Rig settings
Every setting on a Rig'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 Rig'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 Composition.
The Shot#
| Setting | What it does | Starts at |
|---|---|---|
| Composition › Enabled | Places the character on screen using the settings below. Off, the camera sits straight behind them with nothing moving them about, which suits first person. Rigs at or under the follow camera's First Person Arm Threshold count as off whatever this says. | on |
| Composition › Where On Screen (%) | Where the character sits on screen, in percent: X across (0 left, 50 middle, 100 right) and Y down (0 top, 100 bottom). 35, 55 is a classic over-the-shoulder framing; set it for the right shoulder and a shoulder swap mirrors it. It holds at any arm length, lens and pitch. From 0 to 100. | X 50, Y 50 |
| Composition › Free Drift (%) | How far the character can wander from their spot before the camera follows, in percent of the screen either side, so 8 makes a box sixteen percent wide. Too small and the camera chases every twitch; too large and the character visibly drifts before anything happens. From 0 to 50. | X 8, Y 10 |
| Composition › Full Strength At (%) | How far from the spot, in percent, the camera reaches full follow strength. Between Free Drift and this it eases in, so following starts gently; bigger is gentler, and setting it equal to Free Drift makes following start all at once. From 0 to 100. | X 30, Y 28 |
| Composition › Catch-Up Speed | How quickly the camera catches up once the character leaves the Free Drift. 2 is unhurried, like an operator noticing; 10 is brisk and feels locked on. | 4 |
| Composition › Max Camera Move (cm) | How far the camera may move sideways or up and down to put the character on their spot, in cm. Ask for a spot that needs more and the character lands short of it; the composition preview shows where they'll end up. | 220 cm |
| Composition › Keep The Same Distance | Keeps the camera the same distance from the character however far sideways it slides, which stops the shot dipping in towards them halfway through a shoulder swap. Anything else that slides the camera then also moves it in and out, which can feel like a jolt, so only turn it on if you see the dip. | off |
| Composition › Looking Up | Moves the character while you look UP. Driven by how far above level you are looking, in degrees. One of the shifts below. | as new, but Driven By Control Pitch Up, Starts At 15, Full At 60, Move By (%) X 0, Y 0, Takes (s) 0 s |
| Composition › Looking Down | Moves the character while you look DOWN, by how far below level you're looking. A Move By of 0, -15 raises them fifteen percent of the screen as you look down, which lowers the camera and shows more of the ground without it climbing into the ceiling. One of the shifts below. | as new, but Driven By Control Pitch Down, Starts At 15, Full At 60, Move By (%) X 0, Y 0, Takes (s) 0 s |
| Composition › While Turning | Moves the character while you TURN. Driven by how fast you are turning, so a hard turn moves them into it. One of the shifts below. | as new, but Driven By Yaw Rate, Starts At 60, Full At 360, Move By (%) X 0, Y 0, Takes (s) 0.15 s |
| Composition › Looking Away From Travel | Moves the character while you look AWAY from where they are going. Driven by the angle between where you are looking and where they are running, in degrees. Look back over your shoulder mid-sprint and they slide aside so you can see past them. Starts At is how far round you may look before anything moves. One of the shifts below. | as new, but Driven By Yaw from Movement, Starts At 45, Full At 150, Move By (%) X 0, Y 0, Takes (s) 0.3 s |
| Composition › More Shifts | Anything else that should move the character: speed, crouch, aim, a low ceiling, falling, slope, a lock-on, a number from gameplay. | empty |
| Composition › Shift Limit (%) | The furthest all the shifts together can move the character from their spot, in percent of the screen on each axis. Pushes from gameplay count towards it too. From 0 to 50. | X 30, Y 30 |
| Arm Length | How far behind the character the camera sits, in cm. Around 150 is close over the shoulder, 350 a normal third-person view, 800 and up a wide shot. Collision can pull it in, but never pushes it further out. | 350 cm |
| FOV | How wide the lens is, in degrees. Around 60 is tight and flattening, 80 is a normal third-person view, 105 and up is wide and fast-feeling with noticeable distortion at the edges. From 5 to 170. | 80° |
| Resting Pitch | The angle the camera settles back to when recentring or recovering its pitch, in degrees. Slightly down usually looks best behind a character. | -10° |
| Default Blend Time | Default seconds to blend into this rig when a caller does not say. | 0.35 s |
| The Character Faces | Which way this rig asks the character to face while it's in charge. A point of interest's request wins over it. Your character acts on it by listening to On Orientation Request Changed. Choices: Unchanged, Orient to Movement, Strafe, Aim. | Unchanged |
Each entry in Composition › More Shifts, 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.
