These docs describe Fixed Angles and Blendshot, the next update, in development: everything in 1.3 and what it adds. 1.3 is in testing: read its docs.

Lock-on preset settings

Every setting on a Lock-On Preset's panel, band by band, in the panel's own words: what each does and what a new one starts at.

Every setting on a Lock-On Preset's panel, in the order the panel shows them. Generated from Blendable Fixed Angles and Blendshot (1.4.0, in development) in Unreal Engine 5.8.3, so it lists exactly what that version has. For what the settings add up to, read Lock-on presets.

The Shot#

Shot Preview#

Only changes the diagram at the top of the panel: none of it is saved in the preset or reaches the game.

Setting	What it does	Starts at
Solve The Two-Shot	Frames the player and the target on their spots. Off, the lock frames you both with its camera's own Two Subject framing, and turns it to the target with the preset's Without The Two-Shot.	on
Player's Spot (%)	Where the player sits on screen, percent: X across, Y down. The point placed here is the rig's Pivot Socket, or the middle of the capsule, and Pivot Offset doesn't move it, so it frames the same on every rig. From 2 to 98.	X 33.3, Y 66.7
Target's Spot (%)	Where the target sits on screen, percent: X across, Y down. From 2 to 98.	X 66.7, Y 33.3

Without The Two-Shot#

Setting	What it does	Starts at
Turns To The Target	How quickly the camera turns round to the target, 0 to 1. Standing still it always comes all the way round, sooner the higher this is; on the move the camera's own follow keeps a share, so lower holds less of the turn. 0 doesn't turn it. From 0 to 1.	0.4
Holds Against The Stick	How firmly it holds the target against the stick, 0 to 1. 0 leaves the stick to turn the camera as freely as the camera allows; higher pulls it back harder and brings it round sooner; 1 doesn't let the stick move it at all. From 0 to 1.	0.4
Glides To A New Target Over	How long the point the camera turns to takes to glide across to a new target, seconds, eased at both ends. The camera turns after it as quickly as Turns To The Target lets it. 0 jumps it straight across. From 0 to 3.	0.35 s
Two Subject Framing › Slide Towards Them	How far the camera's focus slides from you towards the point halfway between you, 0 to 1. Keep it low so you stay the subject. On a camera that holds its own angle it goes all the way, since the view can't turn to take you both in. From 0 to 1.	0.3
Two Subject Framing › Pull Back To Fit You Both	Pulls the camera back far enough to keep you both in shot. Without it a far-off target is a speck and a close one fills the screen.	on
Two Subject Framing › Room Around You	Room around the two of you, cm, so nobody sits right on the edge of the frame.	140 cm
Two Subject Framing › Pull Back Up To (x)	The furthest the camera may pull back to fit you both, as a multiple of its arm. At least 1.	2.5

Setting	What it does	Starts at
Framing Blend Time	How long a lock takes to come in as it takes hold, and to go as it lets go. The framing, the lock's camera and its aim all move over this time, so the lock is one move.	0.4 s

Time Follows The Turn#

The value on the line: takes longer to lock on the further the camera has to turn to the target, so every lock turns at the same pace: someone almost straight ahead comes in over Framing Blend Time, someone off to the side or behind you over the time Turning At takes to get round to them, up to No Longer Than. Letting go, which doesn't turn, keeps Framing Blend Time. Starts at on.

Setting	What it does	Starts at
Turning At (deg/s)	How fast the camera turns onto a target with Time Follows The Turn, degrees a second. At least 1.	90
No Longer Than	The longest a lock takes to come in with Time Follows The Turn, however far round the target is.	1.4 s

Setting	What it does	Starts at
Blend Time	How long a lock takes to blend over to this preset when it takes over partway through, in seconds. Whatever hands the lock this preset can ask for a different time. A fresh lock eases in at its own pace.	0.5 s
Who Turns The Camera	Who turns the camera while this preset frames a lock. On a soft lock the camera is yours, and the lock only reframes and pulls back to keep everyone in view. Choices: The Lock, You (Soft Lock), You, On Automatic Locks.	You, On Automatic Locks

Limits#

Setting	What it does	Starts at
Come Round No More Than	How far the camera may come round to the side to keep both on their spots as the target closes in, in degrees past where it stands for a distant target. 0 keeps it there, and the target drifts in over your shoulder instead, keeping its height. 180 comes round as far as the spots need. From 0 to 180.	180°
Tilt No Further Than	How far the camera may tilt up or down, from looking along the line between them, to keep the target at its height on screen. Past this the target's height gives instead, and both keep their places across. From 0 to 89.	18°
Limit Yaw	Stops the shot turning outside the yaw range below, whatever the spots, the dynamics or the stick ask for.	off
Yaw Between (deg)	Lowest and highest yaw, X then Y. Against the line, a negative yaw looks left of it on the player's right side, and mirrors on the left.	X -60, Y 60
Limit Pitch	Stops the shot tilting outside the pitch range below, whatever the spots, the dynamics or the stick ask for.	off
Pitch Between (deg)	Lowest and highest pitch, X then Y. Negative looks down. Against the line, measured from the line's own slope.	X -60, Y 30
Measured From	What the ranges below are measured from. Choices: The Line Between Them, The Player's Facing, The World.	The Line Between Them
Never Further Than	The furthest the camera may stand from you, cm, whatever the shot, a group or a giant would ask for. 0 is no limit. For a corridor or a low ceiling.	0 cm
When Too Close	What gives when the target is too close for the shot to be held as authored. Choices: Let The Spots Give, Come In Closer.	Let The Spots Give
Closest Arm	Come In Closer: the closest the camera comes, cm. Past that, the spots give. At least 10.	160 cm

Frame The Group#

The value on the line: frame everyone counted, not just the two of you, once enough of them are near. Starts at off.

