Ts fog animation

[shoreon]

Can fog really be full animated (distance and height) or only color and brightness? On 7.6 I can only keyframe color/bright but only if I keyframe background too and not always. Is it a program bug?

[trueBlue]

From the manual

Fog
Chapter3 Lighting and Rendering| 81
Fog allows you to add a “haze” to your scene that works much like depth cue: the farther away a surface is from the
camera, the more it is washed out by fog. This heightens the realism of scenes that depict foggy or haze conditions.
One important difference of the fog shader is that the fog color does not affect background shading, but only
surfaces in the foreground. This makes it possible to use fog in conjunction with a background mask for compositing
purposes.
Fog comes in two types: regular fog, which applies a consistent haze over the entire scene, and ground fog, which
creates a haze that fades with height (as in the example below). You can open fog option parameters by
right-clicking on the Fog button:
• Fog Type: The fog types are Regular and Ground. Ground fog is thickest at the ground level, gradually
fading as it gains altitude. The level of fading vertically is controlled by the Height parameter.
• Distance: This parameter determines how far from the camera the fog reaches 100% opacity. High values
will create a thin fog that spreads out for long distances, while a low value makes for very thick fog that
obscures nearby objects.
• Height: The Height parameter is the vertical ceiling for the ground fog. As this value is increased, the
vertical limit (altitude) of the fog also increases. Use lower values for a misty fog that is near the ground, or
higher values for a fog that covers the scene more.
• Fog Color: The overall color of the fog is determined by this control. Clicking on the color block opens up
the color picker, which is used to set the fog color. To change the base fog color, click on the desired
portion of the color cube. To change the brightness, click and drag on the slider to the right of the cube.
Note: Light sources will not become visible when using the Fog shader. If you wish to cast a beam of light
from a light source, use one of the Volumetric foreground shaders instead.

Volumetric Light
Click this icon to either include or exclude a light source from volumetric fogging and shadowing effects. Either the
Simple Volumetric foreground shader or the Advanced Volumetric foreground shader must be enabled for these
effects to be visible.
Note: In order for volumetric lights to show up, you also have to set the lights to have volumetric turned on In the
Light Options panel. Only spotlights and projector lights work with Simple Volumetric.
Volumetric lights by nature require a lot of fine-tuning and tweaking to make them work since light intensity and
scene situations may differ. The intensity, color, and falloff of your lights affect the volumetrics, and since
volumetrics uses true sampling, it takes time to analyze the scene and render the results. The settings for the
Volumetric options are as follows:
• Fog Density: This parameter controls the overall particle density of the volumetrics. It defaults to the value
of 1.0. Increasing the Fog Density value results in a visible bright volumetric effect, while decreasing this
value leads to more subtle volumetric effects. The Fog Density is affected by the dimensions/scale of your
scene so this parameter will need to be adjusted for very large scenes.
• Samples: This parameter determines how many samples are performed per ray from each light source. A
high sample value results in accurate shadow casting in the scene, but results in longer rendering time.
Lower sample values render more quickly but may miss important fine detailed gaps between objects or not
show proper occlusions in the scene.
• Noise Amplitude: This parameter adjusts for the presence of fractal noise particle effect or turbulence in
the volumetric scattering. It simulates the swirling and clumping effect seen in smoke and dust particulate
matter. Higher noise amplitude setting results in visible noise perturbations to the volumetric scattering. At
the 0 setting, noise is not visible to the volumetric lighting in the scene, which results in quick render times.
• Noise scale: This parameter controls how large or small the perturbations appear in volumetric light. Small
values result in fine granular clumps of noise, while larger values give subtle clusters of cloudy strands.
Note: If Noise Amplitude is set to 0, this value will be ignored in the scene.
• Noise gain: This parameter controls the amount of visible noise in the scene, with values ranging from 0 to
1. This is the “noise visibility contrast” setting. High values result in clear and well-defined areas of noise,
while low values result in a gradual fade. A value of 0.0 will turn the noise perturbation off. The default is a
value is 0.5. Suggested useful values are between .2 and .8.
• Source Attenuation: This parameter controls the attenuation of the volumetrics from the light source.
Attenuation is the gradual falloff of light from the source as it spreads out and covers more area. Larger
values of Source Attenuation result in the volumetric intensity fading faster from the light source. If the
volumetrics are intense for a particular scene, increasing this value will reduce the volumetric light
intensity on the objects and limit it near the light sources. For better visibility of the subtle noise and
scattering of the volumetric light, this parameter will need to be lowered.
• Surface Attenuation: This parameter controls the darkening of the surfaces of objects relative to the
distance from the eye (viewport or camera view). This means that the light between the object‟s surface and
the fog is attenuated (modified) by the surface of the fog. Value increases in Surface Attenuation result in
far away objects appearing darker than the foreground objects within the volumetric influence. Beware that
using a very high surface attenuation value will result in almost all the light reaching the eye from the
object surfaces being absorbed, creating black areas. This is similar to having a very dense smoke where no
light passes through. The default value is 0 (no attenuation).
• Volume attenuation: Volume attenuation controls the falloff of scattered light, as measured by the
distance from the scattering point to the camera or eye view. In other words, adjusting this value controls
how bright or how dim far-off scattering effects will appear. With higher volume attenuation values, beams
of light will only be visible when located very close to the camera, and will get progressively dimmer the
farther they get from the camera. The default value is 0 (no attenuation). Note: The exact amount of
attenuation to use in different scenes depends mainly on scene size. You will want to experiment with the
settings until you achieve the desired effect. Make subtle changes to these attenuation controls, starting
Chapter3 Lighting and Rendering| 80
with low values such as 0.01 and slowly increasing to around 0.1 or 0.5.