| Each entry | What it does | 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 |
Limits#
| Setting | What it does | Starts at |
|---|---|---|
| Min Pitch | How far down the player may look, in degrees. The stick stops here. From -89 to 0. | -60° |
| Max Pitch | How far up the player may look, in degrees. From 0 to 89. | 65° |
| Constrain Yaw | Limits how far round the character the player can swing the camera, measured from the way the character is facing. | off |
| Local Min Yaw | How far left of the character's facing the player may look, in degrees. From -180 to 0. | -80° |
| Local Max Yaw | How far right of the character's facing the player may look, in degrees. From 0 to 180. | 80° |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Yaw Constraint Tolerance | How many degrees before the limit the camera starts slowing, so it eases to a stop instead of hitting a wall. 0 stops dead. | 0° |
| Pitch Constraint Tolerance | The same easing for Min Pitch and Max Pitch, in degrees. 0 stops dead. | 0° |
Hold The Angle#
The value on the line: holds the camera at its own fixed angle instead of following the mouse or look stick, for top-down, isometric and side-on games. Turn it with Rotate Camera on the follow camera. The character still moves relative to the screen, so up on the stick is up on the screen. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Pitch | How far down it looks, in degrees. -90 is straight down, -50 a steep isometric view, 0 level. From -89.5 to 89.5. | -50° |
| Faces | Which way it faces when this rig takes the shot. Choices: A direction in the world, Wherever it was looking. | A direction in the world |
| Facing | The world direction it faces, in degrees. 0 looks along +X, 45 is the isometric diagonal, and -90 looks along -Y, so +X runs left to right across the screen. A turn the player makes is kept when switching to another rig that faces the same way. | 0° |
Pivot#
| Setting | What it does | Starts at |
|---|---|---|
| Pivot Socket | Bone or socket the rig hangs from. Empty pivots on the actor origin. | none |
| Pivot Offset | Offset from the pivot, in its local space. This is the point the camera hangs from and turns around, and the point Where On Screen places, so raising it sits the character lower in frame. First person sits exactly here. | X 0, Y 0, Z 50 |
| Pivot Lag Speed | How quickly the camera keeps up with the character as they move. Higher follows more tightly; 0 follows rigidly with no lag at all. | 14 |
| Vertical Follow (x) | How quickly the camera follows the character up and down, as a share of Pivot Lag Speed. 1 follows height like everything else; lower lets a jump or a step happen without the camera bobbing after it, which suits a side-on camera. From 0.01 to 2. | 1 |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Pivot Mesh | Which skeletal mesh the Pivot Socket is on: one handed over under this name with Set Pivot Mesh, else one with this component tag, else one with this component name. Empty uses the character's mesh. For a body with its own first-person mesh, name that mesh here so the camera sits on its eyes rather than on the third-person body's. | none |
| Pivot Damping | How smoothly the camera follows the character's position, and whether it keeps up with a moving character instead of trailing behind. One of the damper channels below. | as new |
Manual Zoom#
The value on the line: whether the player can zoom this camera themselves. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Zoom By | What zooming changes: the arm, as a gameplay camera does, or the lens, as a scope or binoculars do. A fixed camera always zooms its lens. Choices: Arm Length, Field Of View. | Arm Length |
| Style | How it answers the wheel and the zoom buttons. Choices: Raw, Smoothed, Along A Curve, Stages, Stages, Looping. | Smoothed |
| Widest (x) | The furthest out it goes, as a magnification: below 1 is further out than the camera's own arm or lens. From 0.1 to 1. | 0.6 |
| Closest (x) | The furthest in it goes, as a magnification. From 1 to 12. | 2 |
| Each Step | How far each turn of the wheel or press of a button zooms: a share of the magnification, or of the way along the curve. From 0.01 to 1. | 0.15 |
| Stages (x) | Stages: the magnifications it steps through, in order. | 4 entries |
| Between Stages | Stages: snap from one to the next, or ease. Choices: Snap, Ease. | Ease |
| After A Wall | Zooming the arm: when a wall pulls the camera in, spring back out once it's gone, or come in with it and stay. Choices: Spring Back Out, Stay In. | Spring Back Out |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Glide Time (s) | Smoothed and Along A Curve: how long it takes to glide most of the way, in seconds. From 0 to 1. | 0.15 s |
| Curve | Along A Curve: from 0 the widest to 1 the closest, how the magnification goes as the wheel turns. Empty, evenly. | no curve |
| Ease Time (s) | Easing between stages: how long it takes, in seconds. From 0 to 1. | 0.2 s |
| Ease Curve | Easing between stages: its shape, from 0 to 1 over the change. Empty, easing in and out. | no curve |
| Snap Effect | Snapping between stages: a Blendable FX effect to play as it snaps, when Blendable FX is in the project. | none |
| Snap Under A Transition | Snapping between stages: play the effect as a transition and snap under its cover, rather than as an impact over the snap. | off |
| Starts At 1x | Back to 1x whenever this takes the shot, rather than keeping the zoom the camera had. | on |
| Reverse The Wheel | Turns the wheel round, for a player who'd rather roll it towards them to zoom in. | off |
Following#
Auto Follow#
| Setting | What it does | Starts at |
|---|---|---|
| Yaw Follow | Swings the camera round behind the way the character is moving, once the player stops steering it. | off |
| Yaw Follow Speed | How quickly the camera swings round behind the direction of travel. Only used with Use Probe Aiming off; with it on, Probe Pull Rate and Yaw Follow Urgency set the pace. | 1.6 |
| Yaw Follow Delay | How long the player has to leave the look stick alone before the camera starts following, in seconds. | 1.4 s |
| Yaw Follow Angle Threshold | How far the camera has to be from the direction of travel, in degrees, before it bothers following. Stops it fidgeting over small angles. | 18° |
