Press F5 to open Graphics. This covers lighting only, and it is written for Studio. Every range and default below is read out of the plugin itself.
The first thing worth knowing is that lighting is split across two tabs, and neither of them is called “Lighting”:
- Environment holds the sky and the ambient light that fills your whole scene.
- Lights holds every individual light, their shadows, and volumetric shafts.
Reflections are somewhere else again. Reflection intensity, bounces and resolution are lighting
settings, but they live under the Probes tab, not either of these two.
Part 1. Environment: your ambient light
This is the soft, directionless light that fills everything. It is usually the difference between characters that read properly and characters that look muddy or washed out.
| Control | Range | What it does |
|---|---|---|
| Source | Skybox / Trilight / Flat, default Skybox | Where ambient light comes from. Skybox derives it from the actual sky image, so a sunset cubemap washes warm light from above and cooler bounce from below. Trilight blends three colours you pick by direction. Flat applies one colour from everywhere. |
| Intensity | 0 to 10, default 1 | Skybox mode only. How much the sky lights your characters. It does not change how bright the sky looks behind them. This is the first slider to touch when a scene is too dark or too washed out. |
| Exposure | 0 to 8, default 1 | Skybox mode only, if the sky supports it. Brightens the sky itself, and the lighting follows. Use it when the backdrop image is wrong; use Intensity when only the lighting is wrong. |
| Rotation | 0 to 360, default 0 | Skybox mode only, if supported. Spins the sky. This aims the sun or the brightest cloud where you want it, and is a fast way to change the direction of ambient light on a face. |
| Skybox Tint | Default mid grey | Skybox mode only, if supported. Colours the sky and its light. Mid grey is neutral; brighter lifts, darker crushes, hue shifts push the whole scene warm or cool. |
Trilight and Flat colours
These replace the skybox sliders when you move Source off Skybox.
| Control | Range | What it does |
|---|---|---|
| Sky Color | Trilight only | Ambient arriving from overhead. Lands on tops of heads and shoulders. Pale blue reads as daylight, warm reads as indoor ceiling bounce. |
| Horizon Color | Trilight only | Ambient arriving from the sides at eye level. This does most of the work on faces, so it matters most. |
| Ground Color | Trilight only | Ambient bouncing up off the floor. Fills under the chin and thighs. Match your actual floor: wood bounces warm, grass bounces green. |
| Ambient Light | Flat only | One colour from every direction, no shaping at all. Keep it dark, since a bright value flattens everything fast. |
Careful: moving Source away from Skybox unloads your cubemap. You lose the sky image, not
just its lighting. Switch back to Skybox and re-pick it from the grid to get it back.
Part 2. Choosing a sky
At the top of the tab, CUBEMAP SKYBOX: is a read-only readout of what is loaded (or “(None)”). Below it is a grid of thumbnails, one per installed skybox, click one to load it instantly as both backdrop and light source. No custom skyboxes installed gives you “No custom cubemaps found”.
The panel below that changes completely depending on which type of sky you loaded. The six types are mutually exclusive, so pick your sky first, then tune.
Procedural sky (Unity Skybox Settings)
A sky generated mathematically, so you dial in time of day instead of hunting for an image.
| Control | Range | What it does |
|---|---|---|
| Sun Source | Grid of directional lights | Which light drives this sky. Rotate that light and the sun moves with it, this is how you set time of day. Point it near the horizon for sunrise/sunset. |
| Sun | None / Simple / HighQuality | How the sun disc is drawn. None for overcast, Simple is cheap, HighQuality gives a proper glow and is what you want if the sun is in shot. |
| Sun Size | 0 to 1 | Size of the sun disc. Small reads as hard midday; large reads as sunset or an alien world. |
| Sun Size Convergence | 1 to 10 | How tightly the glow gathers around the disc. Low spreads a broad haze, high pulls it into a tight ball. HighQuality sun only. |
| Atmosphere Thickness | 0 to 5 | How much air the light travels through. Low goes airless and dark; high scatters into a hazy orange, which is the fastest fake sunset. |
| Sky Tint | Colour | Colours the upper dome. Because this sky feeds ambient, it recolours your characters too. |
| Ground Color | Colour | The half below the horizon. It provides your bounce colour from underneath. |
| Exposure | 0 to 8 | Overall sky brightness. Doubles as a master brightness for the whole environment. |
Two Point Color sky
A minimal studio sky: two coloured lobes over a plain background. Good for clean portrait lighting with no scenery.
