Whether to enable motion blur. Changing this in the display options will require a restart of the render.

Instead of choosing the motion samples explicitly, Karma can also choose the motion samples based on the samples authored on the Usd stage. This option will choose just the right number of samples to capture the motion described on the stage.

This setting applies to both transform and deformation motion samples for both geometry and instances.

Note: If the samples on the stage don’t align with the shutter times on the camera, it’s possible there will be some minor interpolation issues over the first and last segments (since motion will be truncated rather than interpolated).

This parameter lets you choose what type of geometry velocity blur to do on an object, if any. Separate from transform blur and deformation blur, you can render motion blur based on point movement, using attributes stored on the points that record change over time. You should use this type of blur if the number points in the geometry changes over time (for example, a particle simulation where points are born and die).

If your geometry changes topology frame-to-frame, Karma will not be able to interpolate the geometry to correctly calculate Motion Blur. In these cases, motion blur can use a velocities and/or accelerations attribute which is consistent even while the underlying geometry is changing. The surface of a fluid simulation is a good example of this. In this case, and other types of simulation data, the solvers will automatically create the velocity attribute.

When this is set to “Velocity Blur” or “Acceleration Blur”, deformation blur is not applied to the object. When this is set to “Acceleration Blur”, use the karma:object:geosamples property to set the number of acceleration samples.

The number of sub-frame samples to compute when rendering deformation motion blur over the shutter open time. The default is 1 (sample only at the start of the shutter time), giving no deformation blur by default. If you want rapidly deforming geometry to blur properly, you must increase this value to 2 or more. Note that this value is limited by the number of sub-samples available in the USD file being rendered. An exception to this is the USD Skel deformer which allows.

“Deformation” may refer to simple transformations at the Geometry (SOP) level, or actual surface deformation, such as a character or object which changes shape rapidly over the course of a frame.

Objects whose deformations are quite complex within a single frame will require a higher number of Geo Time Samples.

Deformation blur also lets you blur attribute change over the shutter time. For example, if point colors are changing rapidly as the object moves, you can blur the Cd attribute.

Increasing the number of Geo Time Samples can have an impact on the amount of memory Karma uses. For each additional Sample, Karma must retain a copy of the geometry in memory while it samples across the shutter time. When optimizing your renders, it is a good idea to find the minimum number of Geo Time Samples necessary to create a smooth motion trail.

Deformation blur is ignored for objects that have Velocity motion blur turned on.

The number of samples to compute when rendering transformation motion blur over the shutter open time. The default is 2 samples (at the start and end of the shutter time), giving one blurred segment.

If you have object moving and changing direction extremely quickly, you might want to increase the number of samples to capture the sub-frame direction changes.

In the above example, it requires 40 transformation samples to correctly render the complex motion that occurs within one frame. (This amount of change within a single frame is very unusual and only used as a demonstration.)

Transformation blur simulates blur by interpolating each object’s transformation between frames, so it’s cheap to compute but does not capture surface deformation. To enable blurring deforming geometry, increase karma:object:geosamples.

When defining motion blur on instances, the transform of each instance can be blurred in addition to any motion blur occurring on the prototype. This option controls how the instance will compute the motion blur of the transform on each instance. For example, when instancing prototypes to a particle system, you'd likely want to use velocity blur to compute motion blur (the transform on the prototype would be blurred by the velocity on the particles).

When motion blur on instances is computed using Acceleration Blur or Deformation Blur, this parameter specifies the number of motion segments used for motion blur.

Specifies the style of motion the object has.

This parameter controls the geometric subdivision resolution for smooth surfaces (subdivision surfaces and displaced surfaces). With all other parameters at their defaults, a value of 1 means that approximately 1 micropolygon will be created per pixel. A higher value will generate smaller micropolygons meaning that more shading will occur - but the quality will be higher.

The effect of changing the shading quality is to increase or decrease the amount of shading by a factor of karma:object:dicingquality squared - so a shading quality of 2 will perform 4 times as much shading and a shading quality of 0.5 will perform 1/4 times as much shading.

This property controls the tesselation levels for nearly flat primitives. By increasing the value, more primitives will be considered flat and will be sub-divided less. Turn this option down for more accurate (less optimized) nearly-flat surfaces.

When not set to -1, karma will set minimum number of rows and columns on each face to be 2 to the power of this value when dicing for subdivision or displacement.

When not set to -1, karma will set maximum number of rows and columns on each face to be 2 to the power of this value when dicing for subdivision or displacement. Setting the same (or lower) value as “Dicing Minimum Depth” is effectively equivalent to fixed parametric subdivision that ignores raster space/offscreen measurement. Recommended leaving this value at -1.