Setting	What it does	Starts at
Who Counts	Who counts. Choices: Near The Target, Near The Player, Only Those Engaged, Everyone In The Fight.	Near The Target
Within	How close someone has to be to count, cm: to the target or to you, as Who Counts says.	1000 cm
Counting At Most	The most it counts, nearest first, so a horde doesn't pull the camera out of the level. At least 1.	4
Takes Over From	How many others it takes before the group takes over from the two-shot. At least 1.	1

Under More:

Setting	What it does	Starts at
Keep Inside From (%)	The top-left corner of the box everyone is kept inside, percent of the screen. Giant framing, soft locks, held angles and the stick's edge keep to the same box, whether or not the group is on. From 0 to 100.	X 10, Y 10
To (%)	The bottom-right corner of the box everyone is kept inside, percent of the screen. From 0 to 100.	X 90, Y 90
Make Room By	How the shot makes room to fit everyone in: pulling back, widening the lens, or both, pulling back first. Choices: Pulling Back, Widening The Lens, Pulling Back, Then Widening.	Pulling Back
Pull Back Up To (x)	How far the camera may pull back to fit everyone in, as a multiple of the rig's arm. From 1 to 10.	2.5
Widen Up To (deg)	How much wider the lens may go to make room, degrees. From 0 to 60.	20
Come Round Behind You To Fit	When the shot runs out of room and someone is still left out, brings the camera round behind you, sliding both spots in towards the middle of the screen as little as it takes. Off, the spots stay put and anyone that far out stays out of shot.	on
Takes	How long the shot takes to go over to the group, and back when they're gone. A change of preset that brings the group in or takes it out does it over the change's own time instead, so the group lands with the rest of the change.	0.5 s

Camera#

Setting	What it does	Starts at
Start From A Rig	The rig the lock's camera starts from. Empty starts from whichever rig the player's camera is using, so the lock keeps that camera's collision, shoulder and handheld and changes only what's ticked below. Set one for a lock that needs a different kind of camera altogether, like Arena's view from high above.	none
Arm Length	How far behind you the camera stands, cm. 350 is a usual third-person view. A group or a giant can stand it further back. At least 10.	350 cm
Field Of View	How wide the lens is, degrees across. Narrower brings the target closer and flattens the space between you; wider takes in more of the fight. From 5 to 170.	70°
Hold An Angle › Hold The Angle	Holds the camera at its own fixed angle while locked, as a top-down or isometric camera does. Off, the lock turns the camera even where the player's camera holds one.	on
Hold An Angle › Looks Down At	How far down it looks, degrees. -90 is straight down, -50 a steep isometric view, 0 level. From -89.5 to 89.5.	-50°
Hold An Angle › Faces	Which way it faces as the lock takes hold: wherever the camera was already looking, or a direction in the world. Choices: A direction in the world, Wherever it was looking.	Wherever it was looking
Hold An Angle › Facing	The world direction it faces, degrees. 0 looks along +X and 45 is the isometric diagonal.	0°
Handheld › Shake	The camera operator's breathing, sway and reactions while locked. Empty holds the camera still.	none
Handheld › Strength	How much of it the lock's camera carries. 0 holds the camera still; above 1 is a shakier operator. From 0 to 2.	1
The Character Faces	Which way the lock asks your character to face: where you aim, for a squared-up fighting stance, or the way you move. Only a request: your character acts on it through On Orientation Request Changed. Choices: Unchanged, Orient to Movement, Strafe, Aim.	Aim
Pitch Response › Respond To Pitch	Changes how far back the camera stands and how wide the lens is as you look, or steer the shot, up and down.	on
Pitch Response › Arm Looking Up (x)	How far back the camera stands looking all the way up, as a multiple of its arm. Below 1 brings it in. From 0.1 to 3.	1.2
Pitch Response › Arm Looking Down (x)	How far back the camera stands looking all the way down, as a multiple of its arm. Below 1 brings it in. From 0.1 to 3.	1.2
Pitch Response › Lens Looking Up	Degrees the lens widens looking all the way up. Negative narrows it.	10°
Pitch Response › Lens Looking Down	Degrees the lens widens looking all the way down. Negative narrows it.	10°
Pitch Response › Catches Up At	How quickly the distance and the lens catch up with the pitch, so a fast flick doesn't snap the camera in and out.	4
Composition As You Steer › Looking Up	Moves the two of you as you steer the shot up, by how many degrees, as the camera's Looking Up moves you as you look up. One of the shifts below.	as new, but Starts At 15, Full At 60, Move By (%) X 0, Y 0, Takes (s) 0 s
Composition As You Steer › Looking Down	Moves the two of you as you steer the shot down, by how many degrees. A Move By of 0, 10 lowers you both as you look down, which keeps a target rising up the screen in. One of the shifts below.	as new, but Starts At 15, Full At 60, Move By (%) X 0, Y 0, Takes (s) 0 s
Composition As You Steer › While Turning	Moves the two of you while you turn the shot, by how fast, degrees a second, so a hard turn leads into it. One of the shifts below.	as new, but Starts At 60, Full At 360, Move By (%) X 0, Y 0, Takes (s) 0.15 s

Behaviour#

The Line#

The value on the line is Rule: which side of the line between them the camera keeps, and what lets it cross. Choices: Hold Its Side, Always The Open Side, Follow The Shoulder, Player Places The Target. Starts at Hold Its Side.

Setting	What it does	Starts at
Swap Shoulders	Let a lock swap the player to their other shoulder: the camera swings round behind them to the other side of the line, and they cross to the other side of the screen. Steered across, walled in, the open side opening up, an orbit swung past them, a placed target taken across the middle, or a new target on the other side, as the rule and the stick allow. A lock starts on whichever side the camera is already on, the least it can move. Off, the player keeps their shoulder from the lock's first frame to its last. The lock starts on the camera's shoulder, an orbit stops short of passing behind them, a nudge springs back, a placed target passes behind them instead, and a new target is framed from the same side. Either way, Always The Open Side starts on the side with more room when one has, and Follow The Shoulder always follows the button.	off
Crossing Takes	How long a crossing takes. The camera swings round behind the player rather than cutting.	0.45 s
Rise While Crossing (%)	Raises the target's spot while the camera passes behind the player mid-crossing, so the camera arcs over the top rather than round. Percent of the screen. From 0 to 40.	0
Drift Back At (%/s)	Player Places The Target: how fast a placed target drifts back to its spot when the stick is left alone, percent a second. 0 keeps it put.	0

Under More:

Setting	What it does	Starts at
Cross When Steered Across	Lets the player take the camera across to the other side by nudging the stick far enough towards the line. An orbit can always cross, by swinging past it.	on
Cross After A Nudge Of	How far a nudge has to push towards the line before the camera crosses it.	30°
Cross When Walled In	Hold Its Side: cross over when this side is walled in and the other isn't.	on
Walled In When Short By	How much of the arm a wall has to take away on this side before the camera gives up on it, cm.	60 cm
Other Side Better By	How much more room the other side needs before it's worth crossing to, cm.	40 cm
Make Up Its Mind Over	How long the other side has to stay the better one before the camera crosses, so brushing past a pillar doesn't swap sides.	0.35 s

The Stick#

The value on the line is What The Stick Does: what the look stick does while the two-shot holds the camera. Player Places The Target uses the stick for itself and ignores this. Choices: Nudge And Spring Back, Orbit Around The Pair, Fully Directed, Push To Switch Target, Steer And Keep It, Pull Away To Switch Target. Starts at Nudge And Spring Back.

