead create a new SubLayer then reference the usd by dragging it in from the file browser. This method will result in changes being considered as deltas on the Layers USD leaving the referenced USD file untouched.

7. Create SubLayer

Creates a new layer in the stage. When clicked will request a location for saving the layer. Once complete a new layer will be appended to the layer list.

8. Delete SubLayer

Removes the current Layer.

Note

If removed, a layer can be brought back by using “import SubLayer” and selecting the removed layer from its saved location.

9. Lock Layers

Layers can be individually locked by selecting the lock icon for the respective the layer. This will restrict the selected Layer from being edited by any other users but is still editable in by the current user.

Merging Deltas

If deltas exist on a layer and you would like to commit those changes permanently, the delta can be merged by dragging it to a layer where deltas already exist for that entity or to the layer where it was originally created.

../_images/kit_layers_layerpanel_merge.png

Right Click Menu

In the layer panel additional functionality can be found for a specified Layer by right clicking and invoking the contextual right click menu.

Option

Effect

Set Authoring Layer

Set the selected Layer to the actively edited layer. All changes will affect this Layer until a new authoring layer is selected.

Remove Layer

Removes the current Layer. If removed, it can be brought back by using “import SubLayer” and selecting the removed layer from its saved location.

Create Layer

Creates a Layer within the selected layer.

Merge Down One

Merges all changes, meshes and deltas into the Layers beneath the selected Layers.

Save As

Allows a layer to be saved with a new name and/or location.

Note

This Save As action does NOT replace the existing Layers with the newly saved one.

Utilities

The utilities Top-Menu allows access to some useful and specialized features and toggles.

Note

If this menu is not visible, be sure to enable the omni.utils.utilities_menu extension in Window > Extension Manager.

Prim Exporter

Prim exporter allows you to export a primitive from a model and store it in a directory of your choosing.

../_images/kit_utility_prim-exporter_export-window.png

Option

Result

Output Directory

Displays the location selected for output.

Select Folder

Opens a browser allowing selection of export location.

Use Current

Use the directory your file is currently stored in.

Save as Single Asset

If multiple prims are exported, this option allows them to be combined into one asset.

Toggles

Toggle Wireframe Mode

Enables and Disables wireframe rendering on selected objects. When an object is drawn in wireframe mode, the material is still applied to the visible wireframe of the object. The thickness of the wireframe lines can be controlled with a setting in the Common Rendering Settings window called ‘Wireframe Thickness’ (in Debug View section)

Toggle Cast Shadows

Enables and Disables casting of shadows by the selected objects.

Toggle Matte Objects

Enables and Disables the treatment of an object as a so-called ‘matte’ object. A matte object can be used in AR/XR setups to collect the lighting contributions caused by non-matte objects in the scene. The lighting collected in this way can then be composited with a background plate or video. The matte object itself will not be visible, only the lighting it receives from non-matte objects is.

Toggle Camera Visibility

Enables and Disables the visibility of an object directly to the camera. When an object is not visible to the camera directly it is still reachable through secondary bounces. Therefore such objects will still appear on mirrors and glossy reflections, and contribute to diffuse interactions.

Stage +Y/+Z Up

Sets the global orientation based on either Y Up or Z up.

Update MDL Schema

Upgrades MDL references to use the most current UsdShade MDL schema (version).

Performance

Overview

Because Omniverse Create uses a full range of RTX capabilities there are some key elements to help with getting your project running its best. There are also optimizations that can benefit specifically one renderer or another. This document is here to shed light on how to keep your projects performance optimal and how to diagnose quickly when things go awry.

Monitoring Tools

The two most important elements we will want to generally watch are GPU Usage and GPU Memory however CPU usage and CPU memory are also possible to be overrun. If any of those hit their limits, performance will suffer. To monitor these stats Create has a built in profiler and some handy tools based on the operating system you are using. Though not critical it is a very good idea and a best practice to leave these tools open and displaying while you work in Create. This way you will see just how much strain any particular action has on your system.

Create Profiler

Create profiler can be access by pressing F8 on your keyboard. Furthermore it offers some very helpful filtering features making it easy to expand or retract your results. The tools we generally use to do this are GPU Nesting and Duration. GPU Nesting filters based on how many levels deep in the call graph you want to see while the Duration Filter is the minimum duration that an entry needs to have to show up in the list. If the process does not meet these criteria they are filtered out. This can be very useful as typically we wont care about micro costs when searching out a performance problem.

Baseline

Kits profiler is a powerful tool and can give you realtime, organized information regarding your project. It also does an excellent job of denoting where the performance cost is being felt.

Windows

Task Manager is a great resource for giving nice clean graphs and can show peak usage on a variety of system information regarding performance.

Task Manager
  1. Click on the Start icon

  2. Type “Task Manager”

  3. In Task Manager, Select the “Performance” Tab

On the left side of this pane you will see various graphs like CPU, Memory and GPU. Select any of these to get a more detailed view of the data. Generally speaking if any of these are spiking or peaking out, you should look into its cause and begin to troubleshoot.

Linux

nvidia-smi is a great resource for giving useful data on linux.

See these document for further information.

Nvidia-SMI

Nvidia-SMI Documentation (PDF)

Getting a Baseline

It is generally good to get a baseline of your performance before starting up your project. A baseline is simply what your computer is looking like before your project is loaded. In any tool mentioned above take a quick note of your memory and gpu usage with just your working tools running but your project not loaded. These are your baseline measurements. Now when you load a project you can be more accurate on the actual cost of your project as you can subtract the baseline cost of whatever tools you may have running.

Baseline Example

Here we can see an example of a baseline. All tools are running but a project is not yet loaded.

Baseline

Now we have a large Project Loaded.

Loaded

To get the actual cost, simply subtract the baseline value from the project loaded value. Calculating from the above example would looks like this…

CPU Utilization of Project (project loaded Utilization - baseline utilization = project cost)

43% - 18% = 25%

Dedicated Memory Used by Project (project loaded Mem Gb - baseline Mem Gb = project cost)

10.7Gb - 7.9Gb = 2.8Gb

Note

This information can be useful to know if you are overcoming a target platform where memory/gpu power is lower than the development system.

Animation

Animation in Create is done primarily through external (content creation / dcc) tools. However, an editing platform and timeline allow for simplifying common tasks is included in Create. This section is intended to introduce and define the usage of the animation tools currently found within Create.

Animation extensions can be toggled from the extension manager. Almost all animation extensions are prefixed with omni.anim.

Animation extensions

Warning

The animation tools are at a very early stage of development and are exposed only to allow animation in the most rudimentary forms within Create. Expect many changes and new additions to this set of features, but in its current state only has limited utility.

Once an animation extension is toggled, a submenu under the Animation menu appears. The current Animation menu looks like the screenshot

Animation Menu

The list of the available tools for the animation pipeline

  1. Timeline

  2. Animation Clips

  3. Animation Constraints

  4. Animation Deformers

  5. TimeSample Editor

  6. Spline Interpolation

  7. Player

Timeline

With plugins enabled the timeline should appear when rolled over in the lower portion of the viewport.

Omniverse Create Timeline

Ref#

Function

Result

1

Play

Moves the play-head from left to right at the speed designated by
the Playback Rate.

2

Stop

Stops the sequence if it is playing.

3

Step

Moves the Play Head forward/back 1 frame.

4

Start Time

Tells the Play Head where to start.

5

Play Head

Allows you to “scrub” the timeline with the play head.

6

Current Frame/Time

Displays the current Play Head frame or time in seconds.

7

End Time

Tells the Play Head when to stop/loop.

8

Loop

If the current time and end time are equal, loop will restart
at the beginning without requiring the user to press play again.

9

Frame/Time

Toggles Frames / Time in all displays and inputs

Note

If the viewport does not display the timeline it may be disabled in the viewport.

Timeline Visibility

Timeline visibility can be toggled in the Main Viewport Visibility Options.

Animation Clips

Clips Menu

Option

Result

Apply Pose

Creates of a Link between the transforms or one asset and another.

Apply Animation

Attaches an animation from a selected clip and applies it to the USD skeleton on your stage.

Settings

Opens the Settings Panel

Settings

Clips Menu

Option

Result

Method

Overwrite creates new layer which overrides animations on existing USD Skeleton.
Reference set priority on the referenced USD Skeleton.

Authoring Layer

The name of your animation layer.