Advanced Volumetrics
Advanced Volumetrics simulates the effect of participating media (smoke, mist, fog etc.) in the scene. This is a
better alternative for most purposes than using simple Volumetric because it is not limited to spotlights or projector
lights. You may recall that in the light transfer model, light interacts with intervening media (water vapor or
particulate matter). The Advanced Volumetrics foreground shader simulates all the effects of light scattering. It
processes visible light effects such as light falloff (attenuation) within the medium, light filtration though a medium
that is colored, and directional „first order‟ light scattering within the medium with volumetrics. First order
scattering means the highly directional light scattering that is the primary light dispersion without secondary light
bounces. It will not model light illumination caused by light scattering (indirect illumination by the media via
scattering.) The Advanced Volumetrics foreground shader will work with all lights except the Skylight.
• Medium density: Determines how thick the intervening media is. This parameter for most purposes is
independent of all the other Scattering parameters and is unaffected by them. However, it does affect the
visibility of the other parameters.
• Medium attenuation: This parameter controls the amount of light absorption by the media. It affects all
the light absorption in the scene except for the direct lighting on geometry surfaces. This parameter is also
Chapter3 Lighting and Rendering| 83
affected by the color of the light shining on the media. Note: This parameter is very sensitive to your scene
geometry‟s scale and size. Imagine modeling a dollhouse the scale of a stadium, and then even if you use
the correct light intensities (kilolumens, etc.), a scene that size will most likely have minimally and realistic
visible light scattering because of the wrong scene scale.
• Medium ambient: This parameter sets a uniformly dispersed scattering within the intervening media. As
its name indicates, it is a kind of ambient illumination. It can be seen as introducing an even white light in
the media. This parameter of course is affected by the color of lights that are in the scene. It is not affected
nor does it depend on the Medium density parameter.
• Medium color: This parameter is the filtering and light scattering color parameter. This means that it
controls the way the scattered light is shown. The greater the distance the light has traveled within the
medium, the greater the light‟s color is attenuated and modified by the Medium color.
• Medium shadows: This parameter controls the shadowing of the medium, including „self-shadowing‟.
This parameter is really a switch for turning on the medium‟s shadows. Note: Be warned that turning on
Medium shadows results in long calculations, and thus a render time penalty.
• Min lod: This parameter determines the small amount of “details” in the visible scattering media. It
controls the amount and quality of the small areas of visible scattered light. Setting this parameter to a low
level results in a “noisy” scattering which is visible in the volumetric areas of the scattered media. This
parameter is increased only in situations where the small details are invisible and where there is noise in
areas of the medium that have rapid intensity changes. The default setting of 0.1 should be sufficient for
most cases.
• Error bound: This parameter is for controlling the accuracy of the simulated scattered light. It determines
the extent of variability and hence the visibility of the computed effect that is converted into visible pixels.
The default value of 0.1 is adequate for most purposes. Setting this parameter to 0.0 will indicate to
trueSpace to calculate the scattering up to the limit indicated in the Max lod parameter. Setting this
parameter to 1.0 will disable it after the initial light distribution through the media. Useful values range
from 0.0 to 0.5.
• Max lod: This parameter determines the maximum level of details in the scattering media. It really
determines the extent of scene scattering calculation and investigation after the first order scattering has
been performed and is controlled by the Error bound parameter. The default value of 1.0 is adequate for
most purposes. Increasing this value will result in a visible change in the scattering simulation, but it is
suggested that you decrease the Error bound level first before changing this parameter. This parameter also
will control the upper limit of excessive and non-contributory scattering calculations.
• Model: This parameter controls what scattering model will be used in the scene. This is model is derived
from real world light scattering physics models. The choice of model used affects the way the color
(wavelength) is scattered in the media. The best way to remember how to use this parameter is this: light
transfer has two properties, isotropic (which is a uniform scattering in all directions) and anisotropic
(which is a highly directional and biased scattering). Anisotropic scattering depends on the position of the
light source and the relative position of the viewer. This means that depending on where the viewer is
looking, there will be a change in the visibility and quality of scattering. The GREENSTEIN, MIE
MURKY, MIE HAZY and RAYLEIGH scattering models are all anisotropic.
Chapter3 Lighting and Rendering| 84
◦ Isotropic: The Isotropic parameter is for using the uniformly distributed scattering model. This is the
fastest scattering model of all, though it is not physically based and can produce unrealistic results.
However, for most purposes this is the best scattering model to use.
◦ Greenstein: This model is highly eccentric and is based on an analytical function model. The model‟s
shape is a dual ellipsoid that is directional. It is a „push-pull‟ scattering model where the light scattering can
be directed (biased) at the opposite ends of the dual ellipsoid distribution. This is a so-called “forward and
backward” scattering. It is based on Mie scattering and is a derivative of it, which is ideal for directional
fog effects.
◦ Mie Murky: This model is mainly used for simulating a small particulate matter type of scattering, such as
smoke. It is a highly directional scattering model where the scattered light is largest when the incoming
light (incident light) is directed at the viewer. This model will have minimal visibility when the light
direction is parallel to the viewer. The shape is like a thick elongated teardrop where the thin end is the
origin of the light direction. Mie Murky predominantly models “forward scattering.” This model is ideal for
simulating thin fog effects with light sources.
◦ Mie Hazy: This model is similar to the Mie Murky model with one exception: it is less directional than the
Mie Murky model. In short, the Mie Hazy model is thinner and more elongated than the Mie Murky
model. This is ideal for simulating thick fog effects.
◦ Rayleigh: This model is used for simulating small molecules of water vapor and air. Rayleigh scattering
affects the shorter wavelengths of light and scatters them more (greens and blues). This model is also
highly directional, but is shaped like a peanut in its distribution pattern.
• Density shader: The Density shader introduces variability in the scattering media by modifying the
Medium density according to a particular shader. Right-click any density shader option to set parameters
for that shader. See Artist Guide Appendix D: LightWorks Shaders for full details on these shaders - they
correspond to color shaders.
Chapter3 Lighting and Rendering| 85
◦ None: This parameter turns off the density shader and indicates to trueSpace to not use any parameter that
alters the way the Medium density of the scattering shader is rendered.
◦ Solid polka: This parameter uses the solid polka shader to modify the Medium density setting, which
creates round empty spaces in the scattering model.
◦ Solid clouds: This parameter uses the solid clouds shader to modify the Medium density setting, which
creates variable fractal wavy snakes in the scattering model.
◦ Blue marble: This parameter uses the blue marble shader to modify the Medium density setting, which
creates stratified-layered curves in the scattering model.
◦ Turbulent: This parameter uses a chaotic function to modify the Medium density setting, which creates
variable and random formations in the scattering model.
Note: With some shader settings, the scattering result will produce variable density shading,
which results in longer rendering time due to calculations. If you do get highly random
objectionable noise, the Min lod will need to be increased.