Setting	What it does	Starts at
Turn Up To (deg)	Furthest the stick can turn the shot from its spots. X is yaw, Y is pitch.	X 30, Y 18
At The Frame's Edge	What happens as the stick takes the target to the edge of the frame: the box under Group, Keep Inside From and To. Choices: Stop The Stick, Make Room, Let It Go.	Stop The Stick
Springs Back Over	How long the shot takes to come back to its spots once the stick is let go. Steer And Keep It only comes back when the camera is recentred, or on a new target if set to.	0.5 s
You Slide Opposite (%)	How much of a sideways push slides you and the target across the screen, opposite ways, instead of turning the shot with you held on your spot. At 100 you move as far as the target does, the other way, as a lock without a preset does. Push on and you pass the middle to your other shoulder: the lock keeps the side you're on, and recentring or a new target frames you there. The two of you slide as far as the Keep Inside box under Group, or the screen's edge with Let It Go. 0 turns the shot as before. Up and down always turn it. With Player Places The Target, you slide opposite the target as the stick places it. From 0 to 100.	100
Counts Once Pulled Past (%)	How far the shot has to be pulled out, as a share of Turn Up To's yaw, before holding it there counts towards a switch. From 1 to 100.	50
Switches After Holding For	How long the shot has to be held pulled out before the lock moves to the next target that way. One switch per pull: let the stick go to pull again.	1 s
Orbit Spread Up To	How far the orbit can swing the pair apart, as a multiple of the spots you authored. 1 is your spots; higher lets the camera come round further to the side. Swinging the other way passes behind the player, and with Swap Shoulders on, crosses the line. From 1 to 3.	1.6
Orbit Narrows To	With Swap Shoulders off, how far the orbit can swing the pair together before it stops, as a multiple of the spots you authored. Lower lets the camera come further round behind the player, the target closer over their shoulder; 1 keeps it to your spots or wider. From 0.05 to 1.	0.25
Orbit Tilt Up To	How far up and down the orbit can tilt the shot. From 0 to 80.	18°
Switch Above (deg/s)	How hard the stick has to be pushed to switch target, as a look speed. Higher needs a sharper flick. At least 1.	90
Between Switches	Shortest time between two switches.	0.35 s

Under More:

Setting	What it does	Starts at
Drifts Back At (deg/s)	How fast the shot drifts back to its spots once you let go of the stick, degrees a second. 0 keeps it wherever you leave it.	0
Back To The Spots On A New Target	A new target puts the shot back on its spots. Off, wherever you steered it carries over to the new target.	off
Orbit Resets On A New Target	A new target puts the orbit back where the spots say.	on

Frame Big Targets#

The value on the line: how a big target is framed. Choices: By The Lock Point, By Its Size, Low Hero Shot. Starts at By The Lock Point.

Setting	What it does	Starts at
How Much By Size	How much a big target is framed by its size rather than its lock point: 0 is the lock point, 1 its whole body, and in between mixes the two. From 0 to 1.	1
Big From (x your height)	A target counts as big from this many times the player's own height.	1.5
Fully Big At (x your height)	A target counts as fully big from this many times the player's own height. Between Big From and this, the framing eases in.	3
Look Up By	How far the shot tilts up at a fully big target. The camera swings down round the player, who stays on their spot, and the target looms over them, cropped by the screen edges rather than shrunk to fit. From 0 to 60.	18°
Takes	Roughly how long the shot takes to go over to a big target's framing, and back.	0.5 s

Framing Detail#

Setting	What it does	Starts at
Point On The Target	Which point on the target goes on its spot. A target with lock points of its own uses those instead. Choices: Same Height As The Player, Its Origin, Middle Of Its Bounds.	Same Height As The Player
Raised By	Raises that point, cm.	0 cm
Pivot Bias	Slides the point that sits on the player's spot towards the target, 0 to 1. At 1 it's halfway between them. On a soft lock or a rig that holds its own angle, Middle Of The Shot decides instead. From 0 to 1.	0
Turn You To Face The Target	Turns you to face the target, for a character that faces wherever its controller points. Leave it off if your character faces its target by itself (GASP does). On, forward on the stick moves you towards the target rather than into the screen.	off

Under More:

Setting	What it does	Starts at
Middle Of The Shot	Where the middle of the shot sits, from you at 0 to the target (or the fight) at 1. 0.5 is halfway, with the most room either way. From 0 to 1.	0.5

How It Follows#

The value on the line is Follows: how the camera follows the shot as both of them move. Choices: Damped, Exact Every Frame, Leading Their Movement. Starts at Damped.

Setting	What it does	Starts at
Same Weight As The Rig	Settles at the same pace the rig follows the player, using its Pivot Lag Speed. Off, Settle Time sets the pace.	on
Settle Time	Roughly how long the camera takes to settle on a moving shot. At least 0.01.	0.47 s
Lead By	How far ahead to frame them, in seconds of their own movement. From 0 to 2.	0.25 s

Dynamics#

Setting	What it does	Starts at
Dynamics	Rows that adjust the shot as the fight changes: the distance closing, the target climbing, the player sprinting. Each one moves the arm, the lens, the angle or a spot, and the rows add up.	empty
Count Enemies Within	Enemies Near counts lockable targets within this distance of the target.	1000 cm

Each entry in Dynamics, one way the shot changes as the fight does. Read it as a sentence: as DRIVEN BY goes from STARTS AT to FULL AT, change CHANGES by BY, taking TAKES seconds to get there. For example, as the distance goes from 3 to 15 metres, pull the arm back by 150 cm.

Each entry	What it does	Starts at
Driven By	What this row watches. Choices: Distance, Height Difference, Angle Off The Line, Target Size, Player Speed, Pitch, Yaw, Enemies Near.	Distance
Starts At	Nothing changes until the driver gets here, in whatever it's measured in.	300
Full At	Where the driver has to get to for the whole change to apply. Past it nothing more happens.	1500
Response Curve	Optional shape for the ramp from Starts At (time 0) to Full At (time 1). Empty is a straight line.	no curve
Changes	What this row changes. Choices: Arm, Field Of View, Pitch, Yaw, Pivot Bias, Player's Spot, Target's Spot.	Arm
By	How much it changes by at Full At: cm for the arm, degrees for the field of view, pitch and yaw, 0 to 1 for pivot bias. Watching height difference, pitch or yaw, it changes the other way when the driver goes negative, unless Starts At and Full At are written in negatives (pitch from -10 to -40, looking down), which reads the driver as it is.	100
Move The Spot By (%)	How far the spot moves at Full At, percent of the screen. X across, Y down, so Y of -10 raises it.	X 0, Y -10
Takes (s)	Roughly how long the change takes to arrive once the driver moves, and to leave again. 0 is instant.	0.3 s