Association

Prioritizes transfer of animation data based on Hierarchy or by Name

Offset

Allows offsetting of animation during importation.

Offset Value

The amount used by Offset.

Scale Value

Stretch or Condense the imported animation’s time.

Filter Attributes

Exclusive filter, Only specified animated properties will be imported

Transformations

Enables or Disables Transform data while importing.

Blendshapes

Enables and Disables Blendshape Animation Data.

Animation Constraints

Constraints Menu

Option

Result

Transform Constraint

Allows you to setup a fixed distance constraint between the Driver and Driven objects.

Transform Constraint

The transform constraint module is included in the extension omni.anim.xform_constraint. It is about to constrain an object to a certain transform. The source of the transform could be a joint of a skeleton, or a Xformable prim.

A transform constraint can be created between two xformable prims with the following steps:

  1. Select two xformable prims. The first one is the master prim while the second one is the slave prim.

  2. Click the Animation/Constraints/Transform Constraint menu to create several ComputeNode typed prims as the children of the slave prim. These ComputeNode prims implement the xformable constraint feature.

  3. Note that the relative transform between the master and slave can be modified after the ComputeNode prims are created.

  4. By checking the computeRelativeTransform attribute in the [slave]/xformConstraint/constraint prim, you are free to move either the master or slave prim. At the time when you uncheck the computeRelativeTransform, the master and the slave will keep the relative transform as is.

../_images/kit_animation_xform_constraint_xform.gif

You can also create a constraint between a skeleton joint and an Xformable. First you need to select a skeleton prim and use the Animation/UsdSkel/Create Skeleton Joint Hierarchy menu to create joint prims under the skeleton prim. Then just follow the same guide as to constrain two Xformables. The only difference is to select joint prim as the master prim.

../_images/kit_animation_xform_constraint_joint.gif

Pin Constraint

Pin Constraint

In the image above, pinConstraint is created to attach the red cube to preexisting jiggly animation.

Pin constraint is used for sticking Xformable onto a point on mesh surface while maintaining its offset. Example use case is for constraining buttons onto deforming cloth.

PinConstraint Attributes

Type

Result

node:type

Token
OmniGraph node type

active

Bool
Main switch for the node

computeRelativeTransform

Bool
Enable edit mode of the node to live update relativeTransform using current pose

input:masterPrim

Relationship
Driver Mesh

input:slavePrim

Relationship
Driven Xformable

input:masterPoints

Point3fArray
Driver Mesh points

baryCoord

Vec3f
Barycentric coordinate of the surface point

triangleIndices

Int3Array
Driver mesh triangle vertex indices to stick the point on

relativeTransform

Matrix4d
Recorded relative pose between the driven and the surface point. Updated by the node when computeRelativeTransform is True.
Create a Pin Constraint

The Pin Constraint menu will create a PinConstraint OmniGraph node under the driven Prim.

  1. Enable omni.anim.pinConstraint extension

  2. Select master Mesh (first) and to be driven Xformable (second).

  3. Click Animation >> Constraint >> Pin Constraint menu

Animation Deformers

Deformers Menu

Option

Result

Create Jiggle

Apply jiggle deformer on each selected Mesh prim

Create Wrap

Apply wrap deformer using first selected Mesh as driver of second selected PointBased prim

Jiggle Deformer

Jiggle deformer is a fast and non physically accurate method to add secondary jiggle bounce deformation to your existing animated character or objects. This deformer currently only support local deformation. Some example use cases of this deformer are:

  • Character belly jiggle

  • Jellyfish wobble

  • Feeler secondary motion

JiggleDeformer Attributes

Type

Result

node:type

Token
OmniGraph node type

input:points

Point3fArray
Points to deform

input:weights

FloatArray
Per point weight

blend

Float
Per object weight multiplier

stiffness

Float
Input points (goal) force

damping

Float
Velocity dampening force

maxDisplacement

Float
Maximum point offset allowed from input points

noiseRatio

Float
Noise weight multiplier to current velocity

noiseOctaves

Float
Perlin noise octave

noiseFrequency

Float
Perlin noise frequency

noiseEnabled

Bool
Enable noise toggle

playbackEvaluation

Bool
Use Timeline playback during evaluation. When enabled, state resets at Timelime start time.

output:points

Point3fArray
Output deformed points
Create a Jiggle Deformer

The Create Jiggle menu will duplicate each selected Mesh prim, apply jiggle deformer to each of duplicated prim while using the original selected prim as driver.

  1. Enable omni.anim.jiggle extension

  2. Select Mesh prims

  3. Click Animation >> Deformer >> Create Jiggle menu

  4. Hide your original Mesh prim

Creating Jiggle Deformer

Wrap Deformer

Wrap Deformer

In the image above, wrap deformer is created to bind the purple sphere Mesh to preexisting point timesampled green cube Mesh animation.

WrapSetup Attributes

Type

Result

node:type

Token
OmniGraph node type

input:points

Point3fArray
Points to deform

input:masterTransform

Matrix4d
Driver prim world transform

input:masterPoints

Point3fArray
Driver Mesh points

input:masterFaceVertexCounts

IntArray
Driver Mesh face vertex counts

input:masterFaceVertexIndices

IntArray
Driver Mesh face vertex indices

input:slaveTransform

Matrix4d
Driven prim world transform

input:faceSpace

Bool
Enable surface space offset

output:faceIndices

Int3Array
Driver Mesh triangle vertex indices

output:baryCoords

Point3f
Barycentric coordinate of each driven point

output:offsets

Point3fArray
Offset vector from driver surface point for each driven point

WrapDeformer Attributes

Type

Result

node:type

Token
OmniGraph node type

input:faceIndices

Int3Array
Driver Mesh triangle vertex indices

input:baryCoords

Point3fArray
Barycentric coordinate of each driven point

input:offsets

Point3fArray
Offset vector from driver surface point for each driven point

input:faceSpace

Bool
Enable surface space offset

input:masterTransform

Matrix4d
Driver prim world transform

input:masterPoints

Point3fArray
Driver Mesh points

input:slaveTransform

Matrix4d
Driven prim world transform

output:points

Point3fArray
Output deformed points
Create a Wrap Deformer

The Create Wrap menu will add a few omniGraph nodes to setup the wrap connection under the driven prim, including the WrapSetup and WrapDeformer nodes.

  1. Select the driver Mesh prim

  2. Then add select the intended driven PointBased prim or another Mesh prim.

  3. Click Animation >> Deformer >> Create Wrap menu

UsdSkel Visualization

Skeleton Visualization Menu Skeleton Visualization

Skeleton visualization can be toggled using menu option Animation/UsdSkel/Show Skeleton. You can also use Show Transform(All) and Show Transform(Selected) menu options in the same sub menu to control how skeleton joint transforms are visulizaed.

Some prims are created to represent skeleton joints and their hierarchy. These prims are created in session layer under their Skeleton prim. After selecting them, you can transform them.

UsdSkel Deformers

Animation UsdSkel Menu

Option

Result

Create Skinning

Create skinning deformer and deformed mesh on each selected Mesh prim

Create BlendShape

Create blendshape deformer and deformed mesh on each selected Mesh prim

Create BlendShape+Skinning

Create both types of deformers and meshes on each selected Mesh prim and stack them

The animation UsdSkel module is included in the extension omni.anim.usdskel.

UsdSkel Skinning

Skeletal mesh animation supported by omni graph.

Origin

Result

Mesh

a deformed Mesh and a _Skinning ComputeNode

Skeleton

_Skeleton_RestPoses ComputeNode

Animation

_SkelAnim_Eval ComputeNode and _SkelAnim_ComposeSkelPoses ComputeNode
Create UsdSkel Skinning

The Skinning menu will duplicate each selected Mesh prim as deformed result.

  1. Enable the extension from the Extension Manager if necessary.

  2. Select Mesh prims

  3. Click Animation >> UsdSkel >> Skinning menu

  4. Hide your original Mesh prim if necessary

../_images/kit_animation_usdskel_skinning.gif

UsdSkel BlendShape

Mesh blend shape animation supported by omni graph.

Origin

Result

Mesh with BlendShape

a deformed Mesh with its BlendShape and a _BlendShape ComputeNode
Create UsdSkel BlendShape

The BlendShape menu will duplicate each selected Mesh prim as deformed result.