| Yaw Follow Up To | How far the direction of travel can be from the way the camera faces, in degrees, for the follow to still turn at full strength. Past it the follow eases off over Eases Off Over, so moving back towards the camera never swings it round. 180 follows every way. From 0 to 180. | 90° |
| Eases Off Over | How many degrees past Yaw Follow Up To the follow takes to ease off to nothing. From 0 to 90. | 10° |
| Pitch Follow | Lets the camera tilt up and down on its own, to follow slopes and to look down while falling. Choose which below. | on |
| Pitch Follow Speed | How quickly the camera tilts to follow slopes and falls. Only used with Use Probe Aiming off; with it on, Slope Follow Urgency and Falling Urgency set the pace. | 0.5 |
| Pitch Follow Delay | How long the player has to leave the stick alone before the camera starts choosing the pitch itself. | 2 s |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Follow Ramp Time | How long the automatic follows take to build up to full strength once they start, in seconds, so the camera eases into moving instead of lurching. | 1 s |
| Follow Settle Time | Extra time after a rig change, on top of the blend itself, before the camera starts steering itself again, in seconds. 0 waits only for the blend. Falling, a recentre the player asks for and points of interest aren't held back by it. | 0 s |
| Follow Ramp Curve | The shape of the Follow Ramp Time build-up, shared by all the automatic follows so they ease in the same way. Choices: Linear, Ease In, Ease Out, Ease In-Out, Custom Curve. | Ease In-Out |
| Follow Ramp Custom | Your own shape for the build-up, from 0 to 1, used when Follow Ramp Curve is Custom. | none |
| Yaw Follow Softness | How many degrees past Yaw Follow Angle Threshold the follow takes to reach full strength, so it slows gently into line instead of stopping dead. Only used with Use Probe Aiming on. At least 0.1. | 15° |
| Yaw Follow Urgency | How quickly the follow turns the camera, as a multiple of Probe Pull Rate. Only used with Use Probe Aiming on. From 0.05 to 4. | 1 |
| Pitch Follow Angle Threshold | How far off, in degrees, the pitch has to be before the camera bothers correcting it at all. | 5° |
Slopes#
The value on the line is Pitch Follow Slopes: tilts the camera up or down with the slope the character is moving along, so it looks where they're going. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Slope Min Incline | Degrees of incline below which the ground counts as flat. From 0 to 45. | 6° |
| Slope Pitch Influence | How much of the slope's angle the camera tilts by, 0 to 1. 1 matches the slope exactly, which can point the camera at the hillside; less leans into a climb while keeping more horizon in view. From 0 to 1. | 1 |
| Slope Follow Delay | How long the character has to keep climbing or descending before the camera starts tilting with it, in seconds, so a kerb or a short flight of stairs passes without a reaction. 0 starts straight away. | 0 s |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Slope Follow Urgency | How quickly the slope follow tilts the camera, as a multiple of Probe Pull Rate. Only used with Use Probe Aiming on. From 0.05 to 4. | 1 |
| Slope Follow Softness | How many degrees steeper than Slope Min Incline the slope has to get before the follow is at full strength. Lower reacts fully to gentler slopes. At least 0.1. | 15° |
| Travel Pitch Smoothing | Smooths out bumps in the character's up-and-down movement, like kerbs and stairs, before the slope follow sees them, in seconds. Higher ignores more, but notices a real slope later. | 0.35 s |
| Slope Delay Resets on Look | Restarts Slope Follow Delay whenever the player moves the camera, so the slope follow never argues with someone lining up their own shot. Off, the wait only depends on the slope. | on |
Falling#
The value on the line is Pitch Follow when Falling: tilts the camera down while falling, so the player can see where they're about to land. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Falling Pitch | Where the camera looks while falling, in degrees. Negative looks down, at what you are about to land on. | -35° |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Falling Speed Multiplier | How much faster than usual the camera swings to that falling angle. Falling is urgent, so 2 swings twice as fast; 1 is the usual rate. | 1 |
| Falling Urgency | How quickly the camera tilts down while falling, as a multiple of Probe Pull Rate. Only used with Use Probe Aiming on. From 0.05 to 4. | 1 |
| Falling Min Ground Distance | How much clear space there has to be below the character, in cm, before it counts as falling, so a hop doesn't tip the camera down. | 250 cm |
Pitch Recover#
The value on the line: while the character is moving, tilts the camera back to Resting Pitch once the player stops steering it, whether it was left looking up or down. Gives way to the slope follow on hills. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Pitch Recover Delay | How long after the player last moved the camera before it starts tilting back, in seconds. It only tilts while the character is moving. 0 starts straight away. | 1 s |
| Pitch Recover Speed | How quickly it tilts back, as a multiple of Probe Pull Rate. From 0.05 to 4. | 1 |
Recentre#
The value on the line is Auto Recenter: swings the camera back behind the character, at Resting Pitch, once the player has left it alone for Recenter Delay. For a recentre button, call Recenter Camera instead. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Recenter Delay | How long the player has to leave the camera alone before it recentres on its own, in seconds. Keep it long: recentring soon after they let go feels like the camera overruling them. | 5 s |
| Recenter Input Buffer | After the player stops aiming, swapping shoulder or doing anything else besides moving, how long the auto recentre waits before Recenter Delay starts counting again, in seconds. | 1 s |
| Recenter Speed | How quickly the recentre swings back, also used by Recenter Camera when the call doesn't give a speed. With Use Probe Aiming on, Recenter Urgency sets the pace instead. | 3 |
