This class serves as a default material with a wide variety of rendering features and properties without the need to write shader code. See the tutorial below for details.
If [code]true[/code], enables the specified [enum Feature]. Many features that are available in [BaseMaterial3D]s need to be enabled before use. This way the cost for using the feature is only incurred when specified. Features can also be enabled by setting the corresponding member to [code]true[/code].
If [code]true[/code], enables the specified flag. Flags are optional behavior that can be turned on and off. Only one flag can be enabled at a time with this function, the flag enumerators cannot be bit-masked together to enable or disable multiple flags at once. Flags can also be enabled by setting the corresponding member to [code]true[/code]. See [enum Flags] enumerator for options.
[b]Note:[/b] If [member detail_enabled] is [code]true[/code] and a [member detail_albedo] texture is specified, [member albedo_color] will [i]not[/i] modulate the detail texture. This can be used to color partial areas of a material by not specifying an albedo texture and using a transparent [member detail_albedo] texture instead.
If [code]true[/code], forces a conversion of the [member albedo_texture] from sRGB color space to linear color space. See also [member vertex_color_is_srgb].
This should only be enabled when needed (typically when using a [ViewportTexture] as [member albedo_texture]). If [member albedo_texture_force_srgb] is [code]true[/code] when it shouldn't be, the texture will appear to be too dark. If [member albedo_texture_force_srgb] is [code]false[/code] when it shouldn't be, the texture will appear to be too bright.
Enables multichannel signed distance field rendering shader. Use [member msdf_pixel_range] and [member msdf_outline_size] to configure MSDF parameters.
Threshold at which the alpha scissor will discard values. Higher values will result in more pixels being discarded. If the material becomes too opaque at a distance, try increasing [member alpha_scissor_threshold]. If the material disappears at a distance, try decreasing [member alpha_scissor_threshold].
The strength of the anisotropy effect. This is multiplied by [member anisotropy_flowmap]'s alpha channel if a texture is defined there and the texture contains an alpha channel.
If [code]true[/code], anisotropy is enabled. Anisotropy changes the shape of the specular blob and aligns it to tangent space. This is useful for brushed aluminium and hair reflections.
[b]Note:[/b] Mesh tangents are needed for anisotropy to work. If the mesh does not contain tangents, the anisotropy effect will appear broken.
[b]Note:[/b] Material anisotropy should not to be confused with anisotropic texture filtering, which can be enabled by setting [member texture_filter] to [constant TEXTURE_FILTER_LINEAR_WITH_MIPMAPS_ANISOTROPIC].
Texture that offsets the tangent map for anisotropy calculations and optionally controls the anisotropy effect (if an alpha channel is present). The flowmap texture is expected to be a derivative map, with the red channel representing distortion on the X axis and green channel representing distortion on the Y axis. Values below 0.5 will result in negative distortion, whereas values above 0.5 will result in positive distortion.
If present, the texture's alpha channel will be used to multiply the strength of the [member anisotropy] effect. Fully opaque pixels will keep the anisotropy effect's original strength while fully transparent pixels will disable the anisotropy effect entirely. The flowmap texture's blue channel is ignored.
Amount that ambient occlusion affects lighting from lights. If [code]0[/code], ambient occlusion only affects ambient light. If [code]1[/code], ambient occlusion affects lights just as much as it affects ambient light. This can be used to impact the strength of the ambient occlusion effect, but typically looks unrealistic.
Specifies the channel of the [member ao_texture] in which the ambient occlusion information is stored. This is useful when you store the information for multiple effects in a single texture. For example if you stored metallic in the red channel, roughness in the blue, and ambient occlusion in the green you could reduce the number of textures you use.
If [code]true[/code], the shader will keep the scale set for the mesh. Otherwise, the scale is lost when billboarding. Only applies when [member billboard_mode] is not [constant BILLBOARD_DISABLED].
[b]Note:[/b] Billboard mode is not suitable for VR because the left-right vector of the camera is not horizontal when the screen is attached to your head instead of on the table. See [url=https://github.com/godotengine/godot/issues/41567]GitHub issue #41567[/url] for details.