  1. Enable the extension from the Extension Manager if necessary.

  2. Select Mesh prims

  3. Click Animation >> UsdSkel >> BlendShape menu

  4. Hide your original Mesh prim if necessary

../_images/kit_animation_usdskel_blendshape.gif

UsdSkel BlendShape+Skinning

Skeletal mesh blend shape and skinning supported by omni graph. It creats new prims from both BlendShape and Skinning process. And additionally, it reconnect _Skinning ComputeNode’s input:restPoint to the _deformed_BlendShape Mesh’s points.

../_images/kit_animation_usdskel_reconnect_points.png
Create UsdSkel BlendShape+Skinning

The BlendShape+Skinning menu will duplicate each selected Mesh prim twice and use the _deformed_Skinning Mesh as the final result.

  1. Enable the extension from the Extension Manager if necessary.

  2. Select Mesh prims

  3. Click Animation >> UsdSkel >> BlendShape+Skinning menu

  4. Hide your original Mesh prim and _deformed_BlendShape Mesh if necessary

../_images/kit_animation_usdskel_blendshapeplusskinning.gif

TimeSample Editor

TimeSample editor is a rudimentary method of creating keyframes in Create. This is expected to change over time and is a temporary utility for users wanting to experiment in Create animation.

Use the Extension Manager under the Window menu to load the omni.anim.timesample_editor extension. You will then see “timesample editor” menu under the Animation menu to toggle this window.

TimeSample Menu
Select Object with this panel open to display keyable attributes.
  • “ANIMATE TRANSFORM” will display if selected object is xformable with USD’s ordered xformOps.

  • “ANIMATE OTHERS” will display additional “animatable attributes” in a menu that can be keyed on selected object.

Use in conjunction with your timeline to scrub and place and remove animation keys. That is, bring the timeline up by hovering over the bottom of your viewport, set an end time for your animation. Then set a time on this timeline using the slider, add a key for the object and adjust it, set another time, add a key and adjust it, etc.

Option

Result

Add Key

Set key on Translate, rotate and scale channels individually.

Remove Key

Removes Selected Key. (“-“ button behind each key-value)

Remove All Keys

Removes all keys for the selected asset.

Goto Key

Click the key label will move timeline to selected key.

Note

Attention for timesample authoring on multiple Layers:

  • If timesample data is in the authoring layer, timesample authoring will directly edit key value in the attributes in current layer.

  • If timesample data is in a weaker layer, timesample authoring will copy the timesample data from weaker layer to current authoring layer first, then apply the authoring.

  • If timesample data is in a stronger layer, timesample authoring for this attribute is disabled.

Spline Interpolation

Spline interpolation is an experimental feature in Create. The first implementation use an OmniGraph pipeline to apply spline interpolation on xformOp’s key-values represented by USD timesample data with internal auto-generated in/out tangents data. Auto tangent generation and Bezier evaluation are completed through Autodesk’s AnimX animation library.

Once selecting an xformable object with scale, euler rotation and translate xformOps in float/double precision, “Enable Xform Spline Interpolation” button will appear at its xformOps attrbutet edit area in timesample editor window. Click this button will generate the OmniGraph pipeline for applying spline interpolation.

Create Xform Spline Interpolation

After xform spline interpolation OmniGraph pipeline is created, you can swith “Linear” or “Beizer” interpolation type for each xformOp.

Switch Interpolation Type

Option

Result

Create Xform spline interplolation

Create the OmniGraph pipeline for applying spline interpolation on Xformable Object.

Switch interpolation type

Switch between “Linear” and “Bezier” interpolation type for each xformOps.

Bezier with auto-tangent is the only supported spline interpolation type now, will add more options and authoring functions in the future.

Player

Anim Player

Provides the ability to play/stop/loop animation in place, independently from the Create timeline. This is useful for semi, or fully interactive experiences, where the stage needs to be populated with multiple animated characters, props, etc. Visually rich and unique motion can be created from limited set of input animation data. The UI exposes functionality of the underlying Player command.

This command conforms to the Create’s Python extensions interface and can be wrapped easily in higher-level logic and functionality. There are no input arguments to it, instead it operates on selected prims in the stage

Note: While the Player extension can be applied to any type of animation data, there is a limitation on the Skeleton Mesh animation in the current version. For the skeleton mesh animation, developers are required to go through the UsdSkel Deformers extension and add a list of ComputeNodes before the Play module behaves correctly.

../_images/main_report_problem.png

Audio

Audio in Create allows for more interactivity in your USD stage. Create’s audio system provides both spatial and non-spatial audio support. Sounds can be triggered at a specific time on the animation timeline, or triggered as needed through python scripts. There are two USD prims that are used to define a stage’s audio - a ‘sound’ and a ‘listener’ prim. Sound prims behave as emitters for sounds. A listener prim is necessary for spatial audio to give a point in space where the audio is intended to be heard from.

Sound Prims

A sound prim represents an object in the world that produces sound. The sound prim can either be a spatial or non-spatial audio emitter. Spatial emitters have a position and orientation in 3D space and are used to simulate the distance from the listener. The sound emitter prims can be attached other objects in the world so that they move around the world with them.

There are multiple ways to create a new sound prim:
  • the ‘Create’ menu in the ‘Audio’ sub-menu,

    Create a Sound Prim From the Create Menu.
  • right clicking in the viewport area, selecting ‘Create’, and using the ‘Audio’ sub-menu, or

    Create a Sound Prim From the Viewport Right-Click Create Menu.
  • by dragging a sound asset from the content browser window to the viewport.

By default, a new sound prim in the stage will be given the same name as its asset. This can be changed at any time from the “Stage” window. A new sound prim that was created using either of the “Create” menus will be given the default name of “Sound”.

Renaming a Sound Prim From the Stage Tree Window.

Each sound prim has the following properties that can affect its playback:

Sound Prim Properties

Usage

Attenuation Range

Defines the range over which the emitter’s sound falls off to silence. The first value is the
up to which there is no attenuation. The second value is the range at which the sound will fall
off to silence. This defaults to the range <0, 100>.

Attenuation Type

Defines how the sound should fall off to silence. This defines the mathematical model for the
fall off calculation. This may be ‘inverse’ for an inverse square fall off, ‘linear’ for a linear
fall off, and ‘linearSquare’ for a linear squared fall off. The default is ‘inverse’.

Aural Mode

Defines how the sound emitter will behave in the world. This may be either ‘spatial’ or
‘non-spatial’. Spatial sounds will render such that they appear to be coming from a specific
location or distance from the listener. A non-spatial sound will render as it was originally
authored. Spatial sounds are usually used for in-world sound effects and non-spatial sounds are
often used for background music or dialogue. The default is ‘spatial’.

Cone Angles

Defines the angles for a cone where the sound can be heard from. This defines an ‘inner’ and
‘outer’ angle for the cone. The cone always sweeps out relative to the emitter’s front vector.
When the line between the listener and this emitter is within the inner cone angle, the sound is
not attenuated. When the line is outside of the outer cone angle, the emitter cannot be heard.
When the line is between the two cone angles, the volume will be adjusted toward silence as it
gets closer to the outer angle. When both these angles are 180 degrees, the emitter is
omni-directional and the cones are disabled. The default is <180, 180>.

Cone Low-pass Filter

Defines low-pass filter parameters to use for the inner and outer cone angles. These parameters
are unitless and indicate the relative amount of filtering that should be performed at each of
the cone angles. Listener to emitter lines that land between the two cone angles will also have
their low-pass filter values interpolated accordingly. A filter parameter of 0.0 indicates that
no filtering should occur. A value of 1.0 indicates that maximum filtering should occur. This
defaults to <0, 0>.

Cone Volumes

Defines the volume levels to use at the inner and outer cone angles. These are normalized volume
levels between 0.0 (silence) and 1.0 (full volume). Listener to emitter lines that land between
the two cone angles will also have their volume value interpolated accordingly. This defaults
to <1.0, 0.0>.

Enable Distance Delay

Defines whether distance delay calculations will be performed for this sound. When enabled, this
will delay the start of playing the sound according to the current speed of sound and the total
distance between the listener and this emitter. This can be ‘on’, ‘off’, or ‘default’. When
set to ‘default’, the global audio settings will control whether these calculations are performed
or not. This defaults to ‘default’.