If there are no normals on an object, any edges with a dihedral angle greater than this value will be cusped. For compatibility with mantra, Karma will also look for a detail attribute named vm_cuspangle (which takes priority over the setting).

Specifies the quality of indirect diffuse shading. A value of one translates to roughly one additional diffuse sample per shading computation. A sample of 4 translates to roughly 4 additional diffuse samples per shading computation.

Specifies the quality of indirect reflection shading. A value of one translates to roughly one additional reflection sample per shading computation. A sample of 4 translates to roughly 4 additional reflection samples per shading computation.

Specifies the quality of indirect refraction shading. A value of one translates to roughly one additional refraction sample per shading computation. A sample of 4 translates to roughly 4 additional refraction samples per shading computation.

Specifies the quality of indirect volumetric shading. A value of one translates to roughly one additional volumetric sample per shading computation. A sample of 4 translates to roughly 4 additional volumetric samples per shading computation.

Specifies the quality of indirect sub-surface scattering shading. A value of one translates to roughly one additional sub-surface scattering sample per shading computation. A sample of 4 translates to roughly 4 additional sub-surface scattering samples per shading computation.

The number of times diffuse rays can propagate through your scene.

Unlike the Reflect and Refract Limits, this parameter will increase the overall amount of light in your scene and contribute to the majority of global illumination. With this parameter set above zero diffuse surfaces will accumulate light from other objects in addition to direct light sources.

In this example, increasing the Diffuse Limit has a dramatic effect on the appearance of the final image. To replicate realistic lighting conditions, it is often necessary to increase the Diffuse Limit. However, since the amount of light contribution usually decreases with each diffuse bounce, increasing the Diffuse Limit beyond 4 does little to improve the visual fidelity of a scene. Additionally, increasing the Diffuse Limit can dramatically increase noise levels and render times.

The number of times a ray can be reflected in your scene.

This example shows a classic “Hall of Mirrors” scenario with the subject placed between two mirrors.

This effectively creates an infinite series of reflections.

Remember that the first time a light source is reflected in an object, it is considered a direct reflection. Therefore, even with Reflect Limit set to 0, you will still see specular reflections of light sources.

From this camera angle the reflection limits are very obvious and have a large impact on the accuracy of the final image. However, in most cases the reflection limit will be more subtle, allowing you to reduce the number of reflections in your scene and optimize the time it takes to render them.

This parameter control the number of times a ray be refracted in your scene.

This example shows a simple scene with ten grids all in a row.

By applying a refractive shader, we will be able see through the grids to an image of a sunset in the background.

From this camera angle, in order for the image to be accurate, the refraction limit must match the number of grids that that are in the scene. However, most scenes will not have this number of refractive objects all in a row and so it is possible to reduce the refract limit without affecting the final image while also reducing the time it takes to render them.

Keep in mind that this Refract Limit refers to the number of surfaces that the ray must travel through, not the number of objects.

Remember that the first time a light source is refracted through a surface, it is considered a direct refraction. Therefore, even with Refract Limit set to 0, you will see refractions of Light Sources. However, since most objects in your scene will have at least two surfaces between it and the light source, direct refractions are often not evident in your final render.

The number of times a volumetric ray can propagate through a scene. It functions in a similar fashion to the Diffuse Limit parameter.

Increasing the Volume Limit parameter will result in much more realistic volumetric effects. This is especially noticeable in situations where only part of a volume is receiving direct lighting. Also, in order for a volumetric object to receive indirect light from other objects, the Volume Limit parameter must be set above 0.

With the Volume Limit set to values above zero, the fog volume takes on the characteristic light scattering you would expect from light traveling through a volume. However, as with the Diffuse Limit, the light contribution generally decreases with each bounced ray and therefore using values above 4 does not necessarily result in a noticeably more realistic image.

Also, increasing the value of this parameter can dramatically increase the amount of time spent rendering volumetric images.

The number of times a SSS ray can propagate through a scene. It functions in a similar fashion to the Diffuse Limit parameter.

This parameter acts as a multiplier on Min Secondary Samples and Max Secondary Samples for indirect diffuse component.

This parameter acts as a multiplier on Min Secondary Samples and Max Secondary Samples for indirect reflect component.

This parameter acts as a multiplier on Min Secondary Samples and Max Secondary Samples for indirect refract component.

This parameter acts as a multiplier on Min Secondary Samples and Max Secondary Samples for indirect volume component.

This parameter acts as a multiplier on Min Secondary Samples and Max Secondary Samples for SSS component.