If [code]true[/code], clearcoat rendering is enabled. Adds a secondary transparent pass to the lighting calculation resulting in an added specular blob. This makes materials appear as if they have a clear layer on them that can be either glossy or rough.
Texture that defines the strength of the clearcoat effect and the glossiness of the clearcoat. Strength is specified in the red channel while glossiness is specified in the green channel.
Texture that specifies the color of the detail overlay. [member detail_albedo]'s alpha channel is used as a mask, even when the material is opaque. To use a dedicated texture as a mask, see [member detail_mask].
[b]Note:[/b] [member detail_albedo] is [i]not[/i] modulated by [member albedo_color].
If [code]true[/code], enables the detail overlay. Detail is a second texture that gets mixed over the surface of the object based on [member detail_mask] and [member detail_albedo]'s alpha channel. This can be used to add variation to objects, or to blend between two different albedo/normal textures.
Texture used to specify how the detail textures get blended with the base textures. [member detail_mask] can be used together with [member detail_albedo]'s alpha channel (if any).
Texture that specifies the per-pixel normal of the detail overlay. The [member detail_normal] texture only uses the red and green channels; the blue and alpha channels are ignored. The normal read from [member detail_normal] is oriented around the surface normal provided by the [Mesh].
[b]Note:[/b] Godot expects the normal map to use X+, Y+, and Z+ coordinates. See [url=http://wiki.polycount.com/wiki/Normal_Map_Technical_Details#Common_Swizzle_Coordinates]this page[/url] for a comparison of normal map coordinates expected by popular engines.
If [code]true[/code], the object will not be affected by fog (neither volumetric nor depth fog). This is useful for unshaded or transparent materials (e.g. particles), which without this setting will be affected even if fully transparent.
[b]Note:[/b] If [member distance_fade_max_distance] is less than [member distance_fade_min_distance], the behavior will be reversed. The object will start to fade away at [member distance_fade_max_distance] and will fully disappear once it reaches [member distance_fade_min_distance].
[b]Note:[/b] If [member distance_fade_min_distance] is greater than [member distance_fade_max_distance], the behavior will be reversed. The object will start to fade away at [member distance_fade_max_distance] and will fully disappear once it reaches [member distance_fade_min_distance].
If [code]true[/code], the body emits light. Emitting light makes the object appear brighter. The object can also cast light on other objects if a [VoxelGI], SDFGI, or [LightmapGI] is used and this object is used in baked lighting.
Luminance of emitted light, measured in nits (candela per square meter). Only available when [member ProjectSettings.rendering/lights_and_shadows/use_physical_light_units] is enabled. The default is roughly equivalent to an indoor lightbulb.
If [code]true[/code], enables the vertex grow setting. This can be used to create mesh-based outlines using a second material pass and its [member cull_mode] set to [constant CULL_FRONT]. See also [member grow_amount].
[b]Note:[/b] Vertex growth cannot create new vertices, which means that visible gaps may occur in sharp corners. This can be alleviated by designing the mesh to use smooth normals exclusively using [url=https://wiki.polycount.com/wiki/Face_weighted_normals]face weighted normals[/url] in the 3D authoring software. In this case, grow will be able to join every outline together, just like in the original mesh.
If [code]true[/code], uses parallax occlusion mapping to represent depth in the material instead of simple offset mapping (see [member heightmap_enabled]). This results in a more convincing depth effect, but is much more expensive on the GPU. Only enable this on materials where it makes a significant visual difference.
If [code]true[/code], height mapping is enabled (also called "parallax mapping" or "depth mapping"). See also [member normal_enabled]. Height mapping is a demanding feature on the GPU, so it should only be used on materials where it makes a significant visual difference.
[b]Note:[/b] Height mapping is not supported if triplanar mapping is used on the same material. The value of [member heightmap_enabled] will be ignored if [member uv1_triplanar] is enabled.
If [code]true[/code], flips the mesh's binormal vectors when interpreting the height map. If the heightmap effect looks strange when the camera moves (even with a reasonable [member heightmap_scale]), try setting this to [code]true[/code].
If [code]true[/code], flips the mesh's tangent vectors when interpreting the height map. If the heightmap effect looks strange when the camera moves (even with a reasonable [member heightmap_scale]), try setting this to [code]true[/code].