| Control | Range | What it does |
|---|---|---|
| Colour A | Colour | The first ambient lobe, your key side of the wrap. |
| Intensity A | 0 to 2 | How strongly A contributes. At 0 that side of the wrap disappears. |
| Box Size (A) | Four typed numbers | X, Y, Z, W aiming and shaping lobe A. The first three set direction: raise Y to push it overhead. Small changes move it a lot. |
| Colour B | Colour | The second lobe. Set it opposite A’s temperature for a classic warm/cool split, or near-black for a dramatic single-sided look. |
| Intensity B | 0 to 2 | How strongly B contributes. Drop toward 0 to let A dominate and deepen the shadow side. |
| Box Size (B) | Four typed numbers | Same as A. Point it roughly opposite for even wrap, or bunch both to one side for falloff. |
Four Point Gradient sky
Four independently aimed lobes. This is the one for hand-built stylised lighting, you can build a whole studio rig in ambient alone: key, fill, rim and floor bounce.
| Control | Range | What it does |
|---|---|---|
| Color1 – Color4 | Colour | The four lobe colours. A common split is key, fill, rim, and ground bounce. |
| Direction1 – Direction4 | Three typed numbers each | X, Y, Z aiming each lobe. Raise Y for overhead, go negative for underneath, X and Z swing it around the subject. |
| Exponent1 – Exponent4 | 0 to 40 each | How tightly each colour focuses. Low smears it into a broad soft wash; high squeezes it into a tight accent. This is your softness dial per lobe. |
Hemisphere sky
The simplest of all: three colours stacked top to bottom. Fast and predictable.
| Control | Range | What it does |
|---|---|---|
| North Pole | Colour | Straight overhead. Lights tops of heads and shoulders. |
| Equator | Colour | The horizon band at eye level. Faces sit here, so it has the biggest effect. |
| South Pole | Colour | Straight down, your floor bounce. Keep it darker than Equator unless you want an uplit look. |
AIO sky (the dynamic day/night sky)
A full simulated sky with animated clouds, a moon and stars. It blends between day, sunset and night automatically based on how you rotate the light you set as Sun Source, you do not pick the time of day directly.
SUN
| Control | Range | What it does |
|---|---|---|
| Sun Source | Grid of directional lights | The master time-of-day control. Rotating this light drives the sun’s position and whether the sky renders as day, sunset or night. |
| Sun Color | Colour | Colour of the sun disc. Warm for natural, white for harsh midday, deep red for sunset. |
| Sun Min | 0 to 0.02 | Size of the sun’s solid core. The range is tiny, so very small numbers make large changes. |
| Sun Max | 0.9 to 1 | Where the sun’s soft edge falls off. Nearer 1 gives a crisper rim. |
| Sun Glow | 0 to 0.2 | Halo bleeding around the sun. Raise for a hazy hot sun, 0 for a clean disc. |
SKY
| Control | Range | What it does |
|---|---|---|
| Atmosphere Start | -0.2 to 0.2 | Where the horizon haze band begins. Negative starts it below the horizon. |
| Atmosphere End | 0 to 1 | Where the haze finishes going up. Low hugs the horizon; high drags murk up the dome. |
| Day Sky / Day Atmosphere | Colour | Daytime dome colour, and the paler haze near the horizon. |
| Day Range | -1 to 1 | How much of the sun’s arc counts as day. Raise it to hold the day look longer as the sun drops. |
| Sunset Sky | Colour | The sky while the sun is near the horizon. This is the single biggest lever on golden-hour shots. |
| Sunset Range | -1 to 1 | How wide the sunset window is. Raise it to stretch golden hour into an easy target. |
| Night Sky / Night Atmosphere | Colour | Night dome, and horizon glow. A slight lift on the atmosphere suggests distant city light. |
| Night Range | -1 to 1 | How much of the arc counts as night. Raise it to make night arrive earlier and linger. |
Clouds, stars and ground. These shape the backdrop rather than your character lighting directly, but the sky still feeds ambient, so they matter.
