Minimum number of rays to cast in per-component variance anti-aliasing. The value, given here, is multiplied with the settings of the various Indirect Samples Quality parameters for diffuse, reflection, volumes, etc.

Maximum number of rays to cast in per-component variance anti-aliasing. The value, given here, is multiplied with the settings of the various Indirect Samples Quality parameters for diffuse, reflection, volumes, etc.

Defines, how often diffuse rays can propagate through your scene.

Unlike Reflect Limit and Refract Limit, this parameter will increase the overall amount of light in your scene and contribute to the majority of global illumination. With this parameter set to values greater than 0, 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 hardly improves 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.

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.

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.

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 refraction of light sources. However, since most objects in your scene will have at least two surfaces between it and the light source, direct refraction is 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 greater than 0, 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.

The maximum value a shading sample is allowed to contribute to an LPE image plane to reduce appearance of “fireflies” caused by undersampling of extremely bright light sources. Note that reducing this value can result in an overall reduction in the amount of light in your scene.

When turned on, indirect bounces use the Color Limit value and the Indirect Color Limit parameter is ignored.

Color limit applied to indirect bounce only. Note that this parameter is ignored unless Shared Color Limit is turned off.

Depth at which indirect rays start to get stochastically pruned based on ray throughput.

Turn on the depth of field rendering.

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

Whether motion blur should be on or off for objects that don’t explicitly have an opinion. If this is On by Default, the parameters below let you set the defaults.

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.

For motion blur, karma gets the motion samples from the data authored on the stage. Ideally, motion data should be authored at the shutter open and close times at a minimum. For higher quality interpolation, additional samples can be specified between the shutter open and close times. Rather than having to specify the number of samples that karma should use, karma is able to find out how many motion samples are available and use those samples for motion blur. If you specify the samples manually, Karma will interpolate the samples on the stage which may result in more (or sometimes less if undersampling) rendering memory, and can result in approximated motion. Please see the Karma User Guide for more detailed information.

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 USDSkel deformer.

“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.

Defines the type of motion blur. The default Rotation Blur is suited for most applications, esp. spinning wheels or rotor blades, but also almost any other type of motion. Linear Blur is only required in very rare cases.

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.

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

Controls the resolution of the lattice super structure that is used for volume motion blur. Values closer to 1 result in a structure with velocities closer to the original velocity data but higher render time.

If you turn this off, Karma still calculates velocities or motion vectors (and the velocities can be stored in an AOV), but it sends all camera rays at shutter open, so the image will not have any apparent motion blur. This may be useful if you simply don’t want any motion blur to create a certain visual effect.

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.

Allows evaluation of glossy BSDF that’s seen by indirect diffuse bounce. This is a brute-force solution which may require significant number of diffuse rays to resolve, especially if Caustics Roughness Clamp parameter is set to very small value or Indirect Guiding feature is disabled.

Increasing this value can make caustics less noisy at the cost of accuracy.

The minimum distance used when testing if secondary rays from a surface intersect with other objects in the scene. The distance is measure from surface along the direction of the ray. Objects within the ray bias distance are ignored.

Automatically compute ideal ray bias. Under Karma CPU, automatic bias applies to everything except procedural mesh and continued rays for partially opaque surfaces and nested dielectrics (the Ray Bias property is still used for those cases). Under Karma XPU, automatic bias applies to polymesh path bounce and polymesh shadow rays only. For everything else (eg SSS, nested dielectrics, points, curves etc…) the Ray Bias property is still used.

Roughness parameter in GGX BSDFs are clamped by the maximum roughness value propagated down the ray chain in pathtracing. Enabling this option can cut out a lot of noise in indirect specular (in particular, cases where glossy surface is reflected by a rough specular surface) at the cost of a bit of accuracy.

Specifies a camera that is used for dicing complicated surfaces. This can provide consistent dicing of surfaces when the viewing camera is moving.

This parameter controls the shading quality scale factor for geometry that is not directly visible to the camera. For geometry that is outside the field of view (i.e. visible only to secondary rays), Karma will smoothly reduce the shading quality based on the angle between the geometry and the edge of the viewing frustum. Smaller values can increase performance particularly in scenes where the camera is within the displacement bound of nearby geometry, where it permits the hidden primitives to be diced more coarsely than those that are directly visible.

This parameter is a global multiplier for dicing quality of all objects.

Turn edge detection on or off.

Applies lines to the beauty pass, otherwise the result will be written to the outline AOV only.

Output outline_contour, outline_crease, outline_depth lines types to separate AOVs.

