Persona

Once a scene contains anything three-dimensional — a VRM avatar or a 3D object layer — the Stage detail pane shows three sections: Camera, Lighting and Environment. This page covers the first two, and Environment has a page of its own. Post-processing the finished frame lives elsewhere too: effect rows above the layer list plus the look rows at the end of Environment, with their own pages

A Live2D-only scene never shows Camera or Lighting, which apply to 3D content, and its Environment section holds only the look rows. Effects can still be added

Everything here belongs to the scene, so two scenes can light the same avatar completely differently

Camera

The 3D scene is viewed through an orbit camera. Drag to orbit, right-drag or Alt-drag to pan, scroll to dolly — see VRM Avatars for the full gesture list

Position moves the camera with the same 3D position control that places avatars and 3D objects. The point the camera looks at moves by the same amount, so its viewing angle and distance stay as they were; Orbit Angle, Tilt, Distance and Look at Point change those instead. A scene whose camera has never been placed shows Set Position in place of these controls, and an assigned camera motion locks them until you remove it under Camera Motion, which has a group of its own below

A narrow field of view flattens perspective the way a portrait lens does; a wide one exaggerates it. Changing it keeps the framing — Distance moves with it, so what the camera looks at stays the same size in the frame. It applies while no camera motion is playing

To cut between saved shots, add Camera Position actions to an automation; to run a camera move for just part of one, add a Play Camera Motion action

Lighting

A new scene starts with two lights: a soft ambient fill, and a shadow-casting point key set slightly in front of the avatar. Add Light… adds more, and removing the last one is allowed — that is simply a dark stage

Each light carries a colour and an intensity. Directional and ambient lights top out at 2; point, spot and area lights reach 20, because physical 1/d² falloff means they need the extra power to still be visible a few metres out

Each light is a collapsible row. Its header holds the light's type, the handles button, an on/off switch and a remove button; expand the row to reach the controls above. A new light opens ready to edit. Switching a light off hides its light and shadows but preserves its settings, so you can preview the stage without it and bring it back unchanged

The pointer button on a light row shows its on-stage handles, so you can place it by dragging instead of typing coordinates. Ambient light has nothing to place, so its button is disabled. Stream Mode disables the button on every light, while the rest of the light's settings stay editable

Shadows

Shadows is per light, at Off, Low, Medium, High or Ultra. Each tier above Off raises the shadow map's resolution, so a higher one sharpens the edge at the cost of memory and fill rate

A new directional light defaults to High and a new point light to Off, because a point shadow renders six cube faces where a directional light needs one map. For the same tier a point light uses a smaller shadow map, for the same reason. A new spot light also starts at Off, though it renders a single map sized like a directional light's

Ambient light comes from every direction at once, so it has nothing to cast and the control does not appear on it. Area lights never cast shadows, so it is missing there too

Softness runs through a different filter on each kind of light, which is why their ranges differ. Directional and spot lights use a 5-tap dithered kernel, and past 16 the dither itself starts reading as noise; a point light uses a 32-tap disk filter, dense enough to hold up across a far wider penumbra, so its slider goes all the way to 32

Shadow Filter is also per light. PCF, the default, softens the whole edge evenly by Softness. PCSS finds what casts each shadow and widens the edge the farther the shadow falls from it, so shadows stay sharp close to an object and soften away from it. It costs more to render, and in place of Softness it sets the size of the light: Angular Diameter in degrees on a directional light, Light Diameter in metres on a point or spot light, 0 – 10, default 0.1. At 0 the shadow is hard. Softness keeps its value while PCSS is selected, and lights in one scene can use different filters

Both filters rotate their samples with a fixed per-pixel noise, so a soft edge shows a fine, still grain rather than a repeating pattern

Follow Camera

Follow Camera keeps a light where it sits relative to the camera, so a light set up for one shot stays in the same place in the frame as the camera orbits, pans or zooms — whether you move the camera or a camera motion does. Every light but ambient has it

Once it is on, three switches choose which camera movements the light follows. All three start on:

Flipping Follow Camera or any of these switches leaves the light exactly where it is on stage, and a switch turned off freezes that part of the camera as it was at that moment. Changing only the field of view never moves the light. While a light follows the camera, its Position and Rotation are measured from the camera rather than the scene, and its handles still place it by dragging

Lights Inside 3D Objects

A .glb can ship its own lights. Those appear under the scene's lights, headed Built into the object's name, each a collapsible row with a switch in its header and an intensity slider inside. Their positions are defined in the file; Persona provides on/off and intensity controls

Volumetric Lighting

Volumetric Lighting fills the air with haze that point, spot and area lights shine through, so their light takes shape in the space around them. It is switched on light by light: haze appears around a light only once its Volumetric Haze is on, and a new light starts with it off. While at least one light that is on has it, Volumetric Lighting appears at the end of the Lighting section to set how the haze looks around all of them:

Objects hide the haze behind them, and air that no light reaches stays transparent, so over a transparent background only the glow itself shows. While any scene light has haze on, lights inside 3D objects and an environment model's own lights join in, as long as they are on. It only renders through a perspective camera — an orthographic one keeps the settings but draws no haze — and directional and ambient lights take no part in it. Live2D models do not hide it

Older versions had one haze switch for the whole scene. A scene saved with it on loads with Volumetric Haze on for every light that can use it, so it looks the same

Clustered Lighting

Clustered Lighting speeds up scenes with many point lights. It handles the point lights whose shadows are Off, and only takes effect when the stage renders with WebGPU through a perspective camera and 1 – 64 of those lights are lit. With more than 64, or with one that has no range limit — as a light built into a 3D object can — the scene is lit the usual way. It does not make shadows or volumetric haze any cheaper

Effects

Post-processing over the finished frame — tone mapping, grading, bloom, depth of field and short-duration effects — is its own group of pages