Fog

雾

Now what would a sky simulation be without fog? Right, only half the rent. That’s why a fog system has been integrated into Physical Sky. This is real volumetric fog, based on diverse types of Noise shaders (see Noise 2D/3D in Channel Shaders) that render less homogeneously and therefore more realistically.

那么，如果没有雾，天空模拟会是什么样子呢？对，只要一半的房租。这就是为什么雾系统已经被整合到物理天空。这是真正的体积雾，基于不同类型的噪音着色器(见噪音2D/3D 在通道着色器) ，渲染不均匀，因此更加真实。

The fog stretches infinitely in a vertically adjustable fog bank.

雾在垂直可调的雾堤中无限延伸。

Color

颜色

This is the color the fog should assume. This color will not be affected by other colored light sources, although the sun’s color can be multiplied with the fog’s color (if the Illumination Intensity setting described below is set to greater than 0).

这就是雾应该呈现的颜色。这种颜色不会受到其他颜色光源的影响，尽管太阳的颜色可以与雾的颜色相乘(如果下面描述的照明强度设置大于0)。

Start Height[-∞..+∞m]
End Height[-∞..+∞m]

起始高度[-∞ . . + ∞ m ]结束高度[-∞ . . + ∞ m ]

The fog bank, which extends infinitely on the X- and Z-axes, must at least be limited in its vertical extension. Otherwise you would not be able to see anything in the resulting soupy fog.

在 x 轴和 z 轴上无限延伸的雾团，至少在其垂直延伸方面是有限的。否则，你将不能看到任何东西在由此产生的浓雾。

The Start Height and End Height settings determine where the fog should begin and end (starting from the ground, Y=0).

开始高度和结束高度设置决定雾的开始和结束位置(从地面开始，y = 0)。

You can determine how quickly density is lost between the Start Height and End Height settings by adjusting the Density Distribution graph.

通过调整密度分布图，可以确定在开始高度和结束高度设置之间密度损失的速度。

Max. Distance[0..200000m]

最大距离[0. . 200000米]

Use this setting to optimize render times. Roughly speaking, this distance is calculated from the camera’s point of origin, looking into the scene (to be more precise: from the point where the environment object’s raytrace ray hits a transparent object).

使用这个设置来优化渲染时间。粗略地说，这个距离是从照相机的原点计算出来的，即观察场景(更精确地说: 从环境物体的光线追踪射线照射到透明物体的那一点)。

Only the fog that lies within this range will be calculated. Assuming the camera is positioned just above the ground and is pointed towards the horizon: It would not make sense to calculate the fog at a distance of 100,000 m when it would already cover all objects lying beyond 10,000 m. In such a case, reduce this setting’s value.

只有在这个范围内的雾才会被计算出来。假设相机的位置刚好在地面上，并且指向地平线: 计算100,000米距离的雾是没有意义的，因为它已经覆盖了10,000米以上的所有物体。在这种情况下，减少此设置的值。

Density[0..+∞%]

密度[0. . + ∞% ]

Density is the measure of the fog’s density, i.e., the higher the value, the more opaque the fog.

浓度是测量雾的密度，也就是说，浓度越高，雾越不透明。

Density Distribution

密度分布

This graph regulates the density between the Start and End settings. You can read more on how to use this graph in Function Graphs.

这个图表调节开始和结束设置之间的密度。你可以在函数图中了解更多关于如何使用这个图的信息。

The left end of the graph represents the Start value, the right the End value. In order to be able to imagine how the density distribution works, imagine the graph rotated counter-clockwise by 90° and projected into the scene.

图形的左端表示 Start 值，右端表示 End 值。为了能够想象密度分布是如何工作的，想象图形逆时针旋转90 ° 并投影到场景中。

Noise

噪音

Here you can select a noise shader from the list of numerous shaders available (see Noise 2D/3D in Channel Shaders). You can also click on the small button to the far right and select a shader from the preview images that appear. Since all of these noises are volumetric, they will be applied with their respective densities. This avoids applying the shaders too homogeneously and results in a more varied look. Take a good look at the following Scale settings, with which you can fine-tune the size of the noise’s (fog’s) structure.

这里你可以从众多的着色器列表中选择一个噪音着色器(参见噪音2D/3D 在频道着色器)。您还可以单击最右边的小按钮，并从出现的预览图像中选择一个着色器。由于所有这些噪声都是体积噪声，因此它们将按照各自的密度加以应用。这避免了应用着色器过于均匀和结果在一个更多样的外观。好好看看下面的缩放设置，你可以调整噪音(雾)结构的大小。

Scale[%]

规模[% ]

Use these settings to scale the noise’s structure along the X-, Y-, and Z-axes. Higher values result in more realistic fog banks, even intermittently creating holes.

使用这些设置沿 x 轴、 y 轴和 z 轴缩放噪声的结构。更高的值导致更真实的雾堤，甚至间歇性地创造空洞。

Movement[XYZ m]

动作[ XYZ m ]

Use this setting to move the fog along the X, Y or Z axis. The structure of the noise will not be affected.

使用此设置沿 x、 y 或 z 轴移动雾。噪音的结构不会受到影响。

Sample Size[5..+∞m]

样本量[5. . + ∞ m ]

Similar to the Sample Distance of the sunbeams (see Sunbeams tab), lower values will result in more precise but longer renderings. Higher values will result in artefacting.

类似于阳光的取样距离(见阳光标签) ，较低的数值将导致更精确，但更长的渲染。较高的价值将导致人工制品。

Animation Speed[0..+∞%]

动画速度[0. . + ∞% ]

This setting refers to the structure of the noise – NOT the position of the fog! The higher the value, the more the fog will billow. A value of 0 retains the fog’s structure.

这个设置指的是噪音的结构-而不是雾的位置！值越高，越多的雾会翻腾。值0保留了雾的结构。

Noise Strength[-1000..1000%]

噪音强度[-1000. . 1000% ]

The noise strength can pretty much be compared to a contrast slider – the higher you set the noise strength, the more dense the fog will become in already dense areas, and the more transparent it will become in less-dense areas. A value of 0 will result in a homogenous, even fog with no noise.

噪音的强度可以和对比度滑块相比——你设置的噪音强度越高，雾在已经很稠密的区域就会变得越稠密，在不太稠密的区域就会变得越透明。一个值0将导致均匀，甚至没有噪音的雾。

Shadow Intensity[0..100%]

阴影强度[0. . 100% ]

As in reality, fog is influenced by cast shadows. If you wish to take cast shadows into account, set a value greater than 0 (0=off).

和现实一样，雾也受到投影的影响。如果您希望考虑投射阴影，请设置一个大于0(0 = off)的值。

You can define how strong shadows should be cast by adjusting Shadow Intensity.

你可以通过调整阴影强度来定义阴影的强度。

Careful! Render times increase with each increase in shadow strength!

小心! 渲染时间随着阴影强度的增加而增加！

Illumination Intensity[0..100%]

照明强度[0. . 100% ]

Incrementally increase the value to greater than 0 if you want the color of the sun to combine with that of the fog. To be exact, a color value between 1 and the color of the sun will be ascertained and multiplied by the fog’s color.

如果您希望将太阳的颜色与雾的颜色结合起来，则递增地将该值增加到大于0。确切地说，一个介于1和太阳颜色之间的颜色值将被确定并乘以雾的颜色。

A value of 0 will disregard the sun’s color and will color the fog as defined in the Color setting.

一个0的值将忽略太阳的颜色，并将定义在颜色设置颜色的雾。