| Recenter Ease In | How long a recentre takes to get up to speed, in seconds, so it starts smoothly instead of with a jolt. 0 starts at full speed. From 0 to 2. | 0.35 s |
| Recenter Yaw Only | Only recentre the yaw, leaving the player's chosen pitch alone. Common in games where players deliberately hold a high or low angle and only want the camera swung back behind them. | off |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Recenter Urgency | How quickly the recentre turns the camera, as a multiple of Probe Pull Rate. Only used with Use Probe Aiming on. From 0.05 to 4. | 1 |
Follow Lag#
The value on the line is Enabled: turns follow lag on. Off, the camera keeps pace with the character at every speed. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Only Fall Behind In Depth | On, the camera only falls behind along the way it's looking, so the character keeps their place on screen and just gets further away. Off, it falls behind in every direction, so a sideways sprint also carries them across the frame. | off |
| Lag Starts Above | The speed, in cm/s, above which the camera starts to fall behind. Below it the camera keeps up, so a walk never lags. | 250 |
| Full Lag At | The speed, in cm/s, at which the camera hangs back the most. Between here and Lag Starts Above it eases. | 600 |
| Follow Speed When Lagging | How closely the camera follows at full lag. The lower it is compared with Pivot Lag Speed, the further the character pulls ahead. The same as Pivot Lag Speed means no lag at all. | 4 |
| Most They Get Ahead (cm) | The furthest the character can get ahead of the camera, in cm. At this distance the camera holds steady for as long as they keep running; it doesn't hurry back in. | 120 cm |
| Catch-Up Speed | How fast the camera closes the gap once the character slows below Lag Starts Above. Low settles slowly, high closes the gap briskly. | 18 |
| Caught Up Within (cm) | How close the camera must get, in cm, before it counts as caught up and goes back to normal following. | 20 cm |
Keeps Its Distance#
The value on the line: keeps the character at least Closest from the camera when they come towards it: the camera backs away with them, easing, rather than letting them fill the screen. Off, a sprint at the camera with Follow Lag on can bring them right up to the lens. A wall behind the camera still brings it in. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Closest (cm) | The nearest the character comes before the camera backs away with them, in cm: at 160 a 220 cm arm lets them run 60 cm in, and no more. Above the arm, the camera simply keeps pace. | 160 cm |
| Backs Away At | How briskly the camera backs off once they're nearer than Closest: 8 takes back most of it in a quarter of a second, 2 drifts back over a second or so. At least 0.1. | 8 |
| Never Nearer Than (cm) | However fast they come, never nearer than this, in cm: the camera holds them there outright. 0 leaves it to the easing alone. | 110 cm |
| Only When Clear | Stands aside while collision is bringing the camera in, so near a wall, a shelf or a doorway the camera does just what it would without Keeps Its Distance, and holds the distance again, eased back in, once the way behind it has been clear for a moment. Off, it holds the distance against walls too. | on |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Gives Way Over (cm) | How far before Closest the camera starts giving way, in cm, so it eases into backing off rather than starting all at once: 30. | 30 cm |
| Stands Aside From (cm) | How far collision has to bring the camera in before Only When Clear stands the hold aside, in cm: brushing the edge of a post or a door frame takes a few centimetres and doesn't count. 20 lets a 220 cm arm lose a tenth first. | 20 cm |
Look Overshoot#
The value on the line: lets a fast turn coast to a stop after the player lets go, instead of stopping dead with the stick. Usually suits a gamepad better than a mouse. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Look Overshoot Amount | How much of the turn carries on after the player stops, 0 to 1. From 0 to 1. | 0.35 |
| Look Overshoot Decay | How long the leftover turn takes to bleed away once the player has stopped, in seconds. At least 0.01. | 0.35 s |
| Look Overshoot Min Rate (deg/s) | How fast a turn has to be before it coasts at all. Slower, careful aiming stops exactly where the player leaves it. | 90 |
Pitch Room#
The value on the line is Pitch Room Limit: stops the player looking down so far that the camera swings up into a low ceiling. It only ever narrows the rig's own pitch limits, and with nothing overhead it does nothing. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Pitch Room Probe | How far above the camera to check for a ceiling, in cm. At least 10. | 200 cm |
| Pitch Room Margin | How much room to leave between the camera and the ceiling, in cm, so it stops short instead of grazing it. | 30 cm |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Pitch Room Ease | How quickly the limit closes in and lets go as the ceiling above changes. Lower is smoother. At least 0.1. | 4 |
Probe Aiming#
The value on the line is Use Probe Aiming: blends all the automatic camera turns (following, slopes, falling, recentring) into one smooth pull the player can always push against. Off, each one turns the camera directly at its own speed. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Probe Pull Rate | How strongly the automatic turns pull the camera. Higher and the camera insists; lower and the player wins more easily. | 3 |
Look At#
| Setting | What it does | Starts at |
|---|---|---|
| Allow Look At Offset | While a point of interest or lock-on is aiming the camera at something, lets the player steer it off-centre and keeps the framing they choose, instead of pulling back to the middle. Has no effect while Look At Break Free is on. | on |
| Look At Offset Max Yaw | How far left or right of the target the player may move the framing, in degrees. From 0 to 80. | 30° |
| Look At Offset Max Pitch | How far up or down, in degrees, the player may compose away from the thing being looked at. From 0 to 80. | 18° |
| Look At Break Free | While a point of interest or lock-on is aiming the camera at something, holds it centred and resists the player pushing away, until they push past Look At Break Angle and it lets go. Overrides Allow Look At Offset while on. | on |