Enable Doppler

Defines whether doppler shift calculations will be performed for this sound. When enabled, this
will actively calculate and apply a doppler shift factor to the playing sound based on its current
velocity relative to the listener. This can be ‘on’, ‘off’, or ‘default’. When set to ‘default’,
the global audio settings will control whether these calculations are performed or not. This
defaults to ‘default’.

Enable Interaural Delay

Defines whether interaural time delay calculations will be performed for this sound. When
enabled, this will actively calculate and apply a small time delay to the left and right side
speakers depending on the location of this emitter relative to the listener. This can be ‘on’,
‘off’, or ‘default’. When set to ‘default’, the global audio settings will control whether
these calculations are performed or not. This defaults to ‘default’.

Note: this feature is not yet supported in Create.

End Time

Defines the time index at which this sound should stop playing. This time index is relative to
the animation timeline. If this is less than or equal to the “Start Time” value, this sound will
play until its asset naturally ends. This defaults to 0.

File Path

Defines the path to the asset to use for this sound. This may be an Omniverse path or a local path.
The asset will be loaded as soon as possible and cached internally. This defaults to an empty
string.

Gain

Defines the volume level to play this sound at. This is a normalized linear volume level in the
range <0.0, 1.0>. A value of 0.0 indicates silence. A value of 1.0 indicates full volume. This
may also be larger than 1.0 to make the sound louder than it was originally authored at. This may
also be negative to invert the sound. This defaults to 1.0.

Loop Count

Defines the number of times to repeat this sound after it finishes naturally. The sound will always
play at least once. This indicates the number of times it will repeat after that initial play
through. This may be negative to indicate that the sound should loop infinitely. This defaults
to 0.

Media Offset End

Defines the end of the region of the sound to play. This is measured in video frames. This may
be less than or equal to the ‘Media Offset Start’ value to indicate that the sound should play
until its natural end. This defaults to 0.

Media Offset Start

Defines the start of the region of the sound to play. This is measured in video frames. This may
be 0 to indicate the start of the sound. This defaults to 0.

Priority

Defines the relative priority level to use for this sound when deciding which sounds are the most
important to play in the stage. This is ignored as long as their are fewer sounds playing than
there are available sound processing voices. Once there are more playing sounds than voices, this
value along with each sound’s effective volume are used to decide which sounds are most important
to stay active in the stage. This is an arbitrary scale with 0 being the default priority and
larger numbers meaning higher priority levels. Negative values indicate lower than default
priority.

Start Time

Defines the time index at which this sound should start playing. This time index is relative to
the animation timeline using its same scale. This may be negative to indicate that this sound is
only to be dynamically triggered through python scripts. This defaults to 0.

Time Scale

Defines the rate to play back this sound at. This is a scaling factor where 1.0 indicates that
the sound should be played back at its originally authored rate. A value greater than 1.0 will
increase the playback speed and increase the pitch. A value less than 1.0 will decrease the
playback speed and decrease the pitch. This defaults to 1.0.

Each of these prim properties can be adjusted through python scripts at runtime as needed. When modified through the python script, the changes will take effect immediately and affect all future instances of it. Some sounds may want to only be triggered based on interactive events. In these cases, they can still be added as part of the USD stage, but simply set their start time property to -1. These sounds will never be triggered as part of the animation timeline, but can instead be triggered as needed through the python script.

Listener Prims

A listener represents the point in space in the virtual world from which spatial sounds are heard. Its position and orientation affect which sounds can be heard and at which volume levels they are heard at. The listener’s velocity relative to each sound emitter is also used when calculating doppler shift factors.

The listener object can be an explicit object in the USD stage, or it can be implicit from the current camera. Each camera can have a listener attached to it. If a third person view is preferred instead, some situations may be better suited to having the listener attached to the third person character object. This will have effect of hearing the world from that character’s perspective. As with sound emitters, a listener prim can be attached to another prim in the world so that it moves with the other prim.

A listener prim does not strictly need to be created in a USD stage if it is going to be implicitly attached to the active camera. However, if a listener prim is needed, one can be created by:

  • using the ‘Create’ menu in the ‘Audio’ sub-menu.

    Create a Sound Prim From the Create Menu.
  • right clicking in the viewport area, selecting ‘Create’, and using the ‘Audio’ sub-menu.

    Create a Sound Prim From the Viewport Right-Click Create Menu.

By default, a new listener will be given the name “Listener”. This can be changed in the “Stage” window in the same manner as with renaming the sound prims.

Each listener prim has the following properties that can affect its playback:

Listener Prim Properties

Usage

Cone Angles

Defines the angles for a cone where the sound can be heard from. This defines an ‘inner’ and
‘outer’ angle for the cone. The cone always sweeps out relative to the emitter’s front vector.
When the line between the listener and this emitter is within the inner cone angle, the sound is
not attenuated. When the line is outside of the outer cone angle, the emitter cannot be heard.
When the line is between the two cone angles, the volume will be adjusted toward silence as it
gets closer to the outer angle. When both these angles are 180 degrees, the emitter is
omni-directional and the cones are disabled. The default is <180, 180>.

Cone Low-pass Filter

Defines low-pass filter parameters to use for the inner and outer cone angles. These parameters
are unitless and indicate the relative amount of filtering that should be performed at each of
the cone angles. Listener to emitter lines that land between the two cone angles will also have
their low-pass filter values interpolated accordingly. A filter parameter of 0.0 indicates that
no filtering should occur. A value of 1.0 indicates that maximum filtering should occur. This
defaults to <0, 0>.

Cone Volumes

Defines the volume levels to use at the inner and outer cone angles. These are normalized volume
levels between 0.0 (silence) and 1.0 (full volume). Listener to emitter lines that land between
the two cone angles will also have their volume value interpolated accordingly. This defaults
to <1.0, 0.0>.

Orientation From View

Defines whether the orientation of the listener is taken directly from the prim’s orientation or
from the orientation of the camera. If this option is enabled, the orientation will be taken to
match the active camera. If disabled, the orientation will come directly from the listener prim.
This is useful for some third person situations - if the listener does a lot of rotating, the
audio output could be very confusing and disorientating if it comes from the listener’s perspective.
In this case, it might be more friendly to have the listener’s orientation come from the camera
instead. This defaults to enabled.

The active listener for the stage is chosen through the Audio Settings menu described below. By default, the active camera will be the listener. If this is disabled, the active listener can be explicitly chosen. As with sounds prims, all properties of listener prims can be modified from the python scripts as well. This includes dynamically selecting the active listener prim.

Audio Player

Unlike graphics assets such as textures, meshes, etc, audio assets cannot be visually previewed. To handle this, Create provides a simple audio player window that can be used to preview assets before adding them to the USD stage. This audio player can be accessed in one of two ways:

  • by selecting “Audio Player” from the “Window” menu, or

    Audio Player in the Window Menu.
  • by choosing “Play Audio” from the right-click context menu of an audio asset in the Content Browser window.

    Audio Player in the Content Browser.

The audio player has a few simple controls on it:

Audio Player Window.
  • an asset name control and asset picker button. A new asset may be chosen by either typing in its path, or clicking on the file folder button to bring up an asset picker window. When a new asset path is given, the previous asset (if any) will stop playing and be unloaded. Assets from both local storage and Omniverse may be chosen. If an asset fails to load, a failure message will be displayed in red in the window.

  • a timeline to see the progress of playing the sound asset. This includes the length and current position displayed in minutes and seconds. Clicking on the timeline or dragging the slider will reposition the play cursor to a different spot in the asset, but only when in ‘stopped’ mode.

  • a play/pause and stop button. The play/pause button will toggle between the two actions each time it is pressed (while an asset is loaded). When unpaused, playback will resume from the same position it was last paused at. Stopping the playback will reset the current position back to the start of the asset.

Audio Settings

The audio settings window contains several audio settings values that are specific to the current USD stage. These are global settings for the stage that affect the audio behaviour. The window can be opened from the “Window” menu by choosing the “Audio Settings” item.

Audio Settings Window.

Audio Setting

Usage

Active Listener

Defines the path to the prim to use as the active listener for the stage. This setting is
ignored if “use active camera as listener” is enabled. The active listener may be chosen either
by selecting it in the viewport or stage tree then clicking on the “link” button, or by typing
in the prim’s full path. The default is an empty string.