[shoreon]

That doesn't answer my question, on that long text, there isn't even a single reference to animation

[shoreon]

That doesn't answer my question, on that long text, there isn't even a single reference to animation

From the manual

Fog
Chapter3 Lighting and Rendering| 81
Fog allows you to add a “haze” to your scene that works much like depth cue: the farther away a surface is from the
camera, the more it is washed out by fog. This heightens the realism of scenes that depict foggy or haze conditions.
One important difference of the fog shader is that the fog color does not affect background shading, but only
surfaces in the foreground. This makes it possible to use fog in conjunction with a background mask for compositing
purposes.
Fog comes in two types: regular fog, which applies a consistent haze over the entire scene, and ground fog, which
creates a haze that fades with height (as in the example below). You can open fog option parameters by
right-clicking on the Fog button:
• Fog Type: The fog types are Regular and Ground. Ground fog is thickest at the ground level, gradually
fading as it gains altitude. The level of fading vertically is controlled by the Height parameter.
• Distance: This parameter determines how far from the camera the fog reaches 100% opacity. High values
will create a thin fog that spreads out for long distances, while a low value makes for very thick fog that
obscures nearby objects.
• Height: The Height parameter is the vertical ceiling for the ground fog. As this value is increased, the
vertical limit (altitude) of the fog also increases. Use lower values for a misty fog that is near the ground, or
higher values for a fog that covers the scene more.
• Fog Color: The overall color of the fog is determined by this control. Clicking on the color block opens up
the color picker, which is used to set the fog color. To change the base fog color, click on the desired
portion of the color cube. To change the brightness, click and drag on the slider to the right of the cube.
Note: Light sources will not become visible when using the Fog shader. If you wish to cast a beam of light
from a light source, use one of the Volumetric foreground shaders instead.