Feel#

Transitions#

Setting	What it does	Starts at
Lock In	What the camera does as the lock starts. Choices: Ease In From Where It Is, Swing Behind You First, Dolly Zoom Reveal.	Ease In From Where It Is
Swing Takes	How long the camera takes to turn to the target before the framing eases in, seconds.	0.35 s
Dolly Zoom (deg)	How far the lens swings out and back, degrees, while the camera moves to keep one of you the same size. Positive widens first, so the world behind rushes away and then closes in on you as it settles; negative narrows first, so it closes in and then falls away. With Lens Changes Over The Zoom, this swings on top of the lock's own change of lens, and 0 plays that change alone. From -60 to 60.	20
Lens Changes Over The Zoom	The lock's change of lens plays as the dolly zoom: from the lens you had to the lock's over the whole of Dolly Zoom Takes, starting the moment the lock does, with the camera moving to keep the size the framing gives. Off, the lens changes over the lock's blend with the rest of the shot, and the swing alone is the zoom.	on
Dolly Zoom Takes	How long the dolly zoom takes, seconds. At least 0.05.	1 s
Dolly Zoom Holds	Who stays the same size through the dolly zoom. Everything else warps around them. Choices: You, The Target.	You
Lock Out	What the camera does as the lock lets go. Choices: Stay And Hand Back, Swing Behind You, Hold On The Last Target.	Stay And Hand Back
Hold For	How long the camera stays on the last target before easing out, seconds.	1 s
New Target	How the camera gets to a new target. Choices: Blend, Whip Pan, Cut, Dolly Zoom.	Blend
Whip Takes	How long the whip takes, seconds. At least 0.02.	0.15 s
Whip Kick (deg)	How hard the lens kicks during the whip, degrees. Positive widens. From -30 to 30.	6
Whip Blur	How much motion blur streaks the whip, 0 to 1. 0 is none. From 0 to 1.	0.5

Under More:

Setting	What it does	Starts at
Lens Kick On Lock (deg)	A kick of the lens as the lock starts, degrees. Positive widens. 0 is none. From -30 to 30.	0
Kick Lasts	How long a kick lasts, seconds. At least 0.05.	0.3 s
Lens Kick On New Target (deg)	A kick of the lens on a new target, degrees. Positive widens. 0 is none. A whip has its own. From -30 to 30.	0

Focus#

The value on the line is Focus On: what the lens keeps sharp while locked. Choices: The Camera's Own, The Target, You, Both Of You, Whichever Is Nearer, Whichever Is Further, Nothing, A Set Distance. Starts at The Camera's Own.

Setting	What it does	Starts at
At	How far from the camera the lens focuses, for A Set Distance.	500 cm
Rack	How focus moves to a new subject or a new target. Choices: Realistic Pull, Slow Drift, Snap.	Realistic Pull
Rack Takes	Roughly how long focus takes to move, seconds. At least 0.05.	0.6 s
Stop Down For Both	Also close the aperture until you're both sharp. Off leaves the aperture alone and focuses between you.	off
Keep The Exposure	Raises exposure to match as the aperture closes, so the picture doesn't darken. Only needed with manual exposure; auto exposure keeps the picture bright by itself. Needs Allow Rigs To Control Exposure in Blendable's project settings.	off
Close No Further Than (f/)	The furthest the aperture may close, as an f-number. From 1 to 32.	11
Focus On Named Events	Changes of focus named events make while locked, from Play Lock-On Effect, the anim notify or a camera event of the same name.	empty

Each entry in Focus On Named Events, a change of focus a named event makes while locked: onto the blade as it comes down, back to you on the recovery.

Each entry	What it does	Starts at
Name	The event's name, from Play Lock-On Effect, the Blendable Lock-On Effect anim notify, or a camera event of this name.	none
Focus On	What to keep sharp. Choices: The Camera's Own, The Target, You, Both Of You, Whichever Is Nearer, Whichever Is Further, Nothing, A Set Distance.	The Target
At	How far from the camera the lens focuses, for A Set Distance.	500 cm
Rack	How focus moves there. Choices: Realistic Pull, Slow Drift, Snap.	Realistic Pull
Rack Takes	Roughly how long focus takes to get there, seconds. At least 0.05.	0.6 s
Holds For	How long it stays before focus goes back to the preset's, seconds. 0 keeps it until something else changes focus or the lock ends.	0 s

Effects#

Setting	What it does	Starts at
As One Envelope	One effect for the whole lock: While Locked rises as the lock starts, holds, and falls as it ends, and As The Lock Starts and As The Lock Ends don't play.	off
As The Lock Starts	Plays once as a lock starts, over While Locked. One of the lock-on effects below.	as new
While Locked	Rises as a lock starts, holds for as long as it lasts, and falls as it ends. One of the lock-on effects below.	as new
As The Lock Ends	Plays once as a lock ends. One of the lock-on effects below.	as new
On A New Target	Plays once each time the lock moves to a new target. One of the lock-on effects below.	as new
When The Lock Breaks	Plays once when the target gets too far away or out of sight, in place of As The Lock Ends. One of the lock-on effects below.	as new
When The Target Is Lost	Plays once when the target dies or is destroyed while locked, in place of As The Lock Ends. One of the lock-on effects below.	as new
On Named Events	Effects gameplay plays by name, from Play Lock-On Effect, the anim notify or a camera event of that name.	empty

Each entry in On Named Events, an effect gameplay plays by name.