If [code]true[/code], interprets the height map texture as a depth map, with brighter values appearing to be "lower" in altitude compared to darker values.
This can be enabled for compatibility with some materials authored for Godot 3.x. This is not necessary if the Invert import option was used to invert the depth map in Godot 3.x, in which case [member heightmap_flip_texture] should remain [code]false[/code].
The number of layers to use for parallax occlusion mapping when the camera is up close to the material. Higher values result in a more convincing depth effect, especially in materials that have steep height changes. Higher values have a significant cost on the GPU, so it should only be increased on materials where it makes a significant visual difference.
[b]Note:[/b] Only effective if [member heightmap_deep_parallax] is [code]true[/code].
The number of layers to use for parallax occlusion mapping when the camera is far away from the material. Higher values result in a more convincing depth effect, especially in materials that have steep height changes. Higher values have a significant cost on the GPU, so it should only be increased on materials where it makes a significant visual difference.
[b]Note:[/b] Only effective if [member heightmap_deep_parallax] is [code]true[/code].
The heightmap scale to use for the parallax effect (see [member heightmap_enabled]). The default value is tuned so that the highest point (value = 255) appears to be 5 cm higher than the lowest point (value = 0). Higher values result in a deeper appearance, but may result in artifacts appearing when looking at the material from oblique angles, especially when the camera moves. Negative values can be used to invert the parallax effect, but this is different from inverting the texture using [member heightmap_flip_texture] as the material will also appear to be "closer" to the camera. In most cases, [member heightmap_scale] should be kept to a positive value.
[b]Note:[/b] If the height map effect looks strange regardless of this value, try adjusting [member heightmap_flip_binormal] and [member heightmap_flip_tangent]. See also [member heightmap_texture] for recommendations on authoring heightmap textures, as the way the heightmap texture is authored affects how [member heightmap_scale] behaves.
The texture to use as a height map. See also [member heightmap_enabled].
For best results, the texture should be normalized (with [member heightmap_scale] reduced to compensate). In [url=https://gimp.org]GIMP[/url], this can be done using [b]Colors > Auto > Equalize[/b]. If the texture only uses a small part of its available range, the parallax effect may look strange, especially when the camera moves.
[b]Note:[/b] To reduce memory usage and improve loading times, you may be able to use a lower-resolution heightmap texture as most heightmaps are only comprised of low-frequency data.
A high value makes the material appear more like a metal. Non-metals use their albedo as the diffuse color and add diffuse to the specular reflection. With non-metals, the reflection appears on top of the albedo color. Metals use their albedo as a multiplier to the specular reflection and set the diffuse color to black resulting in a tinted reflection. Materials work better when fully metal or fully non-metal, values between [code]0[/code] and [code]1[/code] should only be used for blending between metal and non-metal sections. To alter the amount of reflection use [member roughness].
Adjusts the strength of specular reflections. Specular reflections are composed of scene reflections and the specular lobe which is the bright spot that is reflected from light sources. When set to [code]0.0[/code], no specular reflections will be visible. This differs from the [constant SPECULAR_DISABLED] [enum SpecularMode] as [constant SPECULAR_DISABLED] only applies to the specular lobe from the light source.
[b]Note:[/b] Unlike [member metallic], this is not energy-conserving, so it should be left at [code]0.5[/code] in most cases. See also [member roughness].
Specifies the channel of the [member metallic_texture] in which the metallic information is stored. This is useful when you store the information for multiple effects in a single texture. For example if you stored metallic in the red channel, roughness in the blue, and ambient occlusion in the green you could reduce the number of textures you use.
Texture used to specify the normal at a given pixel. The [member normal_texture] only uses the red and green channels; the blue and alpha channels are ignored. The normal read from [member normal_texture] is oriented around the surface normal provided by the [Mesh].
[b]Note:[/b] The mesh must have both normals and tangents defined in its vertex data. Otherwise, the normal map won't render correctly and will only appear to darken the whole surface. If creating geometry with [SurfaceTool], you can use [method SurfaceTool.generate_normals] and [method SurfaceTool.generate_tangents] to automatically generate normals and tangents respectively.