How finely or coarsely a volume is sampled as a ray travels through it. Volumetric objects are made up of 3d structures called Voxels, the value of this parameter represents the number of voxels a ray will travel through before performing another sample.

The default value is 0.25, which means that every one of every four voxels will be sampled. A value of 1 would mean that all voxels are sampled and a value of 2 would mean that all voxels are sampled twice. This means that the volume step rate value behaves in a similar way to pixel samples, acting as a multiplier on the total number of samples for volumetric objects.

Keep in mind that increasing the volume step rate can dramatically increase render times, so it should only be adjusted when necessary. Also, while increasing the default from 0.25 can reduce volumetric noise, increasing the value beyond 1 will rarely see similar results.

A factor to proportionally decrease the volume step rate only for shadows, relative to the volume step rate. Smaller values will cause karma to use a larger ray march step size for shadow rays than other shading rays. A value of 1 will produce equal quality for shadow rays and shading rays.

Whether to render this object as if it was a uniform-density volume. Using this property on surface geometry is more efficient than actually creating a volume object of uniform density, since the renderer can assume that the volume density is uniform and place samples more optimally. The surface normal of the surface is used to determine which side of the surface will render as a volume - the normal will point away from the interior. The surface need not be closed - if the surface is not closed, the volume will extend an infinite distance away from the surface. Non-closed surfaces may produce unexpected results near the edge of the surface, so try to keep the viewing camera away from the edges.

Determines how the samples are distributed when rendering a uniform volume (karma:object:volumeuniform is enabled). This parameter must match the density on the uniform volume shader in order to produce correct results. Note that this property is deprecated in 20.0.

The number of samples to generate when rendering a uniform volume (karma:object:volumeuniform is enabled). The samples will be distributed so as to produce an equal image contribution if they were all equal in brightness. Note that this property has no effect when global Screendoor Limit is greater than 0, so for all practical purposes it is deprecated.

Velocity multiplier used to reduce or exaggerate amount of motion blur on volumes.

Choose velocity blur method for volumes.

Specifies the volume field by name that will be used for empty space culling. By default karma will use the 'density' field if it exists. If you are rendering an emissive volume in which some parts of the volume have a 0 density but still need to be rendered, you should specify a different field using this parameter.

Some volume primitives can use a filter during evaluation of volume channels. This specifies the filter. The default box filter is fast to evaluate and produces sharp renders for most smooth fluid simulations. If your voxel data contains aliasing (stairstepping along edges), you may need to use a larger filter width or smoother filter to produce acceptable results. For aliased volume data, gauss is a good filter with a filter width of 1.5.

• point

• box

• gauss

• bartlett

• blackman

• catrom

• hanning

• mitchell

This specifies the filter width for the “Volume Filter” property. The filter width is specified in number of voxels. Larger filter widths take longer to render and produce blurrier renders, but may be necessary to combat aliasing in some kinds of voxel data.

When this is set to “Matte” mode, the object will be considered to be a cutout matte. Any lighting contribution and alpha of the object will be redirected to LPE AOVs with “holdouts” prefix. Holdout Mode does not affect the utility AOVs such as ray:hitP and ray:hitN. “Background” mode is similar to “Matte”, except it’s used for background plate so it will appear “pre-lit” in indirect bounces, multiplied by shadow contribution. Diffuse albedo of the shader is used to determine the pre-lit irradiance.

When rendering point clouds, they can be rendered as camera oriented discs, spheres or discs oriented to the normal attribute.

When rendering curves, they can be rendered as ribbons oriented to face the camera, rounded tubes or ribbons oriented to the normal attribute attached to the points.

USD supports Curve Basis types that may not be supported directly in Houdini. In some cases, you may want to override the Houdini curve basis. For example, if you have linear curves in Houdini, you may want to render them with a Bezier, B-Spline or Catmull-Rom basis. This menu will force Karma to override the basis that’s tied to the USD primitives.

Note that the topology of the curves must match the target basis. For example, when selecting any cubic curve basis, every curves must have at least 4 vertices. For the Bezier basis, curves must have 4 + 3*N vertices.

If enabled, geometry that are facing away from the camera are not rendered.

Adjust shading position of shadow rays to avoid self-shadowing artifact on low-poly mesh due to discrepancy between smooth normals and face normals.

With strong bump or normal maps you often see an abrupt/hard shadow terminator line. This parameter is a threshold and you enter an angle in radians: for angles that are smaller than or equal to the entered value, you will get a soft shadow terminator. If the angle is greater than the threshold, a hard terminator appears. A value of 0 disables the feature and you’ll always see a hard shadow terminator. Bump Shadow Terminator preserves the shape of the highlights while softening the terminator.

