Post-Processing

Post Processing effects allow real-time manipulation of the rendered image in a variety of ways.

Tone Mapping

Setting	Effect
Tone Mapping Operator	Tone Mapping Operator selector.
Clamp	Leaves the radiance values unchanged, skipping any exposure adjustment.
Linear	(Off): Applies the exposure adjustments but leaves the tone values otherwise unchanged.
Reinhard	Operator based on Erik Reinhard’s tone mapping work.
Modified Reinhard	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.
Shutter Speed (1/x)	Simulates the effect on exposure of a camera’s shutter open time, expressed as a fraction of a second.
Film ISO	Simulates the effect on exposure of a camera’s ISO setting.
F-stop	Simulates the effect on exposure of a camera’s f-stop aperture.
White Point	A color mapped to white on the output.
sRGB To Gamma Conversion	Available with Linear/Reinhard/Modified Reinhard/HejiHableAlu/HableUc2 Tone Mapping.
Tone Mapping Color Space	Tone Mapping Color Space selector.
Wrap Value	Offset
Dither Strength	Removes banding artifacts in final images.

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 its 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
Auto Exposure	Enables a histogram-based automatic exposure compensation.
Histogram Filter	Select a method to filter the histogram. Options are Median and Average.
Adaptation Speed	How fast automatic exposure compensation adapts to changes in overall light intensity.
White Point Scale	Controls how bright of an image the auto-exposure should aim for. Lower values result in brighter images, higher values result in darker images.
Exposure Value Clamping	Clamps the exposure to a range within a specified minimum and maximum Exposure Value.

Color Correction

Setting	Effect
Color Correction	Enable color correction.
Mode	Choose between ACES (Pre-Tone mapping) or Standard (Post-Tone mapping) mode.
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 saturation while lowering desaturates.
Contrast	Higher values increase the contrast of darks/lights and colors.
Gamma	Gamma value in inverse gamma curve applied before output.
Gain	A factor applied to the color values.
Offset	An offset applied to the color values.

Color Grading

Setting	Effect
Color Grading	Enables Color Grading effects.
Mode	Choose between ACES (Pre-Tonemap) or Standard (Post-Tonemap) Mode.
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 contrast 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.

Compositing

Setting	Effect
Compositing	Enables Compositing.
Composite in Editor	Enables alpha compositing with a backplate texture, instead of outputting the rendered image with an alpha channel for compositing externally, either by saving to EXR images or outputting the rendered image to a Cloud XR stream.
Output Alpha in Composite Image	Outputs the matte compositing alpha in the composited image. Only activates when not compositing in editor.
Output Black Background in Composited Image	Outputs a black background in the composited image. Only activates when not compositing in editor.
Multiply Color Value by Alpha in Composited Image	When enabled, the RGB color will be RGB * alpha.
Backplate Color	A constant color used if no backplate texture is set.
Backplate Texture	The path to a texture to use as a backplate.
Is linear	Sets the color space for the Backplate Texture to linear space.
UV Sampler	Determines the texture lookup behavior: Clamp clamps the lookup coordinate, Repeat repeats the texture, Repeat Mirror repeats the texture but mirrors it for every second instance of the texture.
Luminance Scale	Scales the Backplate Texture luminance.
Lens Distortion	Enables distortion of the rendered image using a set of lens distortion and undistortion maps. Each of these should refer to a <UDIM> EXR texture set, containing one image for each of the discrete focal length values specified in the array of float settings under /rtx/post/lensDistortion/lensFocalLengthArray (not currently exposed).
Distortion Map	<UDIM> EXR texture path to store the distortion maps for specified focal lengths.
Undistortion Map	<UDIM> EXR texture path to store the un-distortion maps for specified focal lengths.

Matte Object

The Matte Object post-process allows rendering invisible objects which still receive shadows and secondary illumination (reflections, AO, global illumination), usually used in combination with a textured domelight or a backplate.

The post-process must be enabled to render matte objects. For a mesh geometry to be rendered as a matte object, its Matte Object flag must be enabled.