Volumetric Light
Click this icon to either include or exclude a light source from volumetric fogging and shadowing effects. Either the
Simple Volumetric foreground shader or the Advanced Volumetric foreground shader must be enabled for these
effects to be visible.
Note: In order for volumetric lights to show up, you also have to set the lights to have volumetric turned on In the
Light Options panel. Only spotlights and projector lights work with Simple Volumetric.
Volumetric lights by nature require a lot of fine-tuning and tweaking to make them work since light intensity and
scene situations may differ. The intensity, color, and falloff of your lights affect the volumetrics, and since
volumetrics uses true sampling, it takes time to analyze the scene and render the results. The settings for the
Volumetric options are as follows:
• Fog Density: This parameter controls the overall particle density of the volumetrics. It defaults to the value
of 1.0. Increasing the Fog Density value results in a visible bright volumetric effect, while decreasing this
value leads to more subtle volumetric effects. The Fog Density is affected by the dimensions/scale of your
scene so this parameter will need to be adjusted for very large scenes.
• Samples: This parameter determines how many samples are performed per ray from each light source. A
high sample value results in accurate shadow casting in the scene, but results in longer rendering time.
Lower sample values render more quickly but may miss important fine detailed gaps between objects or not
show proper occlusions in the scene.
• Noise Amplitude: This parameter adjusts for the presence of fractal noise particle effect or turbulence in
the volumetric scattering. It simulates the swirling and clumping effect seen in smoke and dust particulate
matter. Higher noise amplitude setting results in visible noise perturbations to the volumetric scattering. At
the 0 setting, noise is not visible to the volumetric lighting in the scene, which results in quick render times.
• Noise scale: This parameter controls how large or small the perturbations appear in volumetric light. Small
values result in fine granular clumps of noise, while larger values give subtle clusters of cloudy strands.
Note: If Noise Amplitude is set to 0, this value will be ignored in the scene.
• Noise gain: This parameter controls the amount of visible noise in the scene, with values ranging from 0 to
1. This is the “noise visibility contrast” setting. High values result in clear and well-defined areas of noise,
while low values result in a gradual fade. A value of 0.0 will turn the noise perturbation off. The default is a
value is 0.5. Suggested useful values are between .2 and .8.
• Source Attenuation: This parameter controls the attenuation of the volumetrics from the light source.
Attenuation is the gradual falloff of light from the source as it spreads out and covers more area. Larger
values of Source Attenuation result in the volumetric intensity fading faster from the light source. If the
volumetrics are intense for a particular scene, increasing this value will reduce the volumetric light
intensity on the objects and limit it near the light sources. For better visibility of the subtle noise and
scattering of the volumetric light, this parameter will need to be lowered.
• Surface Attenuation: This parameter controls the darkening of the surfaces of objects relative to the
distance from the eye (viewport or camera view). This means that the light between the object‟s surface and
the fog is attenuated (modified) by the surface of the fog. Value increases in Surface Attenuation result in
far away objects appearing darker than the foreground objects within the volumetric influence. Beware that
using a very high surface attenuation value will result in almost all the light reaching the eye from the
object surfaces being absorbed, creating black areas. This is similar to having a very dense smoke where no
light passes through. The default value is 0 (no attenuation).
• Volume attenuation: Volume attenuation controls the falloff of scattered light, as measured by the
distance from the scattering point to the camera or eye view. In other words, adjusting this value controls
how bright or how dim far-off scattering effects will appear. With higher volume attenuation values, beams
of light will only be visible when located very close to the camera, and will get progressively dimmer the
farther they get from the camera. The default value is 0 (no attenuation). Note: The exact amount of
attenuation to use in different scenes depends mainly on scene size. You will want to experiment with the
settings until you achieve the desired effect. Make subtle changes to these attenuation controls, starting
Chapter3 Lighting and Rendering| 80
with low values such as 0.01 and slowly increasing to around 0.1 or 0.5.