Global scale for outline thickness. See karma:object:outline_radius for exact definition.

Turn edge detection through primary rays on or off.

The initial number of stencil rays to cast for primary edge detection.

When Outline Modes is Determined, this value increases the number of stencil rays by two with each new step-value per primary ray.

Turn edge detection for reflection/refraction rays on or off.

Initial number of stencil rays to cast per reflection/refraction ray.

When Outline Modes is Determined, this values increases the number of stencil rays by two with each new step-value per reflection/refraction ray.

Global scale for Depth Threshold.

Increasing intensity makes outlines appear more opaque.

Remaps the outlines to fit the adjusted minimum limit.

Remaps the outlines to fit the adjusted maximum limit.

Used to reduce thickness of lines on distant objects. The parameter blends between the following two modes:

• 0.0 creates uniform thickness regardless of distance.

• 1.0 applies varying thickness based on distance.

You can choose from two modes. The Random method is mainly here for completeness and could give slightly better results with thick lines.

• Determined uses a fixed stencil sample pattern that creates a less noisy result.

• Random uses a variable stencil sample pattern that results in more noise.

Default color applied to outlines if there is export_outline_color AOV provided in the shader.

Output id, thickness, color outline data to export_outline_id, export_outline_thickness, export_outline_color AOVs.

Select existing RenderVar prims on the input stage and add them to the render.

Finds RenderVar prims in this node’s second input and adds them to this stage, so they add to the list of render vars to generate. This allows other LOP nodes (such as Background Plate) to “offer” render vars related to that node to be generated.

Finds RenderProduct prims in this node’s second input and adds them to this stage, so they add to the list of products to generate. This allows other LOP nodes to “offer” products related to that node to be generated.

Specifies the distribution of samples over pixels. A box filter will distribute samples randomly over the interior of each individual pixel. A Gaussian filter will distribute samples in a disk around the pixel center, but with a Gaussian distribution (instead of a uniform distribution).

This is the size of the Pixel Filter. A Gaussian filter with a filter size of 1.8 will be slightly less blurry than a Gaussian filter with a filter size of 2.0.

This will add a holdout_shadow shadow AOV to Karma but also tell Karma that the shadow information from holdout objects should be written into the Alpha of the beauty AOV.

This disables the more sophisticated Background Plate LOP workflow, but is a quick way to get shadow catchers to affect the beauty image.

Controls the strength of the shadows AOV written by holdout objects.

Choose a denoiser to run on the finished image output, or No Denoiser. This utility currently supports Intel Open Image Denoise (included with Houdini) and the NVIDIA OptiX Denoiser (must be installed separately). You must be on a supported platform and have the chosen denoising library installed for this to work.

The NVIDIA OptiX Denoiser only works with NVIDIA cards. It is now included with the NVIDIA driver (version 435 or later).

Karma uses a blue noise distribution. This noise type works better with denoisers, because it has randomization only in high frequencies, while some other noise have randomization in all frequencies. When blue noise is blurred, the high frequency noise is removed and leaves the lower frequencies of the image intact.

Some denoising libraries can use albedo to get a better sense of the image, guiding how and where it reduces noise.

Some denoising libraries can use normals to get a better sense of the image, guiding how and where it reduces noise.

Space-separated list of AOVs to run the denoiser on.

Some denoising libraries can run on CPU or GPU. Normally, the denoiser will use the fastest device. This option will force the denoiser to choose the CPU device. You can use this option to minimize GPU memory requirements, for example when denoising large images or rendering on GPU-enabled farm machines.

The basic idea behind tone mapping is the conversion from HDR real world luminances to LDR display values, i.e. for making images displayable on monitors. Another aspect is to simulate a particular film look. Film material is designed to have a certain “response” to light to enhance contrast and colors, represented as a characteristic curve. A filmic tone mapping curve is subdivided into toe, shoulder and linear sections for an image’s dark, bright, and mid tones. Houdini provides several common operators for filmic tone mapping and each operator applies a specific S-shaped tone mapping curve.

• Reinhard, Ward and Aces don’t provide any further parameters to adjust the toe, shoulder and linear sections.

• Hable, Hable2 and Unreal, however, have specific parameters for customizing the curve.

Tone map curves apply to the Reinhard, Unreal, Aces and Hable operators. The curve is a visual representation of the mathematical model of each operator. You can fine-tune tone mapping through the curve’s control points.

Space-separated list of AOVs that will be affected by the chosen Tone Map operator.