Each entry	What it does	Starts at
Name	The name to play it by: Play Lock-On Effect, the Blendable Lock-On Effect anim notify, or a camera event of this name.	none
Effect › Play	Plays this effect.	off
Effect › Rises Over	How long it takes to rise to full, seconds.	0.15 s
Effect › Holds For	How long it stays at full before falling away, seconds. The While Locked effect ignores it and holds until the lock ends.	0.2 s
Effect › Falls Over	How long it takes to fall away, seconds.	0.4 s
Effect › Shape	The shape of the rise, from time 0 to 1 and value 0 to 1; the fall plays it backwards. Empty eases in and out smoothly.	no curve
Effect › Strength	How much of it plays, 0 to 1. From 0 to 1.	1
Effect › Post Process › Weight	How strongly this look applies over the level's own, 0 to 1. For no look, set this to 0 rather than unticking its boxes, so the look fades during a blend instead of switching halfway. From 0 to 1.	0
Effect › Post Process › Materials	Post process materials laid over the image, such as a scope overlay, a damage vignette or night vision. A material only one rig has fades in and out with the blend rather than popping.	empty
Effect › Post Process › Override Vignette	Take charge of the vignette. Off, whatever the level sets is left alone.	off
Effect › Post Process › Vignette Intensity	How dark the corners go, 0 to 1. Around 0.4 is a gentle framing; 1 is a heavy tunnel. From 0 to 1.	0.4
Effect › Post Process › Override Film Grain	Take charge of film grain.	off
Effect › Post Process › Film Grain Intensity	How much grain sits over the image. Small numbers: 0.2 is already visible. From 0 to 1.	0
Effect › Post Process › Override Chromatic Aberration	Colour separation towards the edges. A little reads as a lens; a lot reads as a headache.	off
Effect › Post Process › Chromatic Aberration	How far the colour channels separate. Over about 2 it reads as a fault rather than a lens. From 0 to 5.	0
Effect › Post Process › Chromatic Aberration Start	How far out from centre the separation starts, 0-1. Keeps the middle of frame clean. From 0 to 1.	0
Effect › Post Process › Override Bloom	Take charge of bloom.	off
Effect › Post Process › Bloom Intensity	How much bright things glow. The engine default is 0.675.	0.675
Effect › Post Process › Override Motion Blur	Take charge of motion blur.	off
Effect › Post Process › Motion Blur Amount	How much movement smears. A common accessibility complaint, so consider leaving it to the player. From 0 to 1.	0.5
Effect › Post Process › Override Color Grading	Take charge of the colour grade below.	off
Effect › Post Process › Color Saturation	Saturation: X, Y and Z for red, green and blue, W for all of them. 1 is untouched; below 1 drains the colour.	X 1, Y 1, Z 1, W 1
Effect › Post Process › Color Contrast	Contrast: X, Y and Z for red, green and blue, W for all of them. 1 is untouched; above 1 deepens the shadows.	X 1, Y 1, Z 1, W 1
Effect › Post Process › Override Exposure	Take charge of exposure compensation, to brighten or darken the shot. Keep it small: pushed far, the whole image can visibly step instead of just getting brighter. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Effect › Post Process › Exposure Compensation	How many stops brighter or darker the image sits. Negative is darker. From -8 to 8.	0
Effect › Post Process › Override Exposure Speed	Take charge of how quickly the eye adjusts as the shot gets brighter or darker. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Effect › Post Process › Exposure Speed Up	Stops per second while the shot is getting brighter. The engine's own default is 3. At least 0.02.	3
Effect › Post Process › Exposure Speed Down	Stops per second while it is getting darker. The engine's own default is 1. At least 0.02.	1
Effect › Post Process › Override Exposure Range	Take charge of how far the eye can adjust, with a darkest and a brightest limit. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Effect › Post Process › Exposure Min Brightness	The darkest the shot will adapt to. Raise it to keep a dark room dark. With UE5's default settings, roughly: 15 is direct sun, 10 an overcast day, 5 a bright interior, 0 a dim one, -2 moonlight.	-10
Effect › Post Process › Exposure Max Brightness	The brightest the shot will adapt to. Lower it to stop a bright exterior washing out.	20
Effect › Material Parameters	Parameters set from Off to On as the effect rises, on every material above that has one by that name. A material with any of these plays in full and lets them do the fading.	empty
Effect › Material Colours	Colour parameters set from Off to On as the effect rises, on every material above that has one by that name.	empty
Effect › Letterbox	Black bars across the top and bottom of the screen, for a cinematic frame.	off
Effect › Each Bar Covers	How much of the screen's height each bar covers at full strength. 0.128 frames a 16:9 screen at 2.39:1, the widest film frame. From 0 to 0.4.	0.128
Effect › Bar Colour	The bars' colour.	R 0, G 0, B 0, A 1
Effect › Highlight The Target	Draws the target into custom depth with the stencil below while the effect plays, so a post-process material can keep it in colour or outline it. Needs Custom Depth-Stencil Pass set to Enabled With Stencil in the project's rendering settings.	off
Effect › Stencil	The stencil value the target is drawn with, 1 to 255. Your material picks the target out by it. From 1 to 255.	1

Each entry in On Named Events › Effect › Post Process › Materials, one post process material laid over the image, and how strongly.

Each entry	What it does	Starts at
Material	A post process material to lay over the image.	none
Weight	How much of this material to apply, 0 to 1. From 0 to 1.	1

Each entry in On Named Events › Effect › Material Parameters, a scalar parameter a lock-on effect drives on its materials as it rises and falls.

Each entry	What it does	Starts at
Name	The parameter's name on the material.	none
Off	Its value with the effect off.	0
On	Its value with the effect at full strength.	1

Each entry in On Named Events › Effect › Material Colours, a colour parameter a lock-on effect drives on its materials as it rises and falls.

Each entry	What it does	Starts at
Name	The parameter's name on the material.	none
Off	Its colour with the effect off.	R 0, G 0, B 0, A 0
On	Its colour with the effect at full strength.	R 1, G 1, B 1, A 1

Markers#

Setting	What it does	Starts at
On The Locked Target	Shows a marker on the target you're locked onto.	on
On The Target A Lock Would Take	While nothing is locked, marks the target a lock would take if you locked on now.	off
On The Next Target Either Side	While locked, marks the target the lock would move to if you switched left, and the one to the right.	off
On Other Targets	Marks the other targets you could lock onto, more softly.	off
Style	The built-in marker's shapes, one for each kind of marker. A kind's own Shape overrides it. Choices: Brackets, Reticle, Pointer, Minimal.	Brackets
Feel	How markers move. Pick one and every kind's moves below are filled in to match; change any of them after and this becomes Custom. Choices: Custom, Still, Clean, Snappy, Arcade, Cinematic, Heavy.	Snappy
Locked Target	The marker on the target you're locked onto: its look, and how it moves as the lock is made, moves and lets go. One of the marker looks below.	as new
Next Target	The marker on the next target: the one a lock would take while nothing is locked, and the next either side while something is. One of the marker looks below.	as new
Other Targets	The markers on every other target you could lock onto. One of the marker looks below.	as new

Under More:

Setting	What it does	Starts at
Target A Lock Would Take Opacity	How solid the marker on the target a lock would take is. 1 is as solid as the locked target's. From 0 to 1.	0.8
Next Target Opacity	How solid the markers on the next target either side are. 1 is as solid as the locked target's. From 0 to 1.	0.6
Other Targets Opacity	How solid the markers on other targets are. 1 is as solid as the locked target's. From 0 to 1.	0.35
Mark At Most	The most other targets marked at once, the likeliest picks first.	6
Draw Markers	Where markers are drawn: over the picture, or on the targets in the world. Choices: On Screen, In The World.	On Screen
Keep On Screen	Keeps the locked target's marker on screen: it comes no closer to the edge than Edge Margin, and when the target is off screen or behind you it waits there, pointing the way the target is. Other markers simply hide off screen.	on
Edge Margin (px)	How far in from the edge of the screen the locked target's marker stays, pixels.	48
Size	How big markers are: pixels on screen, centimetres in the world. A kind of marker, or a target, can set its own. At least 1.	X 40, Y 40
Colour	The colour markers are drawn in. A kind of marker can have its own.	R 1, G 1, B 1, A 1
Widget	The widget markers are drawn with, made from Blendable Lock-On Marker, for any kind of marker and any target that doesn't give its own. Empty draws the built-in marker.	none
Image	A picture to show as the marker, for any kind of marker and any target that doesn't give its own: a texture, or a material made for UI.	none
Fade Time	How long a marker takes to fade in or out, seconds.	0.15 s
Look For Targets Every	How often markers look for which targets to mark, seconds. Markers follow their targets every frame.	0.1 s

