DomeLight

DomeLight was added to the classic Fusion 3D environment as a dedicated environment-light tool. Blackmagic describes it as a light that takes an SDR or HDR image and surrounds the scene with a sphere mapped by that image, making image-based lighting its core production use.

DomeLight has two fundamentally different inputs. The orange SceneInput accepts an optional classic Fusion scene3d stream for serial 3D composition. The white DomeTexture accepts a normal 2D image, which is where an HDRI/SDR environment map from MediaIn, Loader, or another image branch is connected. The two data types are not interchangeable.

DomeTexture does not turn DomeLight into a 2D image processor. The incoming image is consumed inside the 3D lighting model, while DomeLight output remains scene3d. A normal RGBA frame appears only after Renderer3D.

For an independent lighting rig, geometry and DomeLight are usually easier to reason about as separate Merge3D branches: Shape3D/Text3D/model data feeds one Merge3D scene input and DomeLight.Scene feeds another. This keeps the DomeLight Transform scoped to the light branch. SceneInput is useful when inline 3D composition is intentional.

When SceneInput is connected, Resolve applies the DomeLight Transform to the complete incoming 3D scene. This is important parent-transform behavior: Translation/Rotation can affect upstream geometry that passes through SceneInput. Use a separate Merge3D branch when the environment light must transform independently.

Controls / Enabled toggles the DomeLight contribution without rebuilding the topology. This is the cleanest way to A/B environment lighting on the same frame because all scene and texture connections remain unchanged.

Color and Red/Green/Blue provide the global light tint. In a texture-driven setup, treat them as a global color control over the environment contribution rather than as a replacement for the HDRI itself. Begin with neutral white so orientation and exposure problems are not confused with artistic tinting.

Intensity scales the overall DomeLight contribution. Different HDR maps can react very differently at the same numeric Intensity because their dynamic range and embedded bright sources differ. Evaluate the source map first, then set a working intensity.

The captured Output Layer menu displays Ambient and Diffuse And Specular labels with Diffuse And Specular selected as the working baseline. This controls lighting contribution rather than cable type: DomeLight.Scene remains scene3d. Whether Ambient is selectable and how it behaves require a live target-build test; a visible menu label alone is not evidence of availability. If selectable, compare it against the same unchanged material.

DomeLight has no dedicated shadow-map section in the current Inspector. Do not look for Map Size, Bias, or Shadow Softness controls like those found on SpotLight/PointLight/DirectionalLight. If the shot needs a controllable cast-shadow design, environment fill is normally supplemented with a light that has an appropriate shadow workflow.

Transform / Rotation is the key artistic transform for image-based lighting. Rotating the dome changes which part of the HDRI is positioned to the left, right, above, or behind the object and therefore where strong environment contributions and highlights originate. This lets you align virtual light with a plate or move a highlight across glossy geometry without editing the HDRI itself.

Rotation Order defines Euler-axis evaluation and Rotation X/Y/Z defines environment orientation. For a simple HDRI match, change one axis at a time and watch the brightest lighting region or specular highlight. Use multi-axis animation only after the mapping of the particular environment has been understood.

Translation X/Y/Z should not be interpreted like PointLight distance. DomeLight represents a surrounding environment rather than a local lamp with distance falloff. Do not try to move an HDRI closer to create stronger illumination. With SceneInput connected, Translation becomes especially important because it transforms the incoming scene.

Import Transform transfers transform data from a compatible 3D source. It can be useful when dome orientation must follow an external 3D setup, but it does not import the HDRI. The environment image still enters through the separate DomeTexture cable.

DomeLight is especially useful on surfaces where the environment matters: glossy/specular objects, 3D logos, product-style geometry, and text. It does not automatically replace a key/rim setup. A common production pattern is to use the dome for plausible environment base lighting and add SpotLight or DirectionalLight for a controllable accent and shadow design.

Diagnose three layers separately: texture source, light transform, and material response. If the result looks wrong, first verify the DomeTexture source and its SDR/HDR range, then check Rotation, then adjust Color/Intensity/Output Layer and material controls.

The Viewer and final Renderer3D still need lighting to be evaluated. Like other classic 3D lights, DomeLight exists inside scene3d. A correct HDRI and orientation will not produce the expected result if lighting is disabled or the material does not respond to scene lights.

Until Renderer3D, the DomeLight/geometry/camera branch remains scene3d even though DomeTexture itself is an image. This is the essential data boundary: an image enters DomeLight as a texture source, but DomeLight output is not an image. Normal Merge, Glow, Blur, or MediaOut usage begins after Renderer3D.Image.

The source HDRI matters more than a high Intensity value: if bright windows and sky regions are already clipped, raising the dome contribution cannot restore their lost direction or color. Inspect the image and its color pipeline first, especially when an HDR/EXR originates in another application.

The environment projection must match the expected spherical mapping. Latitude–longitude/equirectangular maps are typical for 360-degree IBL; a random flat photograph is not an accurate omnidirectional environment. Check seams, poles, and orientation on a test subject rather than assuming all image files are interchangeable.

DomeLight is a lighting source, not a visible backdrop. Feeding an attractive HDRI into DomeTexture does not place a sky behind the model in Renderer3D output. Build a separate 2D background and Merge after rendering, or use intentional 3D environment geometry.

For a live-action plate shot, keep two streams separate: the plate feeds the Background of an ordinary Merge, while geometry plus DomeLight go through Merge3D and Renderer3D into the Foreground. Verify renderer alpha and match exposure/direction before final 2D compositing.

The captured Output Layer menu displays Ambient and Diffuse And Specular labels, but a visible label does not prove both are selectable in every target build or renderer mode. First test whether Ambient can actually be selected; if not, record that limitation instead of claiming an A/B is possible.

The 3D Viewer can display the light widget even when the chosen Renderer3D is not evaluating the desired lighting contribution. Check Renderer3D Enable Lighting, the material response, and the final image; the selected DomeLight widget is not render evidence.

The captured DomeLight Controls do not include dedicated shadow-map parameters. The light supplies an environment contribution; an explicit cast-shadow design and occlusion can require another light, renderer/material setup, or compositing rather than imaginary DomeLight Shadow Map controls.

When adjusting HDRI exposure or color upstream, keep source processing separate from DomeLight Color/Intensity. For an animated environment source, check the MediaIn frame sequence and timing and observe how moving highlights respond over time.