Use Active Camera As Listener

Defines whether to use the active camera as an implicit listener or to use an explicit listener
prim. When enabled, the active listener will always be attached to the active camera using its
same orientation. In this case, the “Active Listener” setting is ignored. When disabled, the
active listener will be selected either through the “Active Listener” setting or from a python
script setting the active listener. The default is enabled.

Doppler Default

The default global behaviour for doppler effect calculations. This will affect all sound prims
that choose the ‘default’ mode for their “Enable Doppler” property. This may be ‘on’ or ‘off’
to affect only the sound prims that use the ‘default’ mode. This may also be set to ‘forceOn’
or ‘forceOff’ to turn doppler calculations on or off for all spatial sound prims regardless of
their “Enable Doppler” property. This defaults to ‘off’.

Distance Delay Default

The default global behaviour for distance delay calculations. This will affect all sound prims
that choose the ‘default’ mode for their “Enable Distance Delay” property. This may be ‘on’
or ‘off’ to affect only the sound prims that use the ‘default’ mode. This may also be set to
‘forceOn’ or ‘forceOff’ to turn distance delay calculations on or off for all spatial sound
prims regardless of their “Enable Distance Delay” property. This defaults to ‘off’.

Interaural Delay Default

The default global behaviour for interaural time delay calculations. This will affect all
sound prims that choose the ‘default’ mode for their “Enable Interaural Delay” property. This
may be ‘on’ or ‘off’ to affect only the sound prims that use the ‘default’ mode. This may
also be set to ‘forceOn’ or ‘forceOff’ to turn interaural delay calculations on or off for
all spatial sound prims regardless of their “Enable Interaural Delay” property. This defaults
to ‘on’.

Concurrent Voices

Defines the maximum number of sounds that can be played simultaneously. This can affect the
overall processing requirements of the stage. This must be at least 1 and less than 4096.
If more sounds than this are active in the scene at any given time, only the ones that are
the loudest or marked as the highest priority will be audible in the stage. This can be
set to an optimal value that balances processing needs and correctness for the stage through
a process of trial and error. This defaults to 64.

Speed of Sound

Defines the speed of sound setting for the stage. This affects doppler and distance delay
calculations for the stage. This is always expressed in meters per second. This defaults
to 340m/s.

Doppler Scale

Defines a scaling value to exaggerate or reduce the effect of doppler shift calculations.
A value of 1.0 means that the calculated doppler shift values should be unscaled. A value
greater than 1.0 means that the effects of the doppler scale calculations should be exaggerated.
A value less than 1.0 means that the effect of the doppler scale calculations should be
reduced. Negative values are not allowed. This defaults to 1.0.

Doppler Limit

Defines a limit for doppler shift factors. This helps to reduce unintentional audio
corruption due to velocities larger than the speed of sound being used in the stage. This
limit is a unitless scaling factor that is non-linearly proportional to the speed of sound
setting. For example, a value of 16.0 is approximately equivalent to a relative velocity
of 95% the speed of sound. A value of 2.0 is approximately equivalent to 50% the speed of
sound. This defaults to 2.0.

Spatial Time Scale

Defines the global time scale value for all spatial sound prims. This is equivalent to changing
the “Time Scale” property on all spatial sound prims, except that it only needs to be managed
from one spot and it doesn’t change the individual time scale values of each sound prim. This
can be used for time global dilation effects and the like. Defaults to 1.0.

Non-Spatial Time Scale

Defines the global time scale value for all non-spatial sound prims. This is equivalent to
changing the “Time Scale” property on all non-spatial sound prims, except that it only needs
to be managed from one spot and it doesn’t change the individual time scale values of each
sound prim. This can be used for time global dilation effects and the like. Defaults to 1.0.

Audio App Preferences

There are some application preferences that can help to control the behaviour of audio output globally in Create. These preferences affect all USD stages loaded in Create. These settings are not stored as part of the USD stage. The app preferences window can be opened by going to the “Edit” menu and choosing “Preferences”. The audio preferences can be found by selecting “Audio” in the sections list on the left.

Audio Application Preferences.

Audio Output Section

Usage

Output Device

Displays a drop-down box containing the names of all audio output devices connected to the system.
This may be used to select the desired device for output in Create. This affects output for the
main USD stage output and all UI audio. Once a device is selected from the list, the “Apply”
button must be pushed to accept the change. Changing both this setting and the speaker
configuration below will cause the output of all open audio contexts to be changed. If the
state of devices attached to the system has changed recently (ie: a new device was connected or
a device was disconnected from the system), the “Refresh” button can be used to collect the new
device list. By default, the system’s default output device will be chosen.

If the selected device is disconnected from the system between launches of Create or the device
list changes between launches, the previously selected device will attempt to be found first
on the next launch. If it is still attached to the system, it will be used. If it could not
be found in the device list, the system’s default output device will be used instead.

Speaker Configuration

Sets the speaker configuration to use for output. All configurations are supported regardless
of the device’s capabilities (ie: a 5.1 configuration is still supported on a stereo device).
In the case the output mode is not directly supported by the selected device, the final output
of the audio system will be downmixed to the device’s preferred configuration. As much of the
original stream as is possible will be preserved in the downmixed output.

If the “auto-detect” configuration is selected, the output will try to match the device’s
preferred format. Note that this could result in extra processing requirements on some devices
due to the larger number of speaker channels.

The “Apply” button must be pushed or Create relaunched after changing this setting for this to
take effect.

Audio Parameters Section

Usage

Auto Stream Threshold

Defines the asset size at which the audio system will decide to stream a compressed audio asset
instead of decompress it into memory. This threshold is expressed in kilobytes. If this is set
to zero the auto-streaming feature will be disabled. If this is set to any larger value, any
compressed audio asset with a decompressed size larger than this threshold will be streamed from
the original compressed object instead of being decompressed. This benefit of this is lower
memory usage. However, streaming sounds does require slightly more processing time. The
default value is 0KB.

Volume Levels Section

Usage

Master Volume

Defines the master volume level for all audio output in Create. All other volume levels are
effectively multiplied by this volume level to get the final overall volume. Setting this to
0.0 will result in silence (though audio data will still be fully processed). Setting this to
1.0 will be full volume. The volume level changes linearly across this range. This defaults to
1.0.

USD Volume

Defines the volume level to be used by all audio for the USD stage audio output. This affects
all spatial and non-spatial sounds. Setting this to 0.0 will result in silence (though audio
data will still be fully processed). Setting this to 1.0 will be full volume. The volume level
changes linearly across this range. This defaults to 1.0.

Spatial Voice Volume

Defines the volume level to be used for all spatial sounds in the USD stage. This volume level
is effectively multiplied by the “USD Volume” level setting as well before output to get the
final volume level for spatial sounds. Setting this to 0.0 will result in silence (though audio
data will still be fully processed). Setting this to 1.0 will be full volume. The volume level
changes linearly across this range. This defaults to 1.0.

Non-spatial Voice Volume

Defines the volume level to be used for all non-spatial sounds in the USD stage. This volume
level is effectively multiplied by the “USD Volume” level setting as well before output to get
the final volume level for non-spatial sounds. Setting this to 0.0 will result in silence
(though audio data will still be fully processed). Setting this to 1.0 will be full volume.
The volume level changes linearly across this range. This defaults to 1.0.

UI Audio Volume

Defines the volume level to be used for all UI audio sounds in Create. This affects all sounds
that go through the omni.Create.uiaudio python interface. Setting this to 0.0 will result in
silence (though audio data will still be fully processed). Setting this to 1.0 will be full
volume. The volume level changes linearly across this range. This defaults to 1.0.

Debug Section

Usage

Stream Dump Filename

Defines the filename to be used when dumping the USD stage audio output to file. This will be
written out in WAVE file format regardless of the extension on the filename. The channel count
and data format will match the current output device’s selected channel count and format. This
file will be written to disk as audio is played and will always try to remain within a few
milliseconds of audio away from what is playing on the device (as close as possible).

The output file must be on a local file volume. Sending output to an omniverse location is not
supported. Once stream dumping is enabled, the output file will be created and it will be
written to as new audio data is produced. The output will continue until stream dumping is
disabled or Create is exited. The default value for this setting is an empty string.

Note that as long as this feature is left enabled, data will continue to be written to the
output file. Since this is written as uncompressed data, this file will tend to grow rather
quickly. For example, a 48KHz stereo floating point signal will write approximately 22MB per
minute. For this reason, the “Enable Stream Dump” setting is not persistent in Create’s user
configuration. It will always be off when Create launches.