| Look At Break Angle | How far off the target, in degrees, the player has to push before the hold lets go. From 1 to 180. | 40° |
| Look At Hold Strength | How firmly the hold keeps the target centred, as a multiple of the follow camera's Steer Rate. 1 is the normal look-at pull; higher takes more pushing to move off. At least 0.1. | 1.5 |
| Look At Reacquire Delay | After breaking free, how long the player has to leave the stick alone before the hold grabs the target again, in seconds. 0 grabs it straight back. Looking back towards the target grabs it too. | 0.75 s |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Look At Offset Decay | How fast the player's chosen framing drifts back to centre once they stop steering, in degrees per second. 0 keeps it where they left it. | 0 |
| Look At Steer Threshold | How fast the player has to move the camera, in degrees per second, to count as choosing a new framing. Too low and the camera's own corrections count; too high and slow, careful adjustments are missed. | 12 |
| Look At Offset Adopt Rate | How quickly the camera accepts the framing the player is steering to. Lower holds the target more firmly, so pushing away takes more effort; very high gives way at once. | 8 |
Collision#
Collision#
The value on the line is Do Collision Test: oFF: the camera passes through walls. On, it shortens the arm to stay out of them. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Collision Radius | How fat the camera is for collision, in cm. Bigger stops it further from walls and clips less. | 20 cm |
| Arm Pull In Time | Roughly how long the camera takes to pull in when something gets in the way, in seconds. Keep it fast, so the camera never sits inside a wall. | 0.01 s |
| Arm Relax Time | Roughly how long the camera takes to ease back out once the way is clear, in seconds. Usually slower than pulling in: popping back out looks worse than lingering close. Also paces the distance changes Pitch Response makes. | 0.2 s |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Arm Damping | How smoothly the camera moves in and out when collision changes its distance. Only Model has any effect, and only with Predictive Avoidance off. One of the damper channels below. | as new |
Occlusion#
The value on the line is Occlusion Strategy: what gives when something blocks the view of the character: the camera pulls in closer, or moves round the obstacle and keeps its distance. Moving round never changes where the player is aiming. Not used while Predictive Avoidance is on. Choices: Pull Forward, Preserve Height, Preserve Distance. Starts at Pull Forward.
| Setting | What it does | Starts at |
|---|---|---|
| Occlusion Search Angle | How far round an obstacle the camera may swing to find a clear view, in degrees each way. From 5 to 170. | 70° |
| Occlusion Swing Time | Roughly how long the camera takes to swing round an obstacle, and back once it's clear, in seconds. | 0.35 s |
| Occlusion Min Time | How long something has to be in the way before the camera pulls in for it, in seconds, so railings, leaves and door frames that cross the view for a moment don't yank it in. 0 reacts straight away. | 0 s |
| Ignored Occluder Tags | The camera's collision ignores actors with any of these tags, so a fence post, railing or hanging cable can't yank the shot in. | empty |
| Thin Things Don't Block | Lets the camera pass through anything thin instead of coming in for it: a post, a pole, a railing, a lamp post, anything whose two narrowest sides are both under Thinner Than. Each mesh is measured whole (one instance at a time for instanced ones), so a frame or a shelf made as one piece isn't thin. Pair it with See Through, which shows your character through it. Off, everything that blocks the camera brings it in. | off |
| Thinner Than (cm) | How thin counts as thin, in cm: anything whose two narrowest sides are both under this. 30 takes posts, poles, railings and lamp posts, and leaves walls, pillars and furniture. | 30 cm |
| Decollide | A final check that pushes the camera out of any wall it ends up in, after everything else has moved it. A point of interest set to suppress camera collision can still switch it off for a shot that's meant to clip. | on |
| Keep Out Of | Whether anything between your character and the camera brings it in, or only a wall the camera's actually inside. Choices: Nothing Between, Only When Inside. | Nothing Between |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Occlusion Search Steps | How many angles the camera tries across that swing. More finds a better spot but costs more collision checks. From 2 to 16. | 6 |
| Decollide Skin | How far clear of a surface the camera is pushed, in cm. | 8 cm |
See Through#
The value on the line: lets you see your character, and whoever you're locked on to, through anything in the way: a soft hole in it round them. Only on meshes whose material has Blendable's See-Through function. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Your Character | Keeps your character in view. | on |
| Your Target | Keeps whoever you're locked on to in view. | on |
| Hole Size | How big the hole is round each of them, as a share of their size. 1 is just round them. From 0.1 to 3. | 1.25 |
| Opens In | How long something takes to open up once it's in the way, in seconds. | 0.15 s |
| Closes In | How long it takes to close again once it's out of the way, in seconds. | 0.4 s |
| Silhouette | Also shows the parts of them that are hidden, by anything at all, as a coloured outline and fill. Needs no material changes. | off |
| Open Skins Too | Also opens meshes with no collision of their own that sit on what's in the way: paint, panelling or trim laid over a plain wall as a mesh of its own. Off, only what the camera's channel can hit opens, and a painted skin stays shut. | on |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Skin Reach | How near where the view meets a wall a skin has to be to open with it, in cm: 50 takes both faces of a wall 40 cm thick. | 50 cm |
| Silhouette Colour | The silhouette's colour; its alpha is how much of it shows. | R 0.45, G 0.75, B 1, A 1 |