| Control | Range | What it does |
|---|---|---|
| Clouds Density | -1 to 1 | Master coverage. Negative thins toward clear, positive piles on toward overcast. First cloud slider to reach for. |
| Clouds Density Sky Edge | 0 to 1.5 | How much cloud survives near the horizon. High closes the scene in. |
| Clouds Thickness | 0.0001 to 0.3 | How deep and solid the cloud is, versus how much sky it covers. |
| Clouds Scale | 0 to 5 | Size of the formations. Low gives huge sweeping shapes, high gives small puffs. |
| Dome Curved | -2 to 2 | Bends the cloud projection, reading as how high the ceiling sits. |
| Detail Scale 01–03 | 0 to 2 each | Three stacked layers of fine edge detail, smooth-and-painterly through to crunchy. |
| Sun Light Power | 0 to 10 | How hard the sun hits the clouds. High gives hot blown tops against dark undersides. |
| Day Clouds Transmission | 0 to 5 | How much light passes through cloud. High makes them translucent and glowing. |
| Day Transmission Color | Colour | The colour of light coming through thin cloud, the silver-lining glow. |
| AmbientLight | 0 to 1 | Fills the shadowed undersides of day clouds. Low gives near-black storm bellies. |
| Clouds Brightness | -1 to 1 | Overall lift or crush of day clouds. |
| Clouds Contract | 0 to 1 | Contrast within day clouds. High makes them read three-dimensional. |
| Moon Light / Moon Light Power | Colour / 0 to 10 | Colour and strength of moonlight on night clouds. |
| Night Transmission Color / Night Clouds Transmission | Colour / 0 to 5 | Glowing edges on night cloud when the moon is behind them. |
| Night Ambient Light | 0 to 1 | Fill on shadowed night cloud. Keep low so night holds its darks. |
| Night Clouds Brightness / Contrast | -1 to 1 / 0 to 1 | Lift and punch of night clouds against the sky. |
| Clouds Shadow Weight | 0 to 1 | How strongly clouds self-shadow. High gives deep storm depth. |
| Sun Z Offset | -0.5 to 0.5 | Cheats where the cloud lighting thinks the sun is, for when the composition needs the bright patch somewhere the sun can’t be. |
| Clouds Pan | Two typed numbers | Direction and speed clouds drift. Animation only. |
| Clouds Rotation | 0 to 7 | Spins the cloud layer without animating it, a framing control. |
| Time Scale | 0 to 0.05 | How fast clouds reshape. 0 freezes them. |
| Distortion Time | 0 to 0.05 | How fast the churn inside clouds animates. 0 freezes it. |
| BG Scale / BG Rotate | 0 to 0.5 / -7 to 7 | Star field size and rotation. Low scale gives large sparse stars. |
| Moon Scale | 1 to 40 | Moon size. High gives the huge cinematic moon. |
| Moon Position | Three typed numbers | Places the moon exactly where the composition wants it. |
| Fog Color / Fog Level | Colour / 0 to 1 | The sky’s own horizon haze. Raise Level to swallow the horizon and hide an abrupt set edge. |
| Ground Color / Ground Level | Colour / -0.5 to 0.85 | The plain ground below the horizon, and where the horizon line sits. Use Level to line it up with your set’s floor. |
Ground Projection sky
Normally a sky sits infinitely far away and can never line up with your floor. This type wraps the lower half onto a ground plane so the backdrop meets your set. It also carries its own colour grading, so you can grade the backdrop without touching scene post.
| Control | Range | What it does |
|---|---|---|
| GROUND PROJECTION | Toggle, default off | The whole point of this sky. On, the lower half projects onto a ground plane so a low camera sees terrain sitting flat instead of curving away. The two below do nothing until this is on. |
| Horizon | -1 to 1, default 0 | Lines the projected horizon up with your set’s floor so the seam disappears. |
| Scale | -50 to 50, default -30 | How far the virtual ground sits, so how big the world reads. Large magnitudes give a vast landscape; small pull the horizon in close. |
| Rotation Z | -180 to 180, default 0 | Spins the sky to aim a feature where you want it, centred on 0 so you can swing either way. |
| Temperature | -100 to 100, default 0 | White balance. Negative cools, positive warms. The standard way to match a stock sky to your placed lights. |
| Tint | -100 to 100, default 0 | The green/magenta half of white balance. Kills the green cast stock outdoor HDRIs often carry. |
| Vibrance | -1 to 1, default 0 | Saturates muted colours while leaving vivid ones alone. Negative drains toward bleak grey. |
| Perceptual | 0 to 1, default 0.5 | How the saturation weighs against perceived brightness. Leave near the middle unless Vibrance looks odd. |
| Hue | -180 to 180, default 0 | Rotates every colour. Small nudges shift blue toward teal; large values give alien skies. |
| Offset | 0 to 1, default 0 | Lifts the blacks for a faded filmic haze. Keep at 0 for punchy night blacks. |
| Power | 0 to 2, default 1 | Bends the midtones. Below 1 opens the sky up, above 1 goes moodier. |
| Slope | 0 to 2, default 1 | Scales brightness, biting hardest in highlights. Use Offset/Power/Slope as blacks/mids/highlights. |
Part 3. The Lights tab
Lights are split into Directional, Point and Spot sub-tabs, and the list only shows lights
matching the tab you are on. Markers after a light’s name tell you what it is doing: a sun symbol for the
sun source, a radiation symbol for volumetric, [aura] for Aura fog, [cam] for camera-attached.