Advanced#

Setting	What it does	Starts at
Changing Camera Style Takes	How long a lock takes in place of Framing Blend Time when it changes the camera's style: the lock's camera holds its angle and yours turns, or the other way round. A crane from behind you to overhead covers several times the ground a lock does within one style, and over the same time it moves that many times as fast.	2 s
Rig Priority	How strongly the lock's camera wins against anything else asking the camera for a rig. Higher wins. 15 sits above aiming (10) and below a ragdoll (20).	15

Hooks#

Setting	What it does	Starts at
As The Lock Starts	Runs as a lock starts.	empty
On A New Target	Runs each time the lock moves to a new target.	empty
As The Lock Ends	Runs as a lock ends, however it ends.	empty
When The Lock Breaks	Runs as well when the target gets too far away or out of sight.	empty
When The Target Is Lost	Runs as well when the target dies or is destroyed while locked.	empty
When A Group Closes In	Runs when other enemies come close enough that the shot starts framing the group.	empty
When The Group Thins Out	Runs when the group thins out and the shot goes back to framing the two of you.	empty

Each entry in As The Lock Starts, one thing a lock-on hook does.

Each entry	What it does	Starts at
Action	What to do: play a sound, spawn an effect, fire a camera event, tell a listener, or something of your own.	none
First Time Only	Do it the first time only.	off
At Most	The most times it can run. 0 is no limit. Ignored when First Time Only is ticked.	0

Each entry in On A New Target, one thing a lock-on hook does.

Each entry	What it does	Starts at
Action	What to do: play a sound, spawn an effect, fire a camera event, tell a listener, or something of your own.	none
First Time Only	Do it the first time only.	off
At Most	The most times it can run. 0 is no limit. Ignored when First Time Only is ticked.	0

Each entry in As The Lock Ends, one thing a lock-on hook does.

Each entry	What it does	Starts at
Action	What to do: play a sound, spawn an effect, fire a camera event, tell a listener, or something of your own.	none
First Time Only	Do it the first time only.	off
At Most	The most times it can run. 0 is no limit. Ignored when First Time Only is ticked.	0

Each entry in When The Lock Breaks, one thing a lock-on hook does.

Each entry	What it does	Starts at
Action	What to do: play a sound, spawn an effect, fire a camera event, tell a listener, or something of your own.	none
First Time Only	Do it the first time only.	off
At Most	The most times it can run. 0 is no limit. Ignored when First Time Only is ticked.	0

Each entry in When The Target Is Lost, one thing a lock-on hook does.

Each entry	What it does	Starts at
Action	What to do: play a sound, spawn an effect, fire a camera event, tell a listener, or something of your own.	none
First Time Only	Do it the first time only.	off
At Most	The most times it can run. 0 is no limit. Ignored when First Time Only is ticked.	0

Each entry in When A Group Closes In, one thing a lock-on hook does.

Each entry	What it does	Starts at
Action	What to do: play a sound, spawn an effect, fire a camera event, tell a listener, or something of your own.	none
First Time Only	Do it the first time only.	off
At Most	The most times it can run. 0 is no limit. Ignored when First Time Only is ticked.	0

Each entry in When The Group Thins Out, one thing a lock-on hook does.

Each entry	What it does	Starts at
Action	What to do: play a sound, spawn an effect, fire a camera event, tell a listener, or something of your own.	none
First Time Only	Do it the first time only.	off
At Most	The most times it can run. 0 is no limit. Ignored when First Time Only is ticked.	0

About This Preset#

Setting	What it does	Starts at
Display Name	A readable name for this preset. It's only a label: nothing looks presets up by it.	empty
Description	A sentence or two on what this shot is for, so the next person to pick it knows.	empty

What a lock-on effect holds#

A lock-on effect: a look laid over the picture, bars across the screen, and the target picked out, rising to full, holding and falling away again.

Setting	What it does	A new one starts at
Play	Plays this effect.	off
Rises Over	How long it takes to rise to full, seconds.	0.15 s
Holds For	How long it stays at full before falling away, seconds. The While Locked effect ignores it and holds until the lock ends.	0.2 s
Falls Over	How long it takes to fall away, seconds.	0.4 s
Shape	The shape of the rise, from time 0 to 1 and value 0 to 1; the fall plays it backwards. Empty eases in and out smoothly.	no curve
Strength	How much of it plays, 0 to 1. From 0 to 1.	1
Post Process › Weight	How strongly this look applies over the level's own, 0 to 1. For no look, set this to 0 rather than unticking its boxes, so the look fades during a blend instead of switching halfway. From 0 to 1.	0
Post Process › Materials	Post process materials laid over the image, such as a scope overlay, a damage vignette or night vision. A material only one rig has fades in and out with the blend rather than popping.	empty
Post Process › Override Vignette	Take charge of the vignette. Off, whatever the level sets is left alone.	off
Post Process › Vignette Intensity	How dark the corners go, 0 to 1. Around 0.4 is a gentle framing; 1 is a heavy tunnel. From 0 to 1.	0.4
Post Process › Override Film Grain	Take charge of film grain.	off
Post Process › Film Grain Intensity	How much grain sits over the image. Small numbers: 0.2 is already visible. From 0 to 1.	0
Post Process › Override Chromatic Aberration	Colour separation towards the edges. A little reads as a lens; a lot reads as a headache.	off
Post Process › Chromatic Aberration	How far the colour channels separate. Over about 2 it reads as a fault rather than a lens. From 0 to 5.	0
Post Process › Chromatic Aberration Start	How far out from centre the separation starts, 0-1. Keeps the middle of frame clean. From 0 to 1.	0
Post Process › Override Bloom	Take charge of bloom.	off
Post Process › Bloom Intensity	How much bright things glow. The engine default is 0.675.	0.675
Post Process › Override Motion Blur	Take charge of motion blur.	off
Post Process › Motion Blur Amount	How much movement smears. A common accessibility complaint, so consider leaving it to the player. From 0 to 1.	0.5
Post Process › Override Color Grading	Take charge of the colour grade below.	off
Post Process › Color Saturation	Saturation: X, Y and Z for red, green and blue, W for all of them. 1 is untouched; below 1 drains the colour.	X 1, Y 1, Z 1, W 1
Post Process › Color Contrast	Contrast: X, Y and Z for red, green and blue, W for all of them. 1 is untouched; above 1 deepens the shadows.	X 1, Y 1, Z 1, W 1
Post Process › Override Exposure	Take charge of exposure compensation, to brighten or darken the shot. Keep it small: pushed far, the whole image can visibly step instead of just getting brighter. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Post Process › Exposure Compensation	How many stops brighter or darker the image sits. Negative is darker. From -8 to 8.	0
Post Process › Override Exposure Speed	Take charge of how quickly the eye adjusts as the shot gets brighter or darker. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Post Process › Exposure Speed Up	Stops per second while the shot is getting brighter. The engine's own default is 3. At least 0.02.	3
Post Process › Exposure Speed Down	Stops per second while it is getting darker. The engine's own default is 1. At least 0.02.	1
Post Process › Override Exposure Range	Take charge of how far the eye can adjust, with a darkest and a brightest limit. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Post Process › Exposure Min Brightness	The darkest the shot will adapt to. Raise it to keep a dark room dark. With UE5's default settings, roughly: 15 is direct sun, 10 an overcast day, 5 a bright interior, 0 a dim one, -2 moonlight.	-10
Post Process › Exposure Max Brightness	The brightest the shot will adapt to. Lower it to stop a bright exterior washing out.	20
Material Parameters	Parameters set from Off to On as the effect rises, on every material above that has one by that name. A material with any of these plays in full and lets them do the fading.	empty
Material Colours	Colour parameters set from Off to On as the effect rises, on every material above that has one by that name.	empty
Letterbox	Black bars across the top and bottom of the screen, for a cinematic frame.	off
Each Bar Covers	How much of the screen's height each bar covers at full strength. 0.128 frames a 16:9 screen at 2.39:1, the widest film frame. From 0 to 0.4.	0.128
Bar Colour	The bars' colour.	R 0, G 0, B 0, A 1
Highlight The Target	Draws the target into custom depth with the stencil below while the effect plays, so a post-process material can keep it in colour or outline it. Needs Custom Depth-Stencil Pass set to Enabled With Stencil in the project's rendering settings.	off
Stencil	The stencil value the target is drawn with, 1 to 255. Your material picks the target out by it. From 1 to 255.	1