Setting	Effect
Matte Object	Allows rendering invisible objects which still receive shadows and secondary illumination (reflections, AO, global illumination), usually used in combination with a domelight or a backplate.
Shadow Catcher	Treats all matte objects as shadow catchers. Matte objects receives only shadow and not reflections or GI, which improves rendering performance.
Matte Object Fade Out	To allow matte object gradually blend into the background.
Matte Object Composite Shift	Manually bias the matte object compositing so that it blends into the background better.
Matte Object Composite Contrast	Manually increase the contrast of matte shadow.

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
Depth of Field Camera Overrides	Overrides settings on the camera and uses Dept-of-Field settings below for ALL cameras.
Enable DOF	Enables Depth of Field. If disabled, camera parameters affecting Depth of Field are ignored.
Subject Distance	Objects at this distance from the camera will be in focus.
Focal Length (mm)	The focal length of the lens (in mm). The focal length divided by the f-stop is the aperture diameter.
F-stop	F-stop (aperture) 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
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.
Exposure Time Fraction	Exposure time fraction in frames (1.0 = one frame duration) to sample.
Number of Samples	Number of samples to use in the filter. A higher number improves quality at the cost of performance.

FFT Bloom

Setting	Effect
FFT Bloom	Enables FFT bloom effect
Scale	Overall intensity of the bloom effect.
Cutoff Point	A cutoff color value to tune the radiance range for which Bloom will have any effect. Values below the Cutoff Point will not contribute to Bloom.
Cutoff Fuzziness	If greater than 0, defines the width of a ‘fuzzy cutoff’ region around the Cutoff Point values. Instead of a sharp cutoff, a smooth transition between 0 and the original values is used.
Energy Constrained	Constrains the total light energy generated by bloom.
Physical Settings	Enables a more physically accurate bloom model.

Physical Settings	Effect
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-stop	Increases/Decreases the sharpness of the bloom effect.
Focal Length (mm)	Focal length of the lens modeled to simulate the bloom effect.

Non-Physical Settings	Effect
Halo Radius	Controls the size of each RGB component of the halo flare effect.
Halo Flare Falloff	Controls the falloff of each RGB component of the halo flare effect.
Halo Flare Weight	Controls the intensity of the halo flare effect.
Anisotropic Flare Falloff X/Y	Controls the falloff of each RGB component of the anisotropic flare effect in the X/Y direction.
Anisotropic Flare Weight	Control the intensity of the anisotropic flare effect.
Isotropic Flare Falloff	Controls the falloff of each RGB component of the isotropic flare effect.
Isotropic Flare Weight	Control the intensity of the isotropic flare effect.

TV Noise & Film Grain

Setting	Effect
TV Noise & Film Grain	Enables a TV Noise and Film Grain effects
Scanlines	Emulates a Scanline Distortion typical of old televisions.
Scanline Spreading	How wide the Scanline distortion will be.
Scroll Bug	Emulates sliding typical on old televisions.
Vignetting	Blurred darkening around the screen edges.
Vignetting Size	Controls the size of vignette region.
Vignetting Strength	Controls the intensity of the vignette.
Vignette Flickering	Enables a slight flicker effect on the vignette.
Ghost Flickering	Introduces a blurred flicker to help emulate an old television.
Wavy Distortion	Introduces a Random Wave Flicker to emulate an old television.
Vertical Lines	Introduces random vertical lines to emulate an old television.
Random Splotches	Introduces random splotches typical of old dirty television.
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.

ReShade

ReShade post-processing are supported. A collection of freely ReShade shaders available online and can be downloaded from crosire/reshade-shaders For more information about ReShade visit https://reshade.me/

Setting	Effect
Preset File Path	The path to a preset.init file containing the Reshade preset to use.
Effect Search Directory Path	The path to a directory containing the Reshade files that the preset can reference.
Texture Search Directory Path	The path to a directory containing the Reshade texture files that the preset can reference.