| Control | Range | What it does |
|---|---|---|
| Light row | Click | Selects that light for editing below. |
| Per-light switch | On/Off, default On | Turns that one light on or off. A light that is off shows nothing in the inspector but “disabled”, so turn it on before you try to edit it. |
| Folder row | Click | Lights parented to a workspace folder collapse under a folder row with a count. Essential once you have a dozen rims and fills. |
| ALL ON | Button | Switches on every light of the current type. |
| ALL OFF | Button | Switches off every light of the current type. This is the standard way to light a scene: kill everything, then bring lights back one at a time. |
| Sync Select | On/Off, default On | Links selection with the Studio workspace tree both ways, so picking a light here also grabs its gizmo. |
| Expand | On/Off, default On | Auto-opens the folder a selected light lives in so it is never hidden. |
| + | Button | Adds a light of the current type. In Studio it creates a real workspace light, undoable, saved with the scene, movable with the gizmo. |
| • • • | 50 and up, default 200 | Drag the dotted bar to resize the list. The height sticks between sessions. |
Part 4. Per-light settings
| Control | Range | What it does |
|---|---|---|
| LIGHT NAME | Text | Renames the light, and mirrors the name onto the workspace tree. Name them Key, Rim, Practical. Typing the original name back removes the custom one. |
| Light Color | RGB 0–255 | The light’s colour. Warm keys near 255/240/214 and cool fills near 200/220/255 are good starting points for skin that isn’t flat. |
| Intensity | 0 to 8, ceiling adjustable, default 1 | Brightness. The minus/plus buttons beside it move the slider’s ceiling by 1, so you can push well past 8 for blown-out looks. |
| Indirect Multiplier | 0 to 8, default 1 | How much this light bounces as indirect. Only does anything in scenes with GI data, so in most Studio maps it does nothing visible. |
| Linear Intensity | Toggle | A global renderer switch that lives in the per-light panel. Flipping it rescales the brightness of every light at once. |
| Vertical Rotation | -90 to 90 | Directional only. Tilts up/down. Around -50 is a high sun; near 0 sits it on the horizon for long shadows; positive lights from below. |
| Horizontal Rotation | -179.9 to 180 | Directional only. Spins it around the scene. Use with Vertical to get the key off-axis from the lens, this is what kills the flat look. |
| Light Range | 0.1 to 500 | Point/Spot. How far it reaches before fading to nothing. If a light seems to do nothing to a distant character, this is usually why. |
| Spot Angle | 1 to 179 | Spot only. Cone width. Under ~30 is a hard theatrical beam. Above 90 pops a warning because shadows visibly degrade. |
| Sun Source | Toggle, default Off | Directional only. Marks this light as the scene’s sun, so sky, fog and underwater take their cue from it. Only one light can hold it. |
| Additional Cam Light | Toggle, default Off | Directional/Spot only, and only for lights you added. Pins the light to the camera so it rides along. While on, the rotation sliders become an offset from the camera’s aim instead of world angles. |
Part 5. Shadows
The big quirk: only Shadow Type is always visible. Everything else in this section only
appears once Shadow Type is set to Soft. On Hard shadows there is nothing to tune at all.
| Control | Range | What it does |
|---|---|---|
| Shadow Type | None / Hard / Soft | None is right for fill lights that would otherwise muddy the scene with a second shadow. Soft is what you want for almost all posing, and is the only setting that reveals the rest. |
| Strength | 0 to 1 | How dark the shadow is. At 1 the shadowed area gets nothing from this light. Lower it to lift crushed blacks without adding a fill. |
| Softness | 0 to 1 | The name Strength takes on point/spot lights when Next-Gen Soft Shadows is on globally. Same control underneath. |
| Bias | 0 to 2, default 0.05 | Pushes the shadow off the surface casting it. Raise it if you see shadow acne or stripey moire on skin. Too far and shadows detach and float. |
| Normal Bias | 0 to 3 | A gentler fix for acne than plain Bias, try this first. Too much eats thin shadows like hair strands and fingers. |
| Near Plane | 0 to 10 | How close an object must be before it casts. Raising it cleans up artefacts at the cost of nearby objects losing shadows. |
| Custom Resolution | Default / 512 / 1024 / 2048 / 4096 / 8192 / 16K | Shadow map size for this one light. Push a key to 4096+ for clean edges on close-up faces, but each step costs real VRAM. |
Part 6. Cookies
Projects a texture through the light like a real gobo. Spot and point lights only, directional lights don’t get this. Cookies are the fastest way to make flat CG lighting look like it came from somewhere real: blinds, leaves, window panes.