[b]Note:[/b] Godot expects the normal map to use X+, Y+, and Z+ coordinates. See [url=http://wiki.polycount.com/wiki/Normal_Map_Technical_Details#Common_Swizzle_Coordinates]this page[/url] for a comparison of normal map coordinates expected by popular engines.
[b]Note:[/b] If [member detail_enabled] is [code]true[/code], the [member detail_albedo] texture is drawn [i]below[/i] the [member normal_texture]. To display a normal map [i]above[/i] the [member detail_albedo] texture, use [member detail_normal] instead.
The Occlusion/Roughness/Metallic texture to use. This is a more efficient replacement of [member ao_texture], [member roughness_texture] and [member metallic_texture] in [ORMMaterial3D]. Ambient occlusion is stored in the red channel. Roughness map is stored in the green channel. Metallic map is stored in the blue channel. The alpha channel is ignored.
Specifies the channel of the [member refraction_texture] in which the refraction information is stored. This is useful when you store the information for multiple effects in a single texture. For example if you stored refraction in the red channel, roughness in the blue, and ambient occlusion in the green you could reduce the number of textures you use.
The amount of to blend light and albedo color when rendering rim effect. If [code]0[/code] the light color is used, while [code]1[/code] means albedo color is used. An intermediate value generally works best.
Surface reflection. A value of [code]0[/code] represents a perfect mirror while a value of [code]1[/code] completely blurs the reflection. See also [member metallic].
Specifies the channel of the [member roughness_texture] in which the roughness information is stored. This is useful when you store the information for multiple effects in a single texture. For example if you stored metallic in the red channel, roughness in the blue, and ambient occlusion in the green you could reduce the number of textures you use.
Sets whether the shading takes place, per-pixel, per-vertex or unshaded. Per-vertex lighting is faster, making it the best choice for mobile applications, however it looks considerably worse than per-pixel. Unshaded rendering is the fastest, but disables all interactions with lights.
[b]Note:[/b] Setting the shading mode vertex shading currently has no effect, as vertex shading is not implemented yet.
If [code]true[/code], enables the "shadow to opacity" render mode where lighting modifies the alpha so shadowed areas are opaque and non-shadowed areas are transparent. Useful for overlaying shadows onto a camera feed in AR.
[b]Note:[/b] [member specular_mode] only applies to the specular blob. It does not affect specular reflections from the sky, screen-space reflections, [VoxelGI], SDFGI or [ReflectionProbe]s. To disable reflections from these sources as well, set [member metallic_specular] to [code]0.0[/code] instead.
If [code]true[/code], subsurface scattering is enabled. Emulates light that penetrates an object's surface, is scattered, and then emerges. Subsurface scattering quality is controlled by [member ProjectSettings.rendering/environment/subsurface_scattering/subsurface_scattering_quality].
If [code]true[/code], subsurface scattering will use a special mode optimized for the color and density of human skin, such as boosting the intensity of the red channel in subsurface scattering.
The strength of the subsurface scattering effect. The depth of the effect is also controlled by [member ProjectSettings.rendering/environment/subsurface_scattering/subsurface_scattering_scale], which is set globally.
If [code]true[/code], enables subsurface scattering transmittance. Only effective if [member subsurf_scatter_enabled] is [code]true[/code]. See also [member backlight_enabled].
The texture to use for multiplying the intensity of the subsurface scattering transmittance intensity. See also [member subsurf_scatter_texture]. Ignored if [member subsurf_scatter_skin_mode] is [code]true[/code].
[b]Note:[/b] [member heightmap_texture] is always sampled with linear filtering, even if nearest-neighbor filtering is selected here. This is to ensure the heightmap effect looks as intended. If you need sharper height transitions between pixels, resize the heightmap texture in an image editor with nearest-neighbor filtering.
The material's transparency mode. Some transparency modes will disable shadow casting. Any transparency mode other than [constant TRANSPARENCY_DISABLED] has a greater performance impact compared to opaque rendering. See also [member blend_mode].
If [code]true[/code], enables parts of the shader required for [GPUParticles3D] trails to function. This also requires using a mesh with appropriate skinning, such as [RibbonTrailMesh] or [TubeTrailMesh]. Enabling this feature outside of materials used in [GPUParticles3D] meshes will break material rendering.