This parameter applies to the Hable, Hable2 and Unreal operators and ranges between 0 and 1. The default values for Hable and Hable2 is 0.5. For Unreal, the default value is 0.55. The value controls the strength (curvature) of the toe segment in dark areas. Higher values create a darker image, smaller values brighten the dark tones.

This parameter applies to the Hable, Hable2 and Unreal operators and ranges between 0and 1. The default values for Hable and Hable2 is 0.5. For Unreal, the default value is 0.26. Shoulder controls to curve’s amount of curvature for bright tone values. The value affects where the shoulder curve starts in the graph: a value of 1 means that the shoulder starts exactly where the toe ends.

This parameter applies to the Unreal operator and ranges between 0 and 1. The default value is 0.88. Controls the tone mapping curve’s steepness, where higher settings (steeper curve) make the image darker and increase contrast; smaller values brighten the image and make it pale.

This parameter applies to the Hable operator and ranges between 0 and 2. The default value is 0.3. Tones in the linear section should not (or hardly) change during the tone mapping process and represent the image’s original tones. The Linear value describes the distance between toe and shoulder. Higher values mean that the tow and shoulder sections become smaller, while more tones remain unchanged: the overall curve becomes more linear.

This parameter applies to the Hable operator and ranges between 0 and 1. The default value is 0.1. Here you control the slope of the linear part of the tone mapping curve.

This parameter applies to the Hable2 operator and ranges between 0 and 1. The default value is 0.5. A small value creates a short toe section that quickly transitions into the linear section. A value of 0 eliminates the toe, and value of 1 means the toe takes up half the curve. Note that there are two ways to disable the toe: you can either set Toe Length or Toe to 0.

This parameter applies to the Hable2 operator and ranges between 0 and 1. The default value is 0.5. Shoulder Length describes how many F stops you want to add to the dynamic range of the curve. Here you control the transition point from the linear section to the shoulder section.

This parameter applies to the Hable2 operator and ranges between 0 and 1. The default value is 1. Here you control how much overshoot you want to add the curve’s shoulder.

OCIO image filters can be added to various render vars/image planes.

Enables the OCIO image filter defined below.

The render var names to which the OCIO image filter will be applied.

Specify the OCIO color output space the image filter will apply.

In most cases this should be left at data. There may be some strange case where the source of the AOV is already in a defined color space, in which case you can specify the source space here.

Space-separated list of looks to apply to the finished image. A “look” is a named OCIO color transform, usually intended to achieve an artistic effect. See the OCIO documentation for more information.

What to do if the aspect ratio of the output image (Resolution width divided by height) doesn’t match the aspect ratio of the camera aperture (controlled by attributes on the camera). This allows a standard renderer to do something reasonable when you switch between cameras.

Directs the renderer to only render within this window of the entire output image. You specify the window as minX, minY, maxX, maxY, where each number is a normalized value from 0 to 1. 0, 0 is the bottom left, 1, 1 is the top right, 0.5, 0.5 is the center, and so on. The default is 0, 0, 1, 1 (no cropping). Note that you can use negative values. For example, -0.1, -0.1, 1.1, 1.1 will give you 10% overscan on each side.

You can use this window to temporarily crop the render to a smaller region, for testing purposes.

Pixels are only rendered if they are fully inside the window.

The normalized coordinates map to the image after any adjustments by the Aspect ratio conform policy.

The aspect ratio (width/height) of image pixels (not the image itself). The default is 1.0, indicating square pixels.

The name of the person, department, or studio that created the image file. The node will set this field on the output image if the image format supports metadata (for example, .exr).

An arbitrary comment, for example a description of the purpose of the output image. The node will set this field on the output image if the image format supports metadata (for example, .exr).

The name of the computer that generated this the output file. The node will set this field on the output image if the image format supports metadata (for example, .exr).

Sets the compression for saved OpenEXR files. When saving multi-part OpenEXR files, you can specify compression per AOV through a Render Var LOP.

Add additional custom metadata that husk will save to render products.

The type of metadata (string, integer, float, or color).

The key for the metadata. This should be a unique name used to identify the metadata.

The value of the metadata.

When set to Path Traced, maximum of 1 indirect ray is generated per bounce. When set to Automatic, the number of indirect rays is calculated based on initial noise estimate, target noise threshold, and the maximum number of camera rays. Also note that under Automatic mode, number ofsamples for direct lighting is adjusted based on noise estimate as well.

When rendering, a Pixel Oracle tells karma which pixels need additional sampling and which pixels are converged. This parameter tells karma which oracle to use.

The minimum number of camera rays (primary samples) for each pixel.