Advanced Volumetrics
Advanced Volumetrics simulates the effect of participating media (smoke, mist, fog etc.) in the scene. This is a
better alternative for most purposes than using simple Volumetric because it is not limited to spotlights or projector
lights. You may recall that in the light transfer model, light interacts with intervening media (water vapor or
particulate matter). The Advanced Volumetrics foreground shader simulates all the effects of light scattering. It
processes visible light effects such as light falloff (attenuation) within the medium, light filtration though a medium
that is colored, and directional „first order‟ light scattering within the medium with volumetrics. First order
scattering means the highly directional light scattering that is the primary light dispersion without secondary light
bounces. It will not model light illumination caused by light scattering (indirect illumination by the media via
scattering.) The Advanced Volumetrics foreground shader will work with all lights except the Skylight.
• Medium density: Determines how thick the intervening media is. This parameter for most purposes is
independent of all the other Scattering parameters and is unaffected by them. However, it does affect the
visibility of the other parameters.
• Medium attenuation: This parameter controls the amount of light absorption by the media. It affects all
the light absorption in the scene except for the direct lighting on geometry surfaces. This parameter is also
Chapter3 Lighting and Rendering| 83
affected by the color of the light shining on the media. Note: This parameter is very sensitive to your scene
geometry‟s scale and size. Imagine modeling a dollhouse the scale of a stadium, and then even if you use
the correct light intensities (kilolumens, etc.), a scene that size will most likely have minimally and realistic
visible light scattering because of the wrong scene scale.
• Medium ambient: This parameter sets a uniformly dispersed scattering within the intervening media. As
its name indicates, it is a kind of ambient illumination. It can be seen as introducing an even white light in
the media. This parameter of course is affected by the color of lights that are in the scene. It is not affected
nor does it depend on the Medium density parameter.
• Medium color: This parameter is the filtering and light scattering color parameter. This means that it
controls the way the scattered light is shown. The greater the distance the light has traveled within the
medium, the greater the light‟s color is attenuated and modified by the Medium color.
• Medium shadows: This parameter controls the shadowing of the medium, including „self-shadowing‟.
This parameter is really a switch for turning on the medium‟s shadows. Note: Be warned that turning on
Medium shadows results in long calculations, and thus a render time penalty.
• Min lod: This parameter determines the small amount of “details” in the visible scattering media. It
controls the amount and quality of the small areas of visible scattered light. Setting this parameter to a low
level results in a “noisy” scattering which is visible in the volumetric areas of the scattered media. This
parameter is increased only in situations where the small details are invisible and where there is noise in
areas of the medium that have rapid intensity changes. The default setting of 0.1 should be sufficient for
most cases.
• Error bound: This parameter is for controlling the accuracy of the simulated scattered light. It determines
the extent of variability and hence the visibility of the computed effect that is converted into visible pixels.
The default value of 0.1 is adequate for most purposes. Setting this parameter to 0.0 will indicate to
trueSpace to calculate the scattering up to the limit indicated in the Max lod parameter. Setting this
parameter to 1.0 will disable it after the initial light distribution through the media. Useful values range
from 0.0 to 0.5.
• Max lod: This parameter determines the maximum level of details in the scattering media. It really
determines the extent of scene scattering calculation and investigation after the first order scattering has
been performed and is controlled by the Error bound parameter. The default value of 1.0 is adequate for
most purposes. Increasing this value will result in a visible change in the scattering simulation, but it is