What a marker look holds#

How one kind of marker looks and moves.

Setting	What it does	A new one starts at
Widget	A widget of its own, made from Blendable Lock-On Marker. Empty uses the markers' Widget, or the built-in marker.	none
Image	A picture of its own: a texture, or a material made for UI. Empty uses the markers' Image, or the built-in shape.	none
Shape	What the built-in marker draws for it, where no widget or picture replaces it. Choices: From The Style, Corner Brackets, Reticle, Ring, Diamond, Dot, Chevron, Arrow Overhead.	From The Style
Size	A size of its own: pixels on screen, centimetres in the world. 0 uses the markers' Size.	X 0, Y 0
Colour	Its own colour. Tick the box beside it to use it.	unticked (R 1, G 1, B 1, A 1 once ticked)
Place At	Where on the target it sits. A target with a marker Socket of its own, on its Lock-On Target, keeps to that. Choices: From The Shape, On The Lock Point, Over The Head, On The Middle Of The Body, At The Feet.	From The Shape
Offset	Moves it from there, centimetres: X towards the camera, which keeps a marker drawn in the world out of the body, Y to the right as you see it, and Z up.	X 0, Y 0, Z 0
Screen Offset	Moves it across the picture as well, X to the right and Y down: pixels on screen, centimetres in the world.	X 0, Y 0
As It Arrives › Move	The built-in move. Choices: None, Size Pop, Close In, Grow In, Slam, Wiggle, Shake, Spin, Drop In, Blink, Squash, Shrink Away, Burst.	None
As It Arrives › Amount	How big. What that is depends on the move: pixels for a drop or a shake, degrees for a wiggle, a share of the marker's size for a pop. Picking a move in the editor fills in its own.	0.3
As It Arrives › Time	How long it takes, seconds. At least 0.01.	0.25 s
As It Arrives › Widget Animation	An animation of the marker's own to play as well, by name, from a Widget Blueprint made from Blendable Lock-On Marker.	none
As The Lock Moves To It › Move	The built-in move. Choices: None, Size Pop, Close In, Grow In, Slam, Wiggle, Shake, Spin, Drop In, Blink, Squash, Shrink Away, Burst.	None
As The Lock Moves To It › Amount	How big. What that is depends on the move: pixels for a drop or a shake, degrees for a wiggle, a share of the marker's size for a pop. Picking a move in the editor fills in its own.	0.3
As The Lock Moves To It › Time	How long it takes, seconds. At least 0.01.	0.25 s
As The Lock Moves To It › Widget Animation	An animation of the marker's own to play as well, by name, from a Widget Blueprint made from Blendable Lock-On Marker.	none
While It's Shown › Move	The built-in move. Choices: None, Pulse, Heartbeat, Breathe, Bob, Sway, Spin, Blink, Hover.	None
While It's Shown › Amount	How big. What that is depends on the move: pixels for a bob or a hover, degrees for a sway, a share of the marker's size for a pulse. Picking a move in the editor fills in its own.	0.12
While It's Shown › Period	How long one round takes, seconds. At least 0.05.	0.9 s
While It's Shown › Widget Animation	An animation of the marker's own to loop as well, by name, from a Widget Blueprint made from Blendable Lock-On Marker.	none
As It Goes › Move	The built-in move. Choices: None, Size Pop, Close In, Grow In, Slam, Wiggle, Shake, Spin, Drop In, Blink, Squash, Shrink Away, Burst.	None
As It Goes › Amount	How big. What that is depends on the move: pixels for a drop or a shake, degrees for a wiggle, a share of the marker's size for a pop. Picking a move in the editor fills in its own.	0.3
As It Goes › Time	How long it takes, seconds. At least 0.01.	0.25 s
As It Goes › Widget Animation	An animation of the marker's own to play as well, by name, from a Widget Blueprint made from Blendable Lock-On Marker.	none

What a marker loop move holds#

A move a marker keeps making while it's shown: the built-in move, the widget's own animation looped, or both.

Setting	What it does	A new one starts at
Move	The built-in move. Choices: None, Pulse, Heartbeat, Breathe, Bob, Sway, Spin, Blink, Hover.	None
Amount	How big. What that is depends on the move: pixels for a bob or a hover, degrees for a sway, a share of the marker's size for a pulse. Picking a move in the editor fills in its own.	0.12
Period	How long one round takes, seconds. At least 0.05.	0.9 s
Widget Animation	An animation of the marker's own to loop as well, by name, from a Widget Blueprint made from Blendable Lock-On Marker.	none

What a marker move holds#

One move a marker makes when something happens: the built-in move, the widget's own animation, or both.