| Control | Range | What it does |
|---|---|---|
| Enable Cookie Texture | Toggle, default Off | Turns projection on and reveals the picker. |
| Cookie Texture: | Readout | Which texture is loaded, or None. |
| Clear | Button | Removes the cookie and returns a plain unshaped beam. Only appears once one is loaded. |
| Cookie texture grid | Click | Thumbnails of every valid cookie for this light type; the current one is outlined in cyan. Spot lights use flat textures, point lights use cube textures, each from their own folder. |
| Reload Cookie Textures | Button | Rescans the folders. Press it after dropping in new files without restarting. |
Part 7. Layers
| Control | Range | What it does |
|---|---|---|
| Culling Mask | One button per layer, all on by default | Which layers this light illuminates. This is the tool for lighting a character without touching the map, or rimming hair only. Switch off everything except what you want. |
| Render Mode | Auto / ForcePixel / ForceVertex | How much effort the renderer spends. ForcePixel guarantees full quality on a key so it never silently degrades. ForceVertex is cheap and only fit for distant fill. |
Part 8. Volumetric light shafts
Read this first. The master VOLUMETRIC LIGHT RENDERER is off by default and gates
everything. The classic trap is enabling volumetrics on a light, seeing no beams, and assuming it's
broken. Find it under the Lights tab's Volumetrics sub-tab (it's mirrored in Post Processing).
| Control | Range | What it does |
|---|---|---|
| VOLUMETRIC LIGHT RENDERER | Toggle, default Off | Master switch. Turning it off kills every beam without touching per-light settings, which makes it a great A/B compare and a quick way to reclaim framerate while posing. |
| Resolution | Full / Half / Quarter, default Half | Buffer size for the shafts. Full for a final still where a beam cuts a hard edge; Quarter while posing. |
| Use Bilateral Blur | Toggle, default On | Smooths the buffer while keeping edges. Leave it on, at Half/Quarter it’s what stops beams looking blocky against silhouettes. |
| Visualize Light Texture | Toggle, default Off | Diagnostic view showing just the raw volumetric buffer on black. Great for tuning a faint beam. Switch it off before rendering. |
Then per light (the header is spelled VOLEMETRIC SETTINGS, that’s a typo in the plugin, not a different feature):
| Control | Range | What it does |
|---|---|---|
| Enable Volumetric Light | Toggle, default Off | Makes this light throw visible shafts. Every volumetric light is a full render pass, so use it on the one or two lights that sell the shot. |
| Sample Count | 1 to 32, default 8 | Steps along each ray. Low bands the shaft into stripes; 16–24 is a good still. This is the single biggest performance cost. |
| Scattering | 0 to 3, default 0.10 | How thick the air is, so how visible the beam is. The main creative dial and the first to touch. |
| Extinction | 0 to 0.1, default 0 | How fast the beam fades with distance. At 0 a long shaft looks like a solid painted bar. The range is tiny, so small changes matter. |
| Skybox Extinction | 0 to 1, default 0 | How much the haze dims the sky behind the beam. Raise it outdoors so the whole scene reads as hazy; 0 for a clean interior shaft. |
| Mie G | 0 to 0.999, default 0.10 | How much the beam throws light forward. High values flare dramatically only when the camera looks toward the light, crank it for backlit shots. |
| Height Fog | Toggle, default Off | Makes the haze pool low instead of filling evenly. Reveals the two below. |
| Height Scale | 0 to 0.5, default 0.10 | How fast fog thins going up. Low gives a tight mat of ground mist. |
| Ground Level | -100 to 100, default 0 | The height the fog settles at. Match your floor, or raise it to float a bank at chest height. |
| Noise | Toggle, default Off | Breaks the beam up with drifting cloud. A perfectly clean shaft reads as CG; a broken one reads as photographed. |
| Noise Scale | 0 to 0.2, default 0.02 | Size of the blotches. The range is small, so move in small steps. |
| Noise Intensity | 0 to 1, default 1 | How hard the noise carves in. Pull to about a third if it distracts from the character. |
| Noise Intensity Offset | 0 to 1, default 0.30 | Lifts the pattern so the beam never fully breaks. This decides between subtle texture and a shredded beam. |
| Noise Velocity | X/Y, default 3.00 / 3.00 | Drift speed. Set both to 0 for stills. |
| Max Ray Length | 0 to 1000, default 400 | How far shafts travel. Only actually affects directional lights, point and spot beams are bounded by Light Range instead. |
Shaped beams need shadows. If the light's Shadow Type is None, the haze is uniform and you will
never get the beams-through-a-window look, because nothing is blocking the light in the fog. Set the
light to cast shadows first, then tune Scattering.