Enable Stream Dump

Defines whether stream dumping is currently enabled. As soon as this is enabled and a valid
filename is selected in “Stream Dump Filename”, writing to the output file will begin. Stream
dumping will continue until this setting is disabled or Create is exited. This setting does not
persist in Create’s user configuration. It will always be disabled on a fresh launch of Create.
../_images/main_report_problem.png

Micro Services

Note

The micro services framework within Create is still under development.

Micro services allow the decoupling, distribution and scaling of Create extensions. Through them it is possible to combine and build applications that can run locally but also distributed across machines, clusters and Kubernetes.

At the core they are simple functions that, with simple principles and annotations, can be made into highly decoupled and flexible applications that at its core are built to be distributable and scalable.

Fundamentals

Create Control port

Omniverse Create ships with a Control Port extension. When enabled, it spins up a server within Create that can receive requests. At the time of writing, this is an HTTP server but other implementations can and are being added. By default it will run on port 8011 and the available API’s are visible on http://localhost:8011/docs

The control port extension is at the heart of Create based micro services and allows the flexibility of micro-services and the power of Create extensions to be combined.

Endpoints

Endpoints are the path/location underwhich the API is exposed. Create does not impose a type of API so users are able to build fully REST based APIs or Interactive, RPC etc. ones. The specification for the API is generated and uses OpenAPI.

Routers

Routers, although not required, allow the grouping and management of multiple endpoints. This becomes increasingly important and useful as services grow. It simplifies the organistion and management of services creating a logical object under which endpoints are combined. They also allow the registration of facility type objects.

Facilities

By default services are stateless, this is something that is critical for services to be distributed and scalable. However, certain objects like task DB connections, configuration, task queues are generally stateful and for speed, efficiency are reused. To do this, facilities are added. They are registers with routers on startup and can be injected into the functions that need them. This also allows componitisation making it possible to change how services are running depending on the environment they are running in.

Getting started

Alongside the installation of the Create executable there is a Create-services executable:

run Create-services.bat --help

Usage: Create-services [OPTIONS] COMMAND [ARGS]...

  Create based micro services

Options:
  --config-file PATH  Omniverse config file
  --help              Show this message and exit.

Commands:
  build  Build docker container for given service
  init   Set up a service from scratch
  run    Run service

There are currently 3 options: - init - run - build

Basic service

A basic service is really just a python script with some functions in them. They can use Create extensions but are not an extension themselves. They are easy to start and great to get started and seeing what is possible. For larger services, ones that need to packaged and deployed, it is better to use Extension based services

For an example and documentation on extension based services, there are several tutorials here:

Creating a new service:

Create-services init

Usage: Create-services init [OPTIONS] PATH

  Initialise a service.

  [PATH] will be used as the location to create the service

Options:
  --help  Show this message and exit.

Create-services init takes a path where the service will be created. The last part of the path will be used as the service name for now. If the folder already exists it will not override it.

The standard init will generate a folder as well as a Dockerfile that can be used as part of the build step.

The default service is not an extension but mainly a python file. It does however allow the usage of other extensions.

After the creation of the service the cli will indicate how to run it.

Running a service:

Create-services run

Usage: Create-services run [OPTIONS]

Options:
  --address TEXT
  --port INTEGER
  --service TEXT
  --help          Show this message and exit.

Create-services run takes a few parameters, none are mandatory but to run a basic service --service is needed. For a basic service, --service should point to the python file that holds the function.

By default the service will run on port 8012 and bind to address 0.0.0.0.

Building a docker container from a service:

Create-services build

Usage: Create-services build [OPTIONS]

Options:
  --docker-file-path PATH  Directory holding the Dockerfile
  --tag TEXT               Docker image tag
  --push TEXT              Push resulting build to a docker registry
  --help                   Show this message and exit.

Create-services build will turn a service into a docker container for it to run ‘everywhere’ By default it will use the current working directory but --docker-file-path can be given and should point to the folder containing the Dockerfile. --tag can be given to tag the docker container and passing in --push will push it to the registry.

..note:: if --push is specified then --tag will need to be

specified and should hold the location of the registry.

The Dockerfile that was generated can be changed and modified for the service’s need but by default copies the service files and spawns the service when executed.

..note:: On windows. if Create-services build fails with an error

about docker-credential-gcloud not found the deamon config will need to be changed. Within C:Users$USER.dockerconfig.json remove the entries within credHelpers pointing to gcloud and restart the docker daemon

Running the docker container

Currently Create-services does not support running Create based services via docker containers. This is because docker-py currently does not support passing through GPU configuration. But given the docker tag or image id it is trivial to spin up the service using docker itself:

docker run --gpus all -it -p 8012:8012  <tag/image-id>

..note:: Running containers on windows:

Currently docker for windows with –gpus currently isn’t supported and so a linux machine is required to run the resulting docker image.

Using the service.

By default a API doc page is spun up at:

http://localhost:8012/docs

It is possible to excercise the API from that webpage. By using the Try it out feature within the different endpoints.

A python client is in the works but for the time being using aiohttp or requests it is possible to call the service from within python. An example snippet:

import requests
kit_server = "localhost:8012"
session = requests.Session()
result = session.post(f"http://{kit_server}/ping").json()

Extension based services

Extension based services are the recommended way of building services that need to be packaged and shipped. It uses the same build pipeline as usual Create extensions and could be hosted in the extension library for others to use.

They are just as easy to write as the basic service. For an example and documentation there are several tutorials available here:

RTX Render Settings

You can fine tune the Omniverse RTX renderer’s behavior using a variety of rendering settings, which can help you balance quality and performance depending on your needs.

There are four sets of rendering settings that affect the Omniverse RTX Renderer:

  • Common Rendering Settings: affects multiple renderers and render modes.

  • Post Processing Settings: affects multiple renderers and render modes

  • Real-Time Mode Settings

  • Path-Traced Mode Settings

These settings are separated into separate windows for easier access.

Common Rendering Settings

This panel allows users to edit settings common to multiple renderers.

Setting

Effect

Reset All RTX Settings

Click to reset all RTX render settings to default values.

Renderer

Setting

Effect

Tangent Frame Generation Mode

choose between generating tangents on the CPU using mikktspace, or on the GPU using a simplified algorithm

MDL Animation Time Override

allows manually overriding the time value provided to MDL materials

Subdivision

Setting

Effect

Refinement Level

Incremental values increase mesh count by a power of 4.

Feature-adaptive Refinement

Feature-adaptive refinement automatically increases or reduces refinement level based
on geometric features. This reduces the number of polygons used in flat areas for example

Clear Refinement Overrides

Clears all refinement levels overridden on individual meshes

Debug View

Setting

Effect

Render Target

Selects the name of the Debug render target to visualize

Output Value Scaling

Scales each per-pixel output value by this factor

Wireframe Thickness

Changes the thickness of the wireframe used when a primitive is flagged to be render
in wireframe mode. Does not affect the Wireframe mode selectable in the ‘Render Target’ dropdown menu

Ray Tracing

Setting

Effect

Ray Offset (0 = auto)

Configurable ray offset to apply at every bounce. The default value of 0 uses an automatic offset that should work well in most circumstances.

Shadow Bias

Configurable offset to apply to the shadow ray origin along the surface normal. Helps reduce self-shadowing artifacts in low polygon geometry.

Enable FP32 Radiance Target

Forces any renderer to use 32-bit floating point values to store radiance

Dome Light Material Baking Resolution

Select a ‘power of two’ cubemap face resolution to use when baking the material bound to a Dome Light (if any) to a cubemap

Skip Most Lights

Makes the renderer skip all lights except the first Distant light and first Dome light

Real-Time Fog

Setting

Effect

Enable Real-Time Fog

Enables the use of a simple and fast exponential fog approximation available in both real-time and path-traced mode

Color

The color or tint of the fog volume

Intensity

The intensity of the fog effect

Height-based Fog - Use +Z Axis

Use positive Z axis for height-based fog calculations. Otherwise use the positive Y axis

Height-based Fog - Plane Height

The starting height (in meters) for height-based fog

Height Density

Density of the height-based fog

Height Falloff

Rate at which the height-based fog falls off

Enable Distance-based Fog

Enable distance based fog

Distance Density

How dense the fog is at the ‘End Distance’

Start Distance to Camera

Distance from the camera at which the fog begins

End Distance to Camera

Distance from the camera at which the fog achieves maximum density

Flow

Setting

Effect

Enable Flow

Enables simulation and rendering of Flow volumes

Max Blocks

Maximum number of Flow volume blocks

Throttle Rendering

Setting

Effect

Skip while minimized

If set, rendering is skipped while the window is minimized

Yield ‘ms’ while in focus

Number of milliseconds to yield the CPU every frame while the window is in focus. Can improve UI interactivity

Yield ‘ms’ while not in focus

Number of milliseconds to yield the CPU every frame while the window is not in focus. Can improve interactivity of other applications.