Custom label assigned to lights or objects for use with light path expression.

A space-separated list of custom traceset names. You can use tracesets to subdivide a mesh into different parts, i.e. in conjunction with the Karma Texture Baker LOP. For example, the clothing on a character might have tracesets like pants, shirt and jacket. On the Karma Texture Baker LOP’s Bake Traceset parameter you can then define which part/traceset you want to bake.

May be queried via objectstate vex function and will be “rightHanded” or “leftHanded” depending on the geometry’s winding order. This property is derived from USD geometry’s orientation attribute and not directly settable.

For compound BSDFs with refractive components, only apply direct lighting for lights that belong in specified location. A light ray facing the same direction as geometry normal is considered “Outside”. For transparent material that are solid/closed-manifold, setting this parameter to “Outside” can improve render performance by reducing noise in direct lighting and cut down on wasted shadow rays.

Specifies the priority of a refractive material, allowing the renderer to choose which of many overlapping refractive materials should take precedence while rendering. This enables effects like water in a glass with ice cubes. The default (highest priority) is 0, and as the number increases (1, 2, 3, etc.), the priority decreases.

Brute-force caustics from transmissive objects. Allows evaluation of glossy BSDF that’s seen by indirect diffuse bounce. Often requires a significantly higher number of diffuse rays to resolve, especially if Caustics Roughness Clamp parameter is set to very small value or Indirect Guiding feature is disabled.

Forces a minimal roughness for true caustics, above what the shader has set. Increasing this value can make caustics less noisy at the cost of accuracy.

Allows the BSDF to affect the fake caustics, meaning (eg) a red bottle will automatically cast red shadows. Disabling the BSDF can reduce render times, but means fakecausticscolor should be used instead to set a constant shadow color.

Tints the fake caustics. Use this to darken the result of the BDSF, or to set a constant shadow color if the BSDF is disabled.

Controls the opacity of fake caustics. Use this to lighten the result of the BDSF.

Lets you evaluate the internal reflection on the backface of a glossy transmissive BSDF. Turn on this option to apply internal reflections. Note that this option has no effect on MaterialX Standard Surfaces with Thin Walled turned on: these materials always show internal reflections.

Noise threshold to determine the number of indirect rays cast for indirect bounce when the Convergence Mode is set to “Automatic”. Decreasing this threshold (for example, to 0.001) will theoretically send more indirect rays and decrease noise, however the “extra” rays will likely be cancelled out by the Max Ray Samples parameter. The correct way to decrease noise is to increase the number of samples per pixel, rather than change this threshold.

If you are using Variance Pixel Oracle, you should set the same value for both threshold parameters. Setting the oracle’s threshold lower may make the indirect component reach its threshold sooner and cast fewer indirect rays, but the oracle decides to cast more expensive camera rays because the amount of final noise in the beauty pass is higher than the oracle’s threshold.

Minimum number of rays to cast in per-component variance anti-aliasing.

Maximum number of rays to cast in per-component variance anti-aliasing.

Any object with an emissive material will generate light within the scene. If an object is significant enough (eg size, brightness, etc…) then it is possible for Karma to treat that object as if it were an explicit lightsource (similar to regular lights), meaning the emitted light will be handled much more efficiently. But doing so will add extra overhead elsewhere in the system (eg increased memory usage, slower update times, etc…).

There are three options. “No” will set the object as not being a lightsource. “Yes” will set the object as being a lightsource. “Auto” (default) means Karma will use an internal heuristic to decide if the object should be treated as a lightsource.

When enabled, the object will turn into a “light portal” that only lets in certain portion of dome lights based on portal geometry visibility.

Space-separated list of dome lights to associate this portal with.

When an object is used as a geometry light source, this sets the per-light sampling quality. Increasing the quality will add additional samples for this light source, improving the sampling quality of this light relative to other light sources.

Note: This is not the quality of light received by an object.

A multiplier for the effect of this emissive object on the diffuse, SSS, and volume response of materials

A multiplier for the effect of this emissive object on the reflection and refraction response of materials

Defines this object as the low resolution object corresponding to said Texture Baking Object ID. This means that the texture space of this object is what is being baked. If no high resolution object exists for this Object ID, this is the rendered appearance for the texture in that space as well. This is required for texture baking.

Defines this object as the cage object corresponding to said Texture Baking Object ID. This means that this object is used to help resolve normal discontinuites during texture baking of the low resolution object. This is optional for texture baking.

Defines this object as the high resolution object corresponding to said Texture Baking Object ID. This means that the rendered appearance of this object is what is being baked into the texture space the low resolution object. This is optional for texture baking.