What is 2.5D?

2.5D is the term for a visual perception effect and workflow style known for subtle depth and movement, known by name as Parallax. 2.5D workflows, and specifically the parallax effect, take place in a two-dimensional space are enabled by layering flat planes of content such that each successive layer is either behind or in front of the previous layer. For content creators, actualizing this process can result in content layers representing the compositional Foreground, Middle ground, and Background of the end output.

This article covers how to implement a 2.5D workflow inside of PIXERA.

Prerequisites

To do a parallax effect within PIXERA, it is recommended to have content layers prepared ahead of time. This article will feature a three layer setup.

In this Photoshop file the source image has been split into three layers representing the Foreground layer, Middleground layer, and Background layer. They're exported with the following naming schema and will be imported as discrete image files rather than an image sequence. These 1920 x 1080 PNG files will have transparency on every layer except the Background layer.

FLOWERS_00.png  – Background layer
FLOWERS_01.png – Middleground layer
FLOWERS_02.png – Foreground layer
 

 Download these files to follow along.

Setup

Open PIXERA, go to the Screens tab and drag a Generic Display into the Workspace.

If you have a physical output plugged into your machine, then in the Mapping tab you can assign to an output as normal. If don't have a physical output to work with, you can create a floating window by right clicking on your Local system under the Mapping > Live tab, and in the Inspector on the right hand side select Edit Engine Settings. Check Resizable and uncheck Hide Mouse Cursor. When you activate your output, either by pressing F5 or by activating manually, then a floating window will appear.

Importing Content

In Compositing > Resources make a folder to hold your image layers. Import your image layers using the + button at the bottom of the pane.

Due to the sequential naming schema of the imported PNGs, PIXERA asks if you are importing an image sequence or not. In this case, an image sequence is not desired, so select No.

Next add your image layers to the Display.

Now that the basics are set up, let's look at how to engage the parallax depth effect using an Eye Point.

Eye Point

The Eye Point is a tool within PIXERA that allows users to adjust the perspective of content rendered to a Screen or Display. This tool is often used to make perspective adjustments on the fly for 3D, 2.5D, and Virtual Production workflows. To interact with the Eye Point, you select and drag a three-dimensional UI element within the Workspace in order to make adjustments to the content perspective. The Eye Point can be used alone or in conjunction with a Camera. 

Since the goal of 2.5D is to unlock a parallax depth technique, an Eye Point needs to be activated in the project. To activate the Eye Point, all Screens or Displays that need to use the effect must be placed within the same Screen Group, and for that Screen Group's Perspective Mode to be set to 3D.

As soon as these settings are selected, a spherical UI element will appear in the Workspace and lines will extend from it's center to the edges of your target Screen(s). If this does not appear for you, ensure that you are in Perspective Selection Mode. Use F4 to switch between Selection Modes in the upper right corner of your Workspace.

Placing Content in Z-Depth

With the Eye Point unlocked, content design and work within the Compositing tab begins. The PNG layers need to be set apart from one another in Z Space. To do this step enter into Inner Compositing by selecting the icon in the upper left of your Workspace. It looks like a box with an arrow.

Once in Inner Compositing, your screen should look something like this.

Move your view around using the rotation widget in the bottom left of the Workspace. Adjust the view to see that all content Layers are stacked on top of one another and that there is no depth to the layers. 

Label your Layers so you know which is the Foreground, which is the Middleground, and which is the Background. Twirl down the arrows of your image Layers and look for the Positional parameters under each Layer. To set the Layers apart from one another, the Z Position will be used in the next step.

For this example, since the Foreground should be closer to the Eye-Point find it's Z position and enter 300 into it. Do the same thing for the Middleground layer, but in it's Z position enter 150. The Background layer's Z position should be kept at 0. The Layers will now be offset from one another by a value of 150 and look something like this.

Next select the button in the top left corner of the Workspace to return to Outer Compositing. Box select the Eye Point and move it around to see your parallax effect come to life.

Studio Camera

The next part of this article includes a 2.5D workflow which utilizes a Studio Camera, often used in conjunction with camera tracking. This section will start with a new project to describe a Studio Camera setup.

Drag a Display into the Workspace from the Screens tab in Displays > Generic > Generic 50" FHD. While here also grab a Studio Camera from Cameras > Studio Camera and put into the Workspace. Resize and place these two elements like so.

Next navigate to the Project sub-tab under Screens. Here listed are all elements within the Workspace. Select Studio Camera under the Project sub-tab or within the Workspace. The Inspector on the right has a section called Screens Associated with Camera. Select the Edit Screens button. A popup appears prompting a Screen selection to associate with the Studio Camera. For this example, it's just the Generic 50" FHD Screen. Select it and and press OK.

In the same Inspector window look for the Background subsection and toggle the Active button on and then Project on Associated Screens. Control Perspective Position of Associated Screens down below and make sure the box is checked.

With the addition of the Background being active now the Inner Frustum and Outer Frustum are activated. It will be better made visible after content is set up in the Compositing tab.

Next navigate to the Compositing tab and then to the Screen Groups sub-tab. Here there is a drop down menu labeled Screen Group 1. Select it and in the Inspector on the right look for Perspective Mode. From this drop down menu select 3D and below that check Perspectives Follow Screen Position.

The Eye-Point of the screen is a distinctly different method of changing the perspective of displayed content. By checking Perspectives Follow Screen Position the Eye-Point attaches to and follows the position of the Studio Camera. Just move the camera and the perspectives will follow, thus simplifying your workflow and allowing for more accurate alignment of potentially many elements.

After this your set up is complete and you can begin to import content. If your set up includes a curved display read on to the next section

Curved LED Screens

When doing 2.5D workflows with a curved screen, an additional step is needed in the setup phase. 

In the Screen Groups sub-tab and open the drop down arrow next to Screen Group 1, which reveals the display. Select the display and in the Inspector on the right scroll down until Perspective Texture Coordinates is seen. Open the drop down menu and check on Create Perspective Screen Texture Coordinates. By checking this box, PIXERA will account for the slight shift in perspective that a curved screen would present, which isn't present in a flat screen setup.

Next Steps

From here more scaling or positional edits could be made to better fill the composition. Additionally, for more automated control over the camera, consider utilizing modules available in PIXERA Control.

It should be noted that while this article outlines use of flat 2D assets, 3D objects are also compatible with this workflow as well.

Pixera 25.2 R 12 | 2. Feb 2026 | T.M.