suggested that you decrease the Error bound level first before changing this parameter. This parameter also
will control the upper limit of excessive and non-contributory scattering calculations.
• Model: This parameter controls what scattering model will be used in the scene. This is model is derived
from real world light scattering physics models. The choice of model used affects the way the color
(wavelength) is scattered in the media. The best way to remember how to use this parameter is this: light
transfer has two properties, isotropic (which is a uniform scattering in all directions) and anisotropic
(which is a highly directional and biased scattering). Anisotropic scattering depends on the position of the
light source and the relative position of the viewer. This means that depending on where the viewer is
looking, there will be a change in the visibility and quality of scattering. The GREENSTEIN, MIE
MURKY, MIE HAZY and RAYLEIGH scattering models are all anisotropic.
Chapter3 Lighting and Rendering| 84
◦ Isotropic: The Isotropic parameter is for using the uniformly distributed scattering model. This is the
fastest scattering model of all, though it is not physically based and can produce unrealistic results.
However, for most purposes this is the best scattering model to use.
◦ Greenstein: This model is highly eccentric and is based on an analytical function model. The model‟s
shape is a dual ellipsoid that is directional. It is a „push-pull‟ scattering model where the light scattering can
be directed (biased) at the opposite ends of the dual ellipsoid distribution. This is a so-called “forward and
backward” scattering. It is based on Mie scattering and is a derivative of it, which is ideal for directional
fog effects.
◦ Mie Murky: This model is mainly used for simulating a small particulate matter type of scattering, such as
smoke. It is a highly directional scattering model where the scattered light is largest when the incoming
light (incident light) is directed at the viewer. This model will have minimal visibility when the light
direction is parallel to the viewer. The shape is like a thick elongated teardrop where the thin end is the
origin of the light direction. Mie Murky predominantly models “forward scattering.” This model is ideal for
simulating thin fog effects with light sources.
◦ Mie Hazy: This model is similar to the Mie Murky model with one exception: it is less directional than the
Mie Murky model. In short, the Mie Hazy model is thinner and more elongated than the Mie Murky
model. This is ideal for simulating thick fog effects.
◦ Rayleigh: This model is used for simulating small molecules of water vapor and air. Rayleigh scattering
affects the shorter wavelengths of light and scatters them more (greens and blues). This model is also
highly directional, but is shaped like a peanut in its distribution pattern.
• Density shader: The Density shader introduces variability in the scattering media by modifying the
Medium density according to a particular shader. Right-click any density shader option to set parameters
for that shader. See Artist Guide Appendix D: LightWorks Shaders for full details on these shaders - they
correspond to color shaders.
Chapter3 Lighting and Rendering| 85
◦ None: This parameter turns off the density shader and indicates to trueSpace to not use any parameter that
alters the way the Medium density of the scattering shader is rendered.
◦ Solid polka: This parameter uses the solid polka shader to modify the Medium density setting, which
creates round empty spaces in the scattering model.
◦ Solid clouds: This parameter uses the solid clouds shader to modify the Medium density setting, which
creates variable fractal wavy snakes in the scattering model.
◦ Blue marble: This parameter uses the blue marble shader to modify the Medium density setting, which
creates stratified-layered curves in the scattering model.
◦ Turbulent: This parameter uses a chaotic function to modify the Medium density setting, which creates
variable and random formations in the scattering model.
Note: With some shader settings, the scattering result will produce variable density shading,
which results in longer rendering time due to calculations. If you do get highly random
objectionable noise, the Min lod will need to be increased.

