Color grading & LUTs
Post-processing that sets the final look of the image: bloom and vignette, hue/saturation grading, and cinematic color LUTs (built-in or your own imported .cube / .3dl).
Open in the interactive manual →The interactive version has full-text search, a table of contents, and light/dark themes.
Beyond lights and atmosphere, a scene has a final look, the screen-space pass applied after everything renders. It lives in Settings ▸ Viewport Feel ▸ Post-processing, alongside sun god rays & lens flare. Everything here is off (or neutral) by default.
Tone mapping & exposure
Underneath all of it sits the tone mapping curve: how the renderer squeezes the scene's full brightness range into what a screen can actually show. Two controls in Settings ▸ Viewport Feel, just above Post-processing:
| Tone mapping | The curve |
|---|---|
| ACES Filmic | The default. A filmic roll-off that keeps bright areas from blowing out to flat white, the safe choice for almost every scene. |
| Cineon | A film-print curve. Slightly lifted blacks and a softer shoulder than ACES. |
| Reinhard | A gentle, even compression. Nothing clips, but strong colors desaturate as they brighten. |
| Linear | No curve at all: just exposure, then a hard clip at white. Punchy, and easy to blow out. |
| None | Colors pass through untouched. Exposure has no effect in this mode. |
Exposure (0.1–4, default 1) is a single brightness multiplier feeding that curve, the fastest way to lift a scene that lit correctly but reads dark, without touching a single light. It applies once, on whichever path is rendering, so it never doubles up when post-processing is on.
Both settings are part of the base render rather than an effect, so they always travel to your published scene: the "Show effects in published scene" toggle below doesn't gate them. A LUT is applied after tone mapping, so the curve is what the grade sees.
Publishing the look
One master toggle (Show effects in published scene) decides whether visitors see your post-processing. When it's on (the default for new scenes), the published scene matches your editor: bloom, vignette, depth of field, glitch, grain, lens distortion, and hue/saturation grading all travel. Turn it off and the published scene renders plain while you keep the effects in the editor. Sun rays, lens flare, and the Color LUT always publish regardless of this toggle: they're treated as part of the scene's intended look.
The editor has no matching switch: it shows the effects either way. So while the toggle is off, what you are looking at is not what a visitor sees, and the checkbox says so in a warning line underneath itself. A scene cloned from a template arrives with the toggle on, so your first published page matches the one you built.
Color grading
Turn on Color grading for four quick sliders that shift the whole image: Hue, Saturation, Brightness, and Contrast. Good for a fast warm/cool nudge or dialling saturation up for a punchier look.
Color LUT (cinematic looks)
A LUT (look-up table) remaps every color in the frame at once, the way a film grade does. Turn on Color LUT, pick a Look, and slide Intensity (0–1) to blend it against the ungraded image. The LUT is applied after tone mapping, so it's the very last thing that touches the picture. Built-in looks:
Import your own LUT
Have a grade from your own color workflow? Click Import LUT… and upload a .cube, .3dl, or image LUT. It's stored in your Asset Library and appears under a My LUTs group in the Look dropdown; selecting it grades the scene and it publishes to visitors like the built-ins.
To get rid of one, pick it and click Delete LUT…: it asks first, because this deletes the LUT file from your library rather than merely deselecting it, and any other scene using that LUT loses it. Deleted LUTs land in the Asset Library's Trash tab, so they stay reclaimable.