RTX Post Processing Settings

Post Processing effects allow real-time manipulation of the rendered image in a variety of ways, including exposure adjustment, tone mapping, color grading, color correction, depth of field, motion blur, bloom and more.

Tone Mapping

Setting	Effect
Tone Mapping Operator	Select 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
Enable sRGB To Gamma Conversion	Available with Linear/Reinhard/Reinhard(modified)/HejiHableAlu/HableUc2 Tone Mapping
Tonemapping Color Space
Wrap Value	Offset

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	Enable a histogram-based approach to 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. Default value is 10.
Use Exposure Clamping/Min EV/Max EV	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-Tonemap) or Standard (Post-Tonemap) 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	Gain / brightness: a factor applied to the color values
Offset	Color offset: an offset applied to the color values

Color Grading

Setting	Effect
Color Grading	Enables / Disables 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

XR Alpha and Video Compositing

Setting	Effect
XR Compositing	Enables a pass for use with CloudXR streaming and SDI-video compositing (experimental)
Composite in Linear Space	Applies the XR Compositing pass prior to any other post processing. Therefore doing any compositing work in Linear space, prior to exposure or tonemapping adjustments.
Composite in Editor	Enables alpha compositing with a backplate texture or SDI video input, as opposed to to outputting the rendered image with an alpha channel for compositing outside, either by saving to EXR images or outputting the rendered image to a Cloud XR stream
Default Backplate Texture	The path to a texture to use as a backplate
Default Backplate Color	A constant color to use instead of a backplate texture, if a backplate texture is not set
Enable Lens Distortion	Enables distortion of the rendered image using a set of lens distortion and undistortion maps provided in the next two settings. Each of these settings is expected to point to a <UDIM> EXR texture set, containing one image per each of the discrete focal length values specified in the array of float settings under /rtx/post/lensDistortion/lensFocalLengthArray (to be exposed here in the future)
Lens Distortion Map	The path to a <UDIM> EXR texture storing the distortion maps for specified focal lengths
Lens Undistortion Map	The path to a <UDIM> EXR texture storing the un-distortion maps for specified focal lengths

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 calculations. If disabled, the camera parameters affecting Depth of Field are ignored and a pinhole camera model is used instead.
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-number is the aperture diameter.
f-Number / f-Stop	f-Number or 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
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
Cutoff Point	Controls a Cutoff Color that allows fine tuning the radiance range for which Bloom Calculations will have any effect. Values below the Cutoff Point will not contribute to Bloom calculations
Cutoff Fuzziness	If greater than 0, defines the ‘width’ of a ‘fuzzy cutoff’ region around the cutoff values in each channel. Instead of a sharp cutoff at the cutoff point, a smooth transition between 0 and the full original values is used
Energy Constrained	Constrains the total light energy generated by bloom.
Physical Settings	Enables a more physically accurate bloom effect using a more physical 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-Number / f-Stop	Increase/Decrease 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
Aniso Falloff Y/X	Controls the falloff of each RGB component of the halo flare effect in X/Y direction
Aniso Flare Weight	Control the intensity of the anisotropic flare effect
Isotropic Flare Falloff
Isotropic Flare Weight

TV Noise

Setting	Effect
TV Noise & Film Grain	Enables a TV Noise and Film Grain effects
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 Size	Controls the size of vignette region
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	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

Reshade

When enabled Reshade Post effects freely available online are enabled as part of the post processing For more information about Reshade visit https://reshade.me/ A collection of Reshade shaders can be downloaded from https://github.com/crosire/reshade-shaders/tree/master

Setting	Effect
Preset path	The full path to a preset.init file containing the Reshade preset to use
Effect Search Dir Path	The path to a directory containing the Reshade shader / effect files that the preset can reference
Texture Search Dir Path	The path to a directory containing the Reshade texture files that the preset can reference