Post Processing Settings

Post Processing effects allow real-time correction and manipulation of the rendered image/pixels.

Tone Mapping

Setting

Effect

Tone Mapping Operator

Allows selection of the Tone Mapping Method. All operators except Clamp apply the exposure adjustment based on the parameters below or the results of the auto-exposure feature.
Clamp: leaves the radiance values unchanged, skipping any exposure adjustment
Linear: applies the exposure adjustment but leaves the color values otherwise unchanged
Reinhard: operator based on Erik Reinhard’s tone mapping work
Reinhard (modified): variation of the operator based on Erik Reinhard’s tone mapping work
HejiHableAlu: John Hable’s ALU approximation of Jim Heji’s operator
HableUC2: John Hable’s Uncharted 2 filmic tone map
ACES: operator based on the Academy Color Encoding System
Iray: Reinhard-based operator that matches the operator used by NVIDIA Iray by default

cm^2 Factor

Use this factor to adjust for scene units being different from centimeters

White Point

A color that will be mapped to white on the output

Film ISO

Simulates the effect on exposure of a camera’s ISO setting

Camera Shutter

Simulates the effect on exposure of a camera’s shutter open time

f-Number / f-Stop

Simulates the effect on exposure of a camera’s f-Stop or f-Number aperture

Modified Reinhard Settings

Effect

Max White Luminance

Maximum HDR luminance value that will map to 1.0 post tonemap

HableUC2 Settings

Effect

White Scale Value

Maximum white value that will map to 1.0 post tonemap

Iray

Effect

Crush Blacks

When the upper part of the dynamic range becomes compressed it naturally loses some of it’s former contrast, and one often desires to regain some “punch” in the image by using the Crush Blacks parameter. When 0, the lower intensity range is linear, but when raised towards 1, a strong “toe” region is added to the transfer curve so that low intensities get pushed more towards black, but in a gentle fashion.

Burn Highlights

Burn Highlights can be considered the parameter defining how much “over exposure” is allowed. As it is decreased from 1 towards 0, high intensities will be more and more “compressed” to lower intensities. When it is 0, the compression curve is asymptotic, i.e. an infinite input value maps to white output value, i.e. over-exposure is no longer possible. A good default value is 0.5.

Burn Highlights per Component

Specifies how the Burn Highlights parameter is applied to the different color components. By default it is applied separately to all channels, which can lead to saturation loss though. Disabling the parameter applies the Burn Highlights to the luminance, keeping the output color as close as possible to the input color.

Burn Highlights Max Component

When not using ‘Burn Highlights per Component’, if ‘Burn Highlights Max Component’ is enabled, the maximum value across the R, G and B channels is used in the Burn Highlights computation. Otherwise the overall luminance is used.

Saturation

Compressing bright color components inherently moves them towards a less saturated color. Sometimes, very strong compressions can leave the image in an unappealingly de-saturated state. The saturation parameter allows an artistic control over the final image saturation. 1.0 is the standard “unmodified” saturation, higher increases and lower decreases saturation.

Auto Exposure

Setting

Effect

Enable Auto Exposure

Enable a histogram-based approach to automatic exposure compensation

Min Log Luminance

Minimum luminance value

Log Lum Range

Overall luminance range

Adaptation Speed

How fast automatic exposure compensation adapts to changes in overall light intensity

Color Correction

Setting

Effect

Enable Color Correction

Enable color correction

Output Color Space

Defines the color space used as output of Color Correction
sRGB Linear: scene linear space
AcesCG: ACES CG color space

Saturation

Higher values increase color contrast while lowering desaturates

Contrast

Higher values increase the separation of darks/lights and colors

Gamma

Gamma value in inverse gamma curve applied before output

Gain

Gain / brightness: a factor applied to the color values

Offset

Color offset: an offset applied to the color values

Color Grading

Setting

Effect

Enable Color Grading

Enables / Disables Color Grading effects

Output Color Space

Defines the color space used as output of Color Grading
sRGB Linear: scene linear space
AcesCG: ACES CG color space

Black Point

Defines the Black Point Value

White Point

Defines the White Point Value

Contrast

Higher values increase the separation of darks/lights and colors

Lift

Color is multiplied by (Lift - Gain) and later Lift is added back

Gain

Color is multiplied by (Lift - Gain) and later Lift is added back

Multiply

A factor applied to the color values

Offset

Color offset: an offset applied to the color values

Gamma

Gamma value in inverse gamma curve applied before output

XR Alpha and Video Compositing

Setting

Effect

XR Alpha and Video Compositing

Enables a pass for use with CloudXR streaming and SDI-video compositing (experimental)

Chromatic Aberration

Setting

Effect

Chromatic Aberration

Enable chromatic aberration

Strength Red

The strength of the distortion applied on the Red channel

Strength Green

The strength of the distortion applied on the Green channel

Strength Blue

The strength of the distortion applied on the Blue channel

Algorithm Red

Selects between Radial and Barrel distortion for the Red channel

Algorithm Green

Selects between Radial and Barrel distortion for the Green channel

Algorithm Blue

Selects between Radial and Barrel distortion for the Blue channel

Use Lanczos Sampler

Use a Lanczos sampler when sampling the input image being distorted

Depth of Field

Setting

Effect

Override Camera DOF

Overrides settings on the camera and uses Dept-of-Field settings below for ALL cameras

Enable DOF

Enables Depth of Field calculations

Subject Distance

Objects at this distance from the camera will be in focus

Focal Length

The focal length of the lens (in mm). The focal length divided by the f-number is the aperture diameter.

f-Number / f-Stop

f-number or f-stop (aperture) number of the lens. Lower f-stop numbers decrease the distance range from the Subject Distance where objects remain in focus

Anisotropy

Anisotropy of the lens. A value of -0.5 simulates the depth of field of an anamorphic lens

Motion Blur

Setting

Effect

Enable Motion Blur

Enable post-processing motion blur effect

Blur Diameter Fraction

The fraction of the largest screen dimension to use as the maximum motion blur diameter

Number of Samples

Number of samples to use in the filter

Exposure Fraction

Fraction of exposure (shutter open) time to sample

FFT Bloom

Setting

Effect

FFT Bloom

Enables FFT bloom effect

Scale

Overall intensity of the bloom effect

Cut Off Point

Controls the Cutoff Color to allow fine tuning of Bloom Calculations.

Energy Constrained

Constrains the Total Light Energy Generated by Bloom.

Physical Settings

Enables a more physically accurate bloom effect using a more physical model

FFT Bloom Physical Settings

Effect

Number of Blades

The number of physical blades of a simulated camera diaphragm causing the bloom effect

Aperture Rotation

Rotation of the camera diaphragm

Sensor Diagonal

Diagonal of the simulated sensor

Sensor Aspect Ratio

Aspect ratio of the simulated sensor, results in the bloom effect stretching in one direction

f-Number / f-Stop

Increase/Decrease sharpness of the bloom effect

Focal Length (mm)

Focal length of the lens modeled to simulate the bloom effect

FFT Bloom Non-Physical Settings

Effect

Halo Radius

Radius of the bloom halos

Halo Flare Falloff

How sharp or soft the falloff of the halos is

Halo Flare Weight

Amount of halo flare perceived

Aniso Flare Falloff Y

Anisotropic flare falloff in the Y axis

Aniso Flare Falloff X

Anisotropic flare falloff in the X axis

Aniso Flare Weight

Amount of anisotropic flare perceived

Isotropic Flare Falloff

Isotropic flare falloff

Isotropic Flare Weight

Amount of usotropic flare perceived

TV Noise

Setting

Effect

TV Noise

Enables a TV Noise effect

Enable Scanlines

Emulate a Scanline Distortion typical on old televisions

Scanline Spreading

How wide the Scanline distortion will be

Enable Scroll Bug

Emulates scanline sliding typical on old televisions

Enable Vignetting

Blurred darkening around the screen edges.