[clintonman]

Can fog really be full animated (distance and height) or only color and brightness? On 7.6 I can only keyframe color/bright but only if I keyframe background too and not always. Is it a program bug?

I don't use that part of tS but I think you are correct. It looks like only fog color will animate and it only seems to animate along with the background color. So to set the fog color you have to do it in 2 steps with AutoRecord enabled. 1. Set the fog color 2. change the background color. This sets a key for both of them. I don't see anything where the distance and height get animation keys.

Like I said I don't use the "Model" part of the program, but thought I should try to get you an answer, especially since I'm the one who sent you here for help. Hopefully, someone who knows how it works will see the question and give a better answer.

[Saul]

Can fog really be full animated (distance and height) or only color and brightness? On 7.6 I can only keyframe color/bright but only if I keyframe background too and not always. Is it a program bug?

It's certainly possible but i can't remember how! The attached was made in 2002, probably tS 4 or 5:
[attachment=0]Debbie.mp4[/attachment

Edit: Actually this fog was probably made with one of the particle tsx, maybe pi tools from Scott Miles.

[trueBlue]

That doesn't answer my question, on that long text, there isn't even a single reference to animation

SE.png (9.22 KiB) Viewed 2408 times

.
Edit: Cut and paste from the Manual
Scene Keyframes
Scene keyframes include plugins, fog, ray tracing, backgrounds, and global environments.

Scene keyframes are set by changing global scene parameters at a frame other than 0.

• Fog Keys: Color, fog extents, and maximum percentage can be keyframed, as well as the on and off state.
• Background Keys: A background bitmap may be keyframed on and off as well as changed during an animation.
Changing image files does not create a smooth transition.
Background color can also be keyframed.
• Global Environments: An environment bitmap may be keyframed on and off as well as changed
during an animation.
Changing image files does not create a smooth transition.
Environment color can also be keyframed.
• Ray Tracing Keys: Ray Tracing may be keyframed on and off during an animation.



Sorry, looks like Keyframing the Fog parameters in LightWorks from Model's Animation Editor is not possible
Manual says Depth Cue is not either
I know this would be a very tedious task, but you could Render out some Frames with the Fog parameters you wanted, change the Fog parameters and continue Rendering more Frames from the last saved Frame
Smooth transition would be even more tedious!

Workspace has some Fog shaders but may be too limited for your purpose
Good luck hope you find a reasonable solution

[spacekdet]

I'm not an animator but are the volumetric parameters keframe-able?
Might be an option.