How much to offset the [code]UV[/code] coordinates. This amount will be added to [code]UV[/code] in the vertex function. This can be used to offset a texture. The Z component is used when [member uv1_triplanar] is enabled, but it is not used anywhere else.
How much to scale the [code]UV[/code] coordinates. This is multiplied by [code]UV[/code] in the vertex function. The Z component is used when [member uv1_triplanar] is enabled, but it is not used anywhere else.
If [code]true[/code], instead of using [code]UV[/code] textures will use a triplanar texture lookup to determine how to apply textures. Triplanar uses the orientation of the object's surface to blend between texture coordinates. It reads from the source texture 3 times, once for each axis and then blends between the results based on how closely the pixel aligns with each axis. This is often used for natural features to get a realistic blend of materials. Because triplanar texturing requires many more texture reads per-pixel it is much slower than normal UV texturing. Additionally, because it is blending the texture between the three axes, it is unsuitable when you are trying to achieve crisp texturing.
[b]Note:[/b] [member uv1_triplanar_sharpness] is clamped between [code]0.0[/code] and [code]150.0[/code] (inclusive) as values outside that range can look broken depending on the mesh.
If [code]true[/code], triplanar mapping for [code]UV[/code] is calculated in world space rather than object local space. See also [member uv1_triplanar].
How much to offset the [code]UV2[/code] coordinates. This amount will be added to [code]UV2[/code] in the vertex function. This can be used to offset a texture. The Z component is used when [member uv2_triplanar] is enabled, but it is not used anywhere else.
How much to scale the [code]UV2[/code] coordinates. This is multiplied by [code]UV2[/code] in the vertex function. The Z component is used when [member uv2_triplanar] is enabled, but it is not used anywhere else.
If [code]true[/code], instead of using [code]UV2[/code] textures will use a triplanar texture lookup to determine how to apply textures. Triplanar uses the orientation of the object's surface to blend between texture coordinates. It reads from the source texture 3 times, once for each axis and then blends between the results based on how closely the pixel aligns with each axis. This is often used for natural features to get a realistic blend of materials. Because triplanar texturing requires many more texture reads per-pixel it is much slower than normal UV texturing. Additionally, because it is blending the texture between the three axes, it is unsuitable when you are trying to achieve crisp texturing.
[b]Note:[/b] [member uv2_triplanar_sharpness] is clamped between [code]0.0[/code] and [code]150.0[/code] (inclusive) as values outside that range can look broken depending on the mesh.
If [code]true[/code], triplanar mapping for [code]UV2[/code] is calculated in world space rather than object local space. See also [member uv2_triplanar].
If [code]true[/code], vertex colors are considered to be stored in sRGB color space and are converted to linear color space during rendering. If [code]false[/code], vertex colors are considered to be stored in linear color space and are rendered as-is. See also [member albedo_texture_force_srgb].
The texture filter reads from the nearest pixel only. This makes the texture look pixelated from up close, and grainy from a distance (due to mipmaps not being sampled).
The texture filter blends between the nearest 4 pixels. This makes the texture look smooth from up close, and grainy from a distance (due to mipmaps not being sampled).
The texture filter reads from the nearest pixel and blends between the nearest 2 mipmaps (or uses the nearest mipmap if [member ProjectSettings.rendering/textures/default_filters/use_nearest_mipmap_filter] is [code]true[/code]). This makes the texture look pixelated from up close, and smooth from a distance.
The texture filter blends between the nearest 4 pixels and between the nearest 2 mipmaps (or uses the nearest mipmap if [member ProjectSettings.rendering/textures/default_filters/use_nearest_mipmap_filter] is [code]true[/code]). This makes the texture look smooth from up close, and smooth from a distance.
The texture filter reads from the nearest pixel and blends between 2 mipmaps (or uses the nearest mipmap if [member ProjectSettings.rendering/textures/default_filters/use_nearest_mipmap_filter] is [code]true[/code]) based on the angle between the surface and the camera view. This makes the texture look pixelated from up close, and smooth from a distance. Anisotropic filtering improves texture quality on surfaces that are almost in line with the camera, but is slightly slower. The anisotropic filtering level can be changed by adjusting [member ProjectSettings.rendering/textures/default_filters/anisotropic_filtering_level].