| Silhouette Fill | How much the silhouette fills them in inside its outline: 0 the outline only, 1 solid. From 0 to 1. | 0.3 |
| Never Through Actors Tagged | Actors with any of these tags never open up, however much they're in the way. | empty |
Auto Shoulder#
The value on the line: moves the camera to the other shoulder when a wall closes in on this side, without the player pressing anything. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Shoulder Response | Whether the camera jumps fully to the other shoulder, or slides across only as far as the wall pushes it. Choices: Swap (commit to the other shoulder), Slide (move across by wall distance). | Swap (commit to the other shoulder) |
| Auto Shoulder Pinch Distance | How close a wall has to get to the character on the camera's side, in cm, before the auto shoulder starts to react. | 60 cm |
| Auto Shoulder Delay | How long the wall has to stay close before the camera swaps, in seconds, so brushing past a door frame or a pillar doesn't set it off. Swap only; Slide reacts straight away. | 0.35 s |
| Auto Shoulder Blend Time | How long the camera takes to move across when the auto shoulder moves it, in seconds. A little slower than a manual swap usually feels better. | 0.45 s |
| Auto Shoulder Probe Reach | Roughly how far off-centre the camera sits, in cm, which tells the auto shoulder how far out to the side to look for walls. If the camera is actually further out, it looks that far instead. | 45 cm |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Auto Shoulder Margin | How much more room, in cm, the other side needs before the camera moves over to it. Stops it flicking back and forth down a corridor. | 40 cm |
| Auto Shoulder Manual Grace | After the player swaps shoulder by hand, how long the automatic swap waits before it can act again, in seconds. | 2 s |
Predictive Avoidance#
The value on the line: checks around the camera as well as straight behind it, so it eases off walls before reaching them instead of bumping into them. Replaces the Occlusion Strategy while on. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Feelers | The checks cast around the camera so it sees a corner coming. Leave the list empty for a default set of five. | empty |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Feeler Smoothing | Smooths how much the predictive checks pull the camera in, in seconds, so it doesn't twitch as they clip corners. Higher is steadier but slower to react. | 0.12 s |
Each entry in Feelers, one of the extra checks predictive collision casts around the camera, so it can ease off a wall before reaching it.
| Each entry | What it does | Starts at |
|---|---|---|
| Adjustment Rot | Which way this check points, as an angle off the line straight back from the character to the camera. Zero is straight back. | Pitch 0, Yaw 0, Roll 0 |
| World Weight | How much a hit on world geometry counts. Angled feelers matter less than the direct one. From 0 to 1. | 1 |
| Pawn Weight | How much a hit on a character counts, 0 to 1. Lower it so crowds and NPCs walking behind the player don't push the camera around; 1 treats a body like a wall. From 0 to 1. | 1 |
| Probe Radius | How fat this feeler is, in cm. Wider finds obstacles sooner and keeps the camera further off them. | 20 |
Tight Spaces [EXPERIMENTAL]#
The value on the line is Gap Centring [EXPERIMENTAL]: [EXPERIMENTAL] In a doorway or alley, slides the camera sideways to line up with the middle of the gap instead of scraping along one side. With composition on it moves the framing through a Gap Room shift under More Shifts, or a full-strength one if the rig has none. Expect to tune Gap Whisker Spacing for your levels. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| Gap Whisker Spacing | Sets how tight a space must be to count as a gap: walls on both sides within Gap Max Shift plus this, in cm. Too small and it misses gaps the camera is really clipping; too large and wide corridors count too. Around the camera's Collision Radius plus a little is a good start. At least 1. | 45 cm |
| Gap Max Shift | The furthest the camera will slide sideways to centre in a gap, in cm. Anything more is left to normal collision. | 70 cm |
| Gap Engage Rate | How quickly the camera slides in once it finds a gap. Keep it brisk: arriving late means the camera is already in the door frame by the time the slide lands. At least 0.1. | 7 |
| Gap Release Rate | How quickly the camera lets go once the gap is behind you. Keep it slower than Gap Engage Rate, so the shot doesn't spring back the instant the walls clear. At least 0.1. | 3 |
| Gap Yaw Assist [EXPERIMENTAL] | [EXPERIMENTAL] Also turns the camera to point down the gap, which keeps it clear of the door frame on the way through. Off by default because it moves where the player is looking. Needs Use Probe Aiming on, and backs off the moment the player touches the stick. | off |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Gap Probe Radius | How thick gap centring's checks are, in cm. | 10 cm |
| Gap Probe Length | How long the two side checks are, along the camera's line, in cm, which lets them keep hold of a door frame for longer. Raise it if the camera lets go of a gap too early on the way out; lower it if it holds on after the gap has gone. | 60 cm |
| Gap Yaw Max Angle | The most it will turn, in degrees; the sideways slide covers the rest. Keep it small, since this moves where the player is looking. From 0 to 45. | 12° |
| Gap Yaw Urgency | How quickly the gap turn moves the camera, as a multiple of Probe Pull Rate. | 3 |
Keep In Frame#
The value on the line is Dynamic Framing: eases the character back towards the middle of the frame when a wall pushes the camera in close, or when looking steeply up or down, so they don't slide out of shot. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Framing Arm Compensation | How much the framing moves back towards the middle as a wall pushes the camera in, 0 to 1. At 1, a camera pushed all the way in is fully centred. From 0 to 1. | 1 |
| Framing Pitch Compensation | How much the framing moves back towards the middle when looking steeply up or down, 0 to 1. From 0 to 1. | 1 |
Feel#
Pitch Response#
The value on the line: changes how far back the camera sits and how wide the lens is as the player looks up and down. Starts at on.