Vignetting Strength

How heavy/strongly the darkening of the Vignette will be

Enable Vignette Flickering

Enable a slight movement/flicker effect on the Vignette

Enable Ghost Flickering

Introduces a blurred flicker to help emulate an old television

Enable Wavy Distortion

Introduces a Random Wave Flicker to emulate an old television

Enable Vertical Lines

Introduces random vertical lines to emulate an old television

Enable Random Splotches

Introduces random splotches typical of old dirty television

Film Grain

Setting

Effect

Enable Film Grain

Enables a film grain effect to emulate the graininess in high speed (ISO) film

Grain Amount

The intensity of the film grain effect

Color Amount

The amount of color offset each grain will be allowed to use

Luminance Amount

The amount of offset in luminance each grain will be allowed to use

Grain Size

The size of the film grains

Path-Traced Mode Settings

Path Trace specific render settings.

Path-Tracing

Setting

Effect

Reset PT Accum on Anim Time Change

If enabled, the Path Tracer accumulation is restarted every time the MDL animation time changes

Max Bounces

Maximum number of bounces in a path

Max Bounces for Specular & Transmission

Maximum number of bounces for specular and transmission events

Max Volume Scattering Bounces

Maximum number of bounces for volume scattering within a volume

Samples Per Pixel per Frame (1 to 32)

Total number of samples used for each rendered pixel in one frame (update)

Total Samples per Pixel (0 = infinity)

Maximum number of samples to accumulate per pixel. When this is reached rendering stops. Set to 0 to remove this limit

Enable Firefly Filter

Enables removal of “firefly” artifacts

Max Ray Intensity

The maximum light intensity (in radiance units) that can be contributed along any one ray when the firefly filter is enabled

Optix Denoiser

Enable to Quickly Resolve Images.

Optix Denoiser Blend Factor

Blends Denoise and Rendered Image Based On Input Value.

Anti-Aliasing Sample Pattern

Sampling pattern used for the purposes of Anti-Aliasing. Select between Box, Triangle and Gaussian

Anti-Aliasing Radius

Size of the sampling footprint to use when generating samples using the selected antialiasing sampling mode

Enable Multi-GPU

Enables use of multiple GPUs when available

Multi-GPU - GPU 0 Weight

The amount of total path tracing work (between 0 and 1) to be performed by the first GPU in a Multi-GPU configuration

Note

While using a higher number of bounces increases accuracy of the final image, it can quickly reduce performance while achieving diminishing returns in terms of image quality.

Light Sampling

Setting

Effect

Show Lights

When enabled, lights are directly visible to the camera. Otherwise only their lighting contribution to the scene is visible

Enable Dynamic Light Culling

Improves light sampling in the presence of many lights, reducing noise with the same amount of samples

Light Culling Precision

A higher value results in higher precision, at a potential higher GPU memory cost

Path-Traced Fog

Setting

Effect

Enable Path-Traced Fog

Enables Path-Traced fog using volume absorption and scattering simulation with a Henyey-Greenstein phase function

Max Bounces

Maximum number of bounces of volume scattering

Scattering

Scattering coefficient of the fog volume

Absorption

Absorption coefficient of the fog volume

Asymmetry

The asymmetry of the Henyey-Greenstein phase function (g parameter)

Height

The maximum height of the fog volume

Use +Z Axis for Height

If set the volume height is considered along the positive Z. Otherwise use the positive Y axis

Cached Path-Tracing

Setting

Effect

Enabled Cached Path-Tracing

Enable to improve performance, in particular on interior scenes with a lot of indirect light

Distance Threshold

Rays with length below this threshold (in scene units) do not use cached path tracing. Prevents light leaks

Voxel Size

The size of the voxels used to cache information

Debug

Setting

Effect

Russian Roulette Depth for Volume Scattering

Randomly terminates volume scattering paths after this number of bounces

Russian Roulette Depth

Randomly terminates paths after this number of bounces

OptiX Denoiser HDR intensity (0 = auto)

Adjusts the average light intensity used by the OptiX Denoiser.

Enable Resampled Importance Sampling

Experimental: may help reduce noise on scenes with many lights. Can be combined with Dynamic Light Culling

Resampled Importance Sampling Probes

Number of samples to use in Resampled Importance Sampling

Resampled Importance Sampling MIS Weight

Changes the weight between shadow and reflection rays when using Resampled Importance Sampling

Cached Path-Tracing - Debug View

Enables a Debug Visualization of the Cached Path Tracing voxels

Cached Path-Tracing - Enable Jitter

Enables jittering for Cached Path-Tracing

Cached Path-Tracing - Temporal Reuse

The length, in frames, of the temporal reuse window for Cached Path-Tracing

Cached Path-Tracing - Temporal Alpha

The weight applied to new cache contributions every frame, relative to contributions from previous frames

Cached Path-Tracing - Max Eviction Age

The maximum number of frames that a value in the cache should be held after it is generated

Realtime Mode Settings

Realtime Mode Specific Settings.

Anti-Aliasing

Setting

Effect

Algorithm

Anti-Aliasing Method
TAA: High Quality Anti-Aliasing
FXAA: High Performance Anti-Aliasing
None: Disables Anti-Aliasing

TAA Samples

Higher Samples Increases Anti-Alias Quality at the Cost of Performance.

TAA History Scale

Longer History Increases Performance

FXAA Sub-Pixel quality


FXAA Edge Threshold


FXAA Edge Threshold Min


Direct Light

Setting

Effect

Enable Direct Lighting

Enable direct contributions from light primitives

Shadows

Enable shadows from light primitives

Shadow Samples per Pixel

Higher values increase the quality of Direct Light Shadows at the cost of some performance

Lower Resolution Denoiser

Enable for better performance by reducing the resolution of the per-light shadows denoiser

Dome Light

Setting

Effect

Enable Dome Lighting

Enable dome light contributions to diffuse BSDFs in real-time mode

Samples per Pixel

Samples per pixel to use when sampling the Dome Light

Denoising Technique

Select between: Off (no denoising), SVGF, OptiX AI denoiser and Indirect Diffuse Denoiser

Visible in Reflections

Enable dome light contributions to secondary bounces in reflections in real-time mode

Reflections

Setting

Effect

Enable Reflections

Enable reflection

Max Roughness

The maximum roughness of the GGX BSDF beyond which no reflections are computed

Max Reflection Bounces

Number of reflection bounces

Lower Resolution Reflections

Enable to increase performance by performing reflections computation at lower resolution

Enable Denoiser

Removes reflection noise at the cost of performance.

Translucency

Setting

Effect

Enable Translucency

Enables translucency for specular transmissive surfaces such as glass

Max Refraction Bounces

Maximum number of refraction bounces

Secondary Bounce Reflection Cutoff

Control when we trace reflection rays from refraction bounces based on how much the reflection contribution will be noticed

Indirect Diffuse Light

Setting

Effect

Ambient Light Color

The Color of the Generalized Lighting

Ambient Light Intensity

Brightness of the Generalized Lighting

Ambient Occlusion (AO)

Enables the use of Ambient Occlusion, which approximates the occlusion

AO - SqRt of Temporal Window Length

The square root of the number of AO frames to reuse temporally. I.e.: if set to 2, 4 frames are used

AO - Minimum Samples Per Pixel

The lowest number of AO samples (rays) to trace per frame

AO - Maximum Samples Per Pixel

The highest number of AO samples (rays) to trace per frame

AO - Ray Length

The length of the AO rays traced. Geometry beyond this distance will not result in AO-based darkening

Indirect Diffuse GI

Enables Diffused Global Illumination

Indirect Diffuse GI - Intensity

A scale factor applied to the radiance values computed by the Indirect Diffuse GI algorithm

Indirect Diffuse GI - Max Bounces

The maximum number of Diffuse Global Illumination Bounces. Greater numbers increase accuracy at a performance cost

Indirect Diffuse GI - Lower Resolution

Enable to increase performance by performing Indirect Diffuse GI computations at lower resolution

Note

Settings regarding bounces should be adjusted carefully. They do increase accuracy of the final image, however they can very quickly can diminish performance.