Setting	What it does	A new one starts at
Move	The built-in move. Choices: None, Size Pop, Close In, Grow In, Slam, Wiggle, Shake, Spin, Drop In, Blink, Squash, Shrink Away, Burst.	None
Amount	How big. What that is depends on the move: pixels for a drop or a shake, degrees for a wiggle, a share of the marker's size for a pop. Picking a move in the editor fills in its own.	0.3
Time	How long it takes, seconds. At least 0.01.	0.25 s
Widget Animation	An animation of the marker's own to play as well, by name, from a Widget Blueprint made from Blendable Lock-On Marker.	none

What a rig post process holds#

A look for the image: a colour grade and any post process materials, laid over the level's own post process by Weight. For anything not listed here, use a post process material.

Setting	What it does	A new one starts at
Weight	How strongly this look applies over the level's own, 0 to 1. For no look, set this to 0 rather than unticking its boxes, so the look fades during a blend instead of switching halfway. From 0 to 1.	0
Materials	Post process materials laid over the image, such as a scope overlay, a damage vignette or night vision. A material only one rig has fades in and out with the blend rather than popping.	empty
Override Vignette	Take charge of the vignette. Off, whatever the level sets is left alone.	off
Vignette Intensity	How dark the corners go, 0 to 1. Around 0.4 is a gentle framing; 1 is a heavy tunnel. From 0 to 1.	0.4
Override Film Grain	Take charge of film grain.	off
Film Grain Intensity	How much grain sits over the image. Small numbers: 0.2 is already visible. From 0 to 1.	0
Override Chromatic Aberration	Colour separation towards the edges. A little reads as a lens; a lot reads as a headache.	off
Chromatic Aberration	How far the colour channels separate. Over about 2 it reads as a fault rather than a lens. From 0 to 5.	0
Chromatic Aberration Start	How far out from centre the separation starts, 0-1. Keeps the middle of frame clean. From 0 to 1.	0
Override Bloom	Take charge of bloom.	off
Bloom Intensity	How much bright things glow. The engine default is 0.675.	0.675
Override Motion Blur	Take charge of motion blur.	off
Motion Blur Amount	How much movement smears. A common accessibility complaint, so consider leaving it to the player. From 0 to 1.	0.5
Override Color Grading	Take charge of the colour grade below.	off
Color Saturation	Saturation: X, Y and Z for red, green and blue, W for all of them. 1 is untouched; below 1 drains the colour.	X 1, Y 1, Z 1, W 1
Color Contrast	Contrast: X, Y and Z for red, green and blue, W for all of them. 1 is untouched; above 1 deepens the shadows.	X 1, Y 1, Z 1, W 1
Override Exposure	Take charge of exposure compensation, to brighten or darken the shot. Keep it small: pushed far, the whole image can visibly step instead of just getting brighter. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Exposure Compensation	How many stops brighter or darker the image sits. Negative is darker. From -8 to 8.	0
Override Exposure Speed	Take charge of how quickly the eye adjusts as the shot gets brighter or darker. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Exposure Speed Up	Stops per second while the shot is getting brighter. The engine's own default is 3. At least 0.02.	3
Exposure Speed Down	Stops per second while it is getting darker. The engine's own default is 1. At least 0.02.	1
Override Exposure Range	Take charge of how far the eye can adjust, with a darkest and a brightest limit. Needs Allow Rigs To Control Exposure, in Project Settings > Plugins > Blendable Camera.	off
Exposure Min Brightness	The darkest the shot will adapt to. Raise it to keep a dark room dark. With UE5's default settings, roughly: 15 is direct sun, 10 an overcast day, 5 a bright interior, 0 a dim one, -2 moonlight.	-10
Exposure Max Brightness	The brightest the shot will adapt to. Lower it to stop a bright exterior washing out.	20

What a shift holds#

One thing that moves the character around the screen while you play. Read it as a sentence: as DRIVEN BY goes from STARTS AT to FULL AT, move the character by MOVE BY, taking TAKES seconds to get there. Look down past 15 degrees and, by 60 degrees, the character has risen 15 percent of the screen height. Every shift is that same sentence whatever it watches, and they add up.

Setting	What it does	A new one starts at
Driven By	What this shift reads. Hidden on the four fixed shifts, which each own one driver. Choices: Control Pitch Up, Control Pitch Down, Yaw Rate, Yaw from Movement, Speed, Crouch, Aim, Ceiling Room, Falling, Slope, Lock-On Distance, Framing Subject, Gap Room, Gameplay.	Gameplay
Gameplay Name	The name gameplay feeds this number in under, with Set Gameplay Driver.	none
Starts At	Nothing happens until the driver reaches this, in the driver's own units: degrees for pitch, cm/s for speed, 0 or 1 for crouch. A pitch shift starting at 15 ignores the first fifteen degrees of looking down; a speed shift starting at 300 ignores a walk.	0
Full At	Where the driver has to get to for the character to have moved the whole Move By amount. Between Starts At and here the movement ramps in proportionally, or along the Response Curve if there is one. Past it nothing more happens.	1
Response Curve	Optional shape for the ramp: time 0 is Starts At, time 1 is Full At, and the value is how much of Move By applies. Leave it empty for a straight line; an ease-in curve keeps the framing still early on and does most of its moving late.	no curve
Move By (%)	How far the character moves at Full At, in percent of the screen. X is across and Y is down, so Y of -15 raises them by fifteen percent and X of 10 moves them right by ten. A signed driver, like yaw rate, moves them the other way when it goes negative. For Speed, X is along their direction of travel on screen: negative holds them back and leaves room ahead, a lead; positive pushes them ahead, so the camera trails them.	X 0, Y 10
Slide Or Turn	Whether the camera slides to reframe or turns on the spot. Turning looks like the operator glancing and doesn't move the camera; it's limited by the rig's Look At Offset Max Yaw and Pitch instead of Max Camera Move. Choices: Slide the camera, Turn the view.	Slide the camera
Extra Free Drift (%)	Widens the Free Drift while this shift is engaged, in percent of the screen, so the character can wander more before the camera reacts. Handy at a sprint, where you may want them moved forward and allowed to bob about more.	X 0, Y 0
Takes (s)	Roughly how long the movement takes to arrive, and to leave again, in seconds. 0 suits a smooth driver like pitch, where any easing feels like lag on the stick; a driver that flips, like crouch or aim, needs a time here or the framing jumps.	0.25 s
Max Speed (%/s)	A speed limit on how fast the character moves across the screen, in percent of the screen per second, 0 for none. Unlike Takes, the framing still goes where the driver says, just never faster than this. 40 crosses a little under half the screen in a second; above about 150 you won't notice it.	0
Ease Direction Changes	Eases the swing across the screen when the driver changes direction at full strength, like a character turning round, instead of flipping to the other side at once. Paced by Takes and Max Speed. A side-on lead wants this; a shift that should answer at once doesn't.	off