| Setting | What it does | Starts at |
|---|---|---|
| Pitch Arm Scale Up | Camera distance when looking all the way up to Max Pitch, as a multiple of Arm Length. Below 1 pulls the camera in; above 1 pushes it out. From 0.1 to 3. | 1.2 |
| Pitch Arm Scale Down | Camera distance when looking all the way down to Min Pitch, as a multiple of Arm Length. Below 1 pulls the camera in; above 1 pushes it out. From 0.1 to 3. | 1.2 |
| Pitch FOV Offset Up | Degrees of field of view added when looking all the way up. Negative narrows the lens. | 10° |
| Pitch FOV Offset Down | Degrees of field of view added when looking all the way down. Negative narrows the lens. | 10° |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Pitch Arm Curve | Optional: replaces the two distance values with a curve, for shapes they can't make, like holding steady through the middle and only pulling in at the extremes. Time runs from -1 (looking all the way down) to 1 (all the way up); the value is a multiple of Arm Length. | no curve |
| Pitch FOV Curve | Optional: replaces the two field of view values with a curve. Time runs from -1 (looking all the way down) to 1 (all the way up); the value is degrees of field of view added. | no curve |
| Pitch Response Speed | How quickly the distance and lens catch up with the player's pitch, so a fast flick doesn't snap the camera in and out. | 4 |
Handheld#
| Setting | What it does | Starts at |
|---|---|---|
| Handheld | The handheld shake for this shot: the camera operator's breathing, sway and reactions. Empty uses the handheld set on the Blendable Shake component. It blends smoothly into the next rig's handheld when the rig changes. | none |
| Handheld Strength | How much of the handheld this shot carries. 0 holds the camera still; above 1 is a shakier operator. From 0 to 2. | 1 |
| Also Running | A constant shake that belongs to this shot and runs alongside the handheld, like a rumbling engine room or a boat deck. It fades in and out with the rig. Keep one-off hits like a grenade out of it; they shouldn't fade because the rig changed. | none |
| Also Running Strength | How strong that shake is, 0 being off. From 0 to 2. | 0 |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Handheld Ambient Scale | Scales the constant handheld motion for this shot: bob, sway and lean. 0 holds still; above 1 adds more, say for a sprint. | 1 |
| Handheld Transient Scale | Scales one-off shakes for this shot: impacts, shakes and rumbles. Separate from the handheld so a cutscene can calm the camera and still let its scripted hits land. | 1 |
Lens#
| Setting | What it does | Starts at |
|---|---|---|
| Focus › Focus On | What the lens keeps sharp. Focus follows them as they or the camera move. Choices: Nothing, You, The Target, The Point Of Interest, A Set Distance, Both Of You, Whichever Is Nearer, Whichever Is Further. | Nothing |
| Focus › Focus Strength | How much say this has over focus, 0 to 1. Where several points of interest want the focus, the one with the most say gets it. From 0 to 1. | 1 |
| Focus › At | How far from the camera the lens focuses, for A Set Distance, when you're setting it by hand rather than tracking something. | 500 cm |
| Focus › Blend Focus | Eases the depth of field in and out instead of switching it on and off. | on |
| Focus › Focus Blend In Time | How long the depth of field takes to ease in when focus starts, in seconds. | 0.6 s |
| Focus › Focus Blend Out Time | How long the depth of field takes to ease out when focus lets go, in seconds. | 0.9 s |
| Focus › Realistic Rack | Pulls focus like a person would: a beat late, a touch too far, then it settles. Off, focus snaps straight to the new distance. | on |
| Focus › Focus Reaction Time | How long focus waits before it starts to follow a change, in seconds. | 0.18 s |
| Focus › Focus Spring › Stiffness | How hard it pulls towards where it is going. Higher arrives sooner. Around 60 is loose and floaty, 180 is a normal camera movement, 400 and up is a snap. | 34 |
| Focus › Focus Spring › Damping | How much it resists wobbling. Higher settles flatter; lower bounces past and comes back. Twice the square root of Stiffness is exactly no wobble: about 27 at a Stiffness of 180. | 7 |
| Focus › Focus Spring › Max Speed | The fastest the movement may travel, in its own units per second. 0 is no limit. Rarely needed: it stops a big sudden change flinging the camera faster than the eye can follow. | 0 |
| Focus › Focus Dead Zone | How far the focus distance can drift, in cm, before the lens bothers to follow. Stops it chasing every small step. | 30 |
| Focus › Override Aperture | Also sets the aperture, to change how shallow the focus is from shot to shot. Off by default because it changes brightness too: turn it on only if you'll manage exposure yourself. Focus works fully without it. | off |
| Focus › Aperture | Lower is shallower and more cinematic. 22 is effectively everything in focus. From 0.5 to 32. | 2.8 |
| Focus › Exposure Reference F-Stop | The f-number your scene is already lit and exposed for. The aperture eases from here, so it starts where the scene already is. From 0.5 to 32. | 2.8 |
| Focus › Stop Down For Both | Both: also close the aperture until both subjects are sharp. Off focuses between them and leaves the aperture alone. | off |