Space separated list of AOVs used to measure variance (using summed pixel value of the AOVs). Typically only beauty AOV is needed, but when rendering holdout beauty or holdout shadows alongside beauty, you may want to include those AOVs to the list in order to prevent holdouts from getting undersampled.

The amount of variance that triggers more rays.

Whether to apply an OCIO transform to the pixels before measuring variance.

When OCIO Transform is Display View, the display to transform to before measuring variance.

When OCIO Transform is Display View, the view to transform to before measuring variance.

When OCIO Transform is Explicit, the color space to transform to before measuring variance.

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 Primary Samples rather than changing 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.

When turned on, Karma does a pre-render to roughly estimate of the light in the scene, and uses that to guide indirect diffuse rays, rather than just relying on the BSDF sampling distribution. This can improve “difficult” lighting (for example, caustics, and mostly indirect lighting), but can make “easy” lighting noisier. Before using this, you can try rendering direct and indirect AOVs to see where the noise is. If the noise is mostly caused by the direct lighting, there’s no point in turning on path guiding.

When this is on, Karma will periodically write out image tile data to a checkpoint file. If the process is terminated before completing the render, you can resume it by turning on Resume from Checkpoint and restarting.

When Output checkpoint files is on, the name of the checkpoint file to write to. The default ($HIP/render/$HIPNAME.$OS.$F4.checkpoint) puts the checkpoint file inside a render directory next to the current scene file, and includes the base name of the current scene file ($HIPNAME), this node’s name ($OS), and the render frame ($F) in the filename to help avoid two processes trying to use the same checkpoint file at the same time.

When Output checkpoint files is on, Karma waits this number of seconds between writing out a checkpoint file. The default is 60.

If this is on and you start a render and the renderer notices there is a valid checkpoint file, it will try to resume rendering from that checkpoint. If you want to restart the render from the beginning, you can turn this off or just delete the checkpoint file(s).

Determines how the image will be rendered.

When rendering in bucket mode (see imagemode), this is the number of progressive passes over the image to perform before switching to bucket mode.

Karma breaks down an image into multiple buckets for rendering. This is the side length (in pixels) of the square bucket. The default is 32, specifying a 32 pixel x 32 pixel bucket. Threads operate at the bucket level, so it might be useful to lower the bucket size if there are only a few buckets that are particularly expensive. That way the expensive areas can be divided across more threads.

For example, if the image is mostly empty, but there’s a distant object that fits within single 32 x 32 bucket, then that object will only be rendered using 1 thread. If you switch to a 16 x 16 bucket, then the object might be split across 4 buckets and have 4 threads working on it.

Ideally changing the bucket size doesn’t change the results, but Karma measures variance across pixels within the current bucket, so if you set it to a low value, for example 4, Karma only has 4 x 4 = 16 pixels to look at, so Karma will tend to make very poor variance estimates. This can show up as black pixels, where pixel rendering terminated prematurely due to a bad variance estimate.

Specifies which buckets are rendered first. Values can be:

Whether to use a fixed size cache (karma:global:cachesize) or whether to use a proportion of physical memory (karma:global:cacheratio).

The proportion of physical memory Karma will use for its unified cache.

For example, with the default vm_cacheratio of 0.25 and 16 Gb of physical memory, Karma will use 4 Gb for its unified cache.

The unified cache stores dynamic, unloadable data used by the render including the following:

• 2D .rat texture tiles

• 3D .i3d texture tiles

• 3D .pc point cloud pages (when not preloaded into memory)

Note: This value is only used for off-line rendering, not IPR.

Turning on this option will cause Karma to stop the render with an error if it encounters a missing texture map

A space-separated list of shading component names that will be computed for export. If you have defined new component labels in your materials, these can be added to the list so that they are exported for per-component export planes. If you are not using some components, remove them from the list to improve render efficiency.

PBR light exports assume that this list is complete - that is, all components created by shaders are listed. If there are unlisted components, light exports may be missing illumination from these components.

A space-separated list of component types that will behave like diffuse bounces. This will affect which reflection scope is used based on the ray type and also which bounce limit to use. Not categorized component types are assumed to be reflections.

A space-separated list of component types that will behave like refract bounces. This will affect which reflection scope is used based on the ray type and also which bounce limit to use. Not categorized component types are assumed to be reflections.

A space-separated list of component types that will behave like volume bounces. This will affect which reflection scope is used based on the ray type and also which bounce limit to use. Not categorized component types are assumed to be reflections.

A space-separated list of component types that will behave like subsurface scatter bounces. This will affect which reflection scope is used based on the ray type and also which bounce limit to use. Not categorized component types are assumed to be reflections.