Part 9. Aura (only if you have Aura 2)
A separate, higher-quality fog system. This whole section only appears when Aura 2 is on the light, and the global Aura layer has to be on too.
| Control | Range | What it does |
|---|---|---|
| Enable Aura Light | Toggle, default Off | Lets this light feed the Aura fog volume so it lights the air, not just surfaces. |
| Strength | 0 to 1, default 1.00 | How much it feeds the fog. Drop it when a bright key blows out the atmosphere but its surface lighting is right. |
| Use Scattering | Default / True / False | Whether it scatters. Set False on a light you want lighting surfaces but staying invisible in the air. |
| Override Scattering / Overriding Scattering | Toggle / 0 to 1, default 0.50 | Lets this light ignore the global scattering and use its own. |
| Scattering Bias | -1 to 1, default 0 | Nudges scattering off the global without a full override. Positive pushes glow toward camera. |
| Override Color / Overriding Color | Toggle / RGB | Makes the fog around this light a different colour than the light. Good for a warm practical throwing cool haze. |
| Enable Out Of Phase Color | Toggle, default Off | Adds a second colour seen when looking away from the light, the two-tone cinematic fog look. |
| Out Of Phase Color / Strength | RGB, default cyan / 0 to 1, default 0.10 | The away-facing colour and how strong. Keep strength low; a little reads clearly. Cool here against a warm key is the teal-and-orange trick. |
| Use Shadow | Toggle, default On | Whether fog respects shadows. On is what carves beams out of window frames. Off is a uniform glow, and cheaper. |
| Use Cookie | Toggle, default On | Projects the cookie into the fog too, so the beam itself carries the pattern. |
| Cookie Distance Falloff (Start / End / Power) | 0 to 1 (0.10 / 0.25) / 0.10 to 10 (2.00) | Where the cookie pattern fades in along the beam and how sharply. |
| Distance Falloff (Threshold / Power) | 0 to 1 (0.50) / 0.10 to 10 (2.00) | Where the fog starts dropping off with distance, and the curve. Lower threshold hugs the haze to the source. |
| Angular Falloff (Threshold / Power) | 0 to 1 (0.80) / 0.10 to 10 (2.00) | How far toward the cone edge fog stays full before fading. High power gives a hard-edged beam. |
Aura and the volumetric renderer are two separate systems. Enabling both stacks them, which
usually reads as a mistake. Pick one per scene.
Gotchas worth knowing
- The Environment tab is heavily contextual. Only a fraction of its controls are on screen at once, and Exposure / Rotation / Tint only appear if the loaded sky actually supports them. Don’t be surprised when the panel changes shape as you switch skies.
- “Default from the sky asset” means the value isn’t fixed by the plugin, each skybox file ships its own. The only fixed defaults are Intensity (1), Exposure (1), Rotation (0), Tint (mid grey) and the ground-projection group.
- Every slider has a typed number box. For the very narrow ranges (Sun Min, Time Scale, Noise Scale) type the value instead of dragging.
- The Intensity ceiling is global. The minus/plus buttons change it for every light, and it sticks for the session. Typing a number above the ceiling raises it silently.
- Sun Source is exclusive. Turning it on for a new light takes it off the old one.
- Animation speeds keep running in the viewport. For stills set Clouds Pan, Time Scale, Distortion Time and Noise Velocity to 0, or two shots you meant to match won’t.
- Map Light Presets don’t exist in Studio. The Save / Load / Reset Map Lights buttons are only drawn outside Studio. In Studio the scene file already saves all of this when you save the scene.
- Height Scale has a load quirk: a light saved without a height-fog value restores at 1.0, above the slider’s own max of 0.5. It reads pinned until you touch it, and then you can’t get back above 0.5.