| Focus › 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 |
| Focus › Close No Further Than (f/) | The furthest the aperture may close for Both, as an f-number. From 1 to 32. | 11 |
Post Process#
| Setting | What it does | Starts at |
|---|---|---|
| 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 |
Each entry in 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 |
Advanced#
First Person#
| Setting | What it does | Starts at |
|---|---|---|
| Bone Rotation Influence | How much the camera turns with the pivot bone's animation, usually the head, 0 to 1. 0 is a clean first-person camera only the player turns; 1 is a helmet cam that gets every turn, nod and impact. Where the player is aiming is never affected. From 0 to 1. | 0 |
| Bone Stabilisation | Steadies the camera against the head bobbing with each step, 0 to 1. 1 removes the bob completely while still following the character. From 0 to 1. | 0 |
| Eye Offset | Where the camera sits from the pivot, in the view's own axes: forward, right and up, in cm. It turns with the view, so 0, 0, 10 keeps the camera 10 cm above the pivot whichever way you look, and looking down brings it forward the way a head brings the eyes forward. 0 turns on the spot. | X 0, Y 0, Z 0 |
Under More:
| Setting | What it does | Starts at |
|---|---|---|
| Bone Rotation Axis Scale | How much of that turning to use on each axis, as Pitch, Yaw, Roll. Roll and pitch sell a helmet cam; yaw tends to fight the player, so 0 yaw is a good start. | X 1, Y 0, Z 1 |
| Bone Rotation Smoothing | Smooths that head movement, in seconds. 0 uses the raw bone, jitter and all. | 0.06 s |
| Bone Stabilisation Smoothing | Seconds over which the stabiliser averages. Longer is steadier and lags further behind a genuine change of height, like crouching. At least 0.01. | 0.25 s |
First Person Meshes#
The value on the line is Draw First Person Meshes: draws the meshes marked First Person, such as arms and held items, the way Unreal's first-person rendering does: out of the hidden body's shadow, with their own field of view and size below. Unreal 5.6 and later; it does nothing on 5.4. Starts at off.
| Setting | What it does | Starts at |
|---|---|---|
| First Person Mesh FOV | The field of view the first-person meshes are drawn with, in degrees. 0 draws them with the shot's own. Lower than the shot's, 70 under a 100 shot say, keeps arms and guns from stretching towards the edges of the screen. From 0 to 170. | 0° |
| First Person Mesh Scale | How big the first-person meshes are drawn, shrunk towards the camera so they stop poking through walls: 1 is full size and 0.25 a quarter. From the camera they look the same at any size. From 0.001 to 1. | 1 |
Blending#
| Setting | What it does | Starts at |
|---|---|---|
| Interrupt Behavior | What happens if this rig is asked for while another blend is still running: cut in straight away, or wait for it to finish. Choices: Replace, Wait For Blend. | Replace |
| Blend Pivot | Where the blend into this rig starts from: what's on screen right now, or the previous rig's own settings. Choices: Live Pose, Resolved Pose. | Live Pose |
Hooks#
| Setting | What it does | Starts at |
|---|---|---|
| Hooks | Things to run when this rig takes hold, and optionally when it lets go. | empty |
Each entry in Hooks, one entry in a rig's or point of interest's hook list: what to run, when, and how often.
| Each entry | What it does | Starts at |
|---|---|---|
| Action | What to do: play a sound, spawn an effect, fire a camera event, or run something of your own. | none |
| On Activate | Run it when the rig or point of interest takes over. | on |
| On Deactivate | Also run it when the rig or point of interest lets go, so it can undo what it did. One Shot and Max Runs don't limit this. | off |
| One Shot | Run it the first time only. Counted per camera or point of interest, so a rig shared by several characters runs it once for each of them. | off |
| Max Runs | The most times it can run on taking over. 0 is no limit. Ignored when One Shot is ticked. | 0 |
The Whole Rig#
| Setting | What it does | Starts at |
|---|---|---|
| Start From Archetype | Pick a starting point, then press Apply Archetype below. This choice itself isn't saved with the rig. Choices: Blendable Recommended, Exploration (Third Person), Combat (Over Shoulder), Lock On, First Person, Cinematic, Top Down, Isometric, Side Scroller. | Blendable Recommended |
What a damper channel holds#
How one part of the camera smooths its movement, such as the pivot following the character.
| Setting | What it does | A new one starts at |
|---|---|---|
| Model | Which kind of smoothing to use. The spring eases in and out; the exponential starts at full speed and only eases out. Choices: Exponential, Critically Damped. | Critically Damped |
| Lead Moving Target | Keeps up with a moving character instead of trailing behind, so the camera sits where it should at any speed. Critically Damped only. | on |
| Lead Smoothing Time | How gradually the lead comes and goes as the character starts, stops or turns, in seconds, so sudden moves don't swing the camera out and back. 0 turns this off. Too high and the camera hangs back in turns and swings past coming out of them. | 0.25 s |
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 |