The texture filter blends between the nearest 4 pixels and blends between 2 mipmaps (or uses the nearest mipmap if [member ProjectSettings.rendering/textures/default_filters/use_nearest_mipmap_filter] is [code]true[/code]) based on the angle between the surface and the camera view. This makes the texture look smooth from up close, and smooth from a distance. Anisotropic filtering improves texture quality on surfaces that are almost in line with the camera, but is slightly slower. The anisotropic filtering level can be changed by adjusting [member ProjectSettings.rendering/textures/default_filters/anisotropic_filtering_level].
The material will cut off all values below a threshold, the rest will remain opaque. The opaque portions will be rendered in the depth prepass. This is faster to render than alpha blending, but slower than opaque rendering. This also supports casting shadows.
The material will cut off all values below a spatially-deterministic threshold, the rest will remain opaque. This is faster to render than alpha blending, but slower than opaque rendering. This also supports casting shadows. Alpha hashing is suited for hair rendering.
The material will use the texture's alpha value for transparency, but will discard fragments with an alpha of less than 0.99 during the depth prepass and fragments with an alpha less than 0.1 during the shadow pass. This also supports casting shadows.
The object will be shaded per vertex. Useful when you want cheaper shaders and do not care about visual quality. Not implemented yet (this mode will act like [constant SHADING_MODE_PER_PIXEL]).
Enables AlphaToCoverage and forces all non-zero alpha values to [code]1[/code]. Alpha values in the material are passed to the AntiAliasing sample mask.
Objects will write to depth during the opaque and the transparent passes. Transparent objects that are close to the camera may obscure other transparent objects behind them.
[b]Note:[/b] This does not influence whether transparent objects are included in the depth prepass or not. For that, see [enum Transparency].
Default cull mode. The back of the object is culled when not visible. Back face triangles will be culled when facing the camera. This results in only the front side of triangles being drawn. For closed-surface meshes, this means that only the exterior of the mesh will be visible.
Front face triangles will be culled when facing the camera. This results in only the back side of triangles being drawn. For closed-surface meshes, this means that the interior of the mesh will be drawn instead of the exterior.
Disables the depth test, so this object is drawn on top of all others drawn before it. This puts the object in the transparent draw pass where it is sorted based on distance to camera. Objects drawn after it in the draw order may cover it. This also disables writing to depth.
Vertex colors are considered to be stored in sRGB color space and are converted to linear color space during rendering. See also [member vertex_color_is_srgb].
Uses point size to alter the size of primitive points. Also changes the albedo texture lookup to use [code]POINT_COORD[/code] instead of [code]UV[/code].
Shader will keep the scale set for the mesh. Otherwise the scale is lost when billboarding. Only applies when [member billboard_mode] is [constant BILLBOARD_ENABLED].
Enables the texture to repeat when UV coordinates are outside the 0-1 range. If using one of the linear filtering modes, this can result in artifacts at the edges of a texture when the sampler filters across the edges of the texture.
Enables parts of the shader required for [GPUParticles3D] trails to function. This also requires using a mesh with appropriate skinning, such as [RibbonTrailMesh] or [TubeTrailMesh]. Enabling this feature outside of materials used in [GPUParticles3D] meshes will break material rendering.
Used for particle systems when assigned to [GPUParticles3D] and [CPUParticles3D] nodes (flipbook animation). Enables [code]particles_anim_*[/code] properties.
The [member ParticleProcessMaterial.anim_speed_min] or [member CPUParticles3D.anim_speed_min] should also be set to a value bigger than zero for the animation to play.
Smoothly fades the object out based on each pixel's distance from the camera using a dithering approach. Dithering discards pixels based on a set pattern to smoothly fade without enabling transparency. On certain hardware, this can be faster than [constant DISTANCE_FADE_PIXEL_ALPHA].
Smoothly fades the object out based on the object's distance from the camera using a dithering approach. Dithering discards pixels based on a set pattern to smoothly fade without enabling transparency. On certain hardware, this can be faster than [constant DISTANCE_FADE_PIXEL_ALPHA] and [constant DISTANCE_FADE_PIXEL_DITHER].
