photo render

Pro/ENGINEER®

Wildfire®

4.0

Photorealistic Rendering Help Topic Collection

Parametric Technology Corporation

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iii

Table of Contents

Photorealistic Rendering .................................................................................. 1

Using Photorealistic Rendering....................................................................... 1

About Photorealistic Rendering.................................................................... 1

About Render Settings ............................................................................... 1

PhotoRender Setup Output Options ............................................................. 2

To Set a Renderer ..................................................................................... 3

To Customize Options for Photorealistic Rendering......................................... 3

To Set Quality Options ............................................................................... 4

To Change the PhotoRender Setup Options................................................... 5

To Set Advanced PhotoRender Options......................................................... 6

To Set Photolux Options............................................................................. 6

To Set Advanced Photolux Options .............................................................. 7

To Change PhotoRender Setup Output ......................................................... 8

To Change PhotoRender Setup Configuration ................................................ 9

To Change Photolux Setup Configuration...................................................... 9

Configuration Options..................................................................................10

About Configuring Photorealistic Rendering..................................................10

To Set Configuration Options for Photorealistic Rendering..............................11

blended_transparency ..............................................................................11

default_scene_filename ............................................................................11

max_image_dimension .............................................................................11

pro_colormap_path ..................................................................................12

photorender_preview_scale .......................................................................12

photorender_default_width........................................................................12

photorender_default_height ......................................................................12

photorender_memory_usage .....................................................................12

photorender_capability_warnings ...............................................................12

pro_texture_library ..................................................................................13

pro_lwa_library_path................................................................................13

Table of Contents

iv

pro_lwa_license_path ...............................................................................13

room_rotation_lock ..................................................................................14

save_scene_with_file................................................................................14

save_texture_with_model .........................................................................14

spherical_map_size ..................................................................................15

texture_search_path ................................................................................15

window_gamma.......................................................................................15

Realtime Rendering.....................................................................................15

About Realtime Rendering .........................................................................15

Settings for Realtime Rendering .................................................................16

To Set Transparency for a Model ................................................................16

To Set Realtime Rendering ........................................................................17

To Enable the Reflection of the Environment on a Model ................................17

About Shaded Models ...............................................................................18

Appearances ..............................................................................................18

Creating Appearances...............................................................................18

About Material Appearance .....................................................................18

About the Appearance Editor...................................................................19

Appearance Palette .............................................................................19

Assignment Container .........................................................................19

Properties Container ...........................................................................19

About Managing Appearances in the Appearance Editor ..............................20

System Libraries ...................................................................................20

About the Color Editor............................................................................20

To Display Colors ..................................................................................21

Tip: Creating an Appearance...................................................................21

To Create an Appearance Color ...............................................................21

To Modify an Appearance from the Model .................................................22

To Select and Mix Colors ........................................................................23

To Set an Appearance to the Model..........................................................23

Basic Appearance Options ......................................................................23

Table of Contents

v

Map Appearance Options ........................................................................24

Advanced Appearance Options ................................................................24

To Save a Material File ...........................................................................25

Photolux Appearance Options..................................................................25

To Remove an Appearance from the Model or Palette .................................25

Advanced Appearances ..........................................................................26

About Advanced Appearances...............................................................26

To Create Advanced Appearances .........................................................26

About Setting the Reflectance of Advanced Appearances..........................27

Multilayer Paint Options.......................................................................28

To Map the Checker Transparency Shader..............................................29

To Map the Brick Shader......................................................................29

To Map the Checker Shader .................................................................30

To Map the Dimple Shader...................................................................30

To Map the Dots Shader ......................................................................31

To Map the Grid Shader.......................................................................31

To Map the Grid Transparency Shader ...................................................32

To Map the Knurl Shader .....................................................................33

To Map the Leather Shader ..................................................................33

To Map the Rough Shader....................................................................34

To Map the Solid Casting Shader ..........................................................35

To Map the Solid Checker Shader..........................................................35

To Map the Solid Clouds Shader ...........................................................36

To Map the Solid Dots Shader ..............................................................36

To Map the Solid Eroded Shader ...........................................................37

To Map the Solid Glow Shader ..............................................................37

To Map the Solid Leather Shader ..........................................................38

To Map the Solid Marble Shader ...........................................................39

To Map the Solid Rough Shader ............................................................40

To Map Solid Wood Shaders .................................................................40

To Map the Texture Brick Shader ..........................................................41

Table of Contents

vi

To Map the Treadplate Shader..............................................................42

To Map Wood Floor Shaders .................................................................43

Types of Mapping ...............................................................................44

Positioning the Appearance Shaders Using the Position Container..............44

About Additional Shaders.....................................................................45

Textures .................................................................................................46

About Textures .....................................................................................46

About Loading or Storing Textures...........................................................48

To Create a Textured Appearance............................................................48

About Placing Textures...........................................................................48

To Place Textures ..................................................................................50

To Manipulate Textures ..........................................................................51

To Edit a Placed Texture.........................................................................55

To Edit a Texture Placed in Pro/ENGINEER Wildfire 3.0 or Earlier Releases ....56

To Save Textures ..................................................................................57

To Display Textures ...............................................................................57

To Remove Textures ..............................................................................58

LightWorks Archives .................................................................................58

About the LightWorks Material Archives....................................................58

To Obtain and Set the LWA License..........................................................59

To Create a license.txt File for the Licensed LWA Material.........................60

To Edit the LightWorks Material Archives ..................................................60

Lights........................................................................................................61

About Lights ............................................................................................61

To Create Lights ......................................................................................62

About Light Icons .....................................................................................62

About High Dynamic Range Images (HDRI) .................................................65

To Enable Environment Light as Background (HDRI) .....................................66

To Set Environment as Lighting..................................................................66

To Use Environment Light for Model Reflections ...........................................67

About Hard and Soft Shadows....................................................................68

Table of Contents

vii

Light Definition ........................................................................................68

To Modify Lights From the Light Editor ........................................................69

To Modify Lights From the Graphics Area.....................................................71

To Delete Lights.......................................................................................72

To Save a Light File ..................................................................................72

To Open a Light File .................................................................................72

Environment ..............................................................................................73

About the Effects Editor ............................................................................73

To Set Fog Properties ...............................................................................73

To Set Light Scatter Properties...................................................................74

To Set Background Properties ....................................................................75

To Set Depth of Field Properties .................................................................75

To Set Lens Flare Properties ......................................................................76

To Set Lens Flare Effects ...........................................................................77

Room ........................................................................................................78

About the Room.......................................................................................78

To Create a Room ....................................................................................78

Tip: Creating a Room................................................................................79

To Apply a Texture to a Room....................................................................80

To Save a Room File.................................................................................80

To Open a Room File ................................................................................81

Scenes ......................................................................................................81

About the Scene File.................................................................................81

To Create a New Scene.............................................................................82

To Create a New Scene by Copying an Existing Scene ...................................83

To Retrieve and Update an Existing Scene From the Disk...............................83

To Reuse a Scene From Another Model .......................................................84

To Save a Scene With the Model ................................................................84

To Remove a Scene From the Scene Palette ................................................84

Orientating and Viewing the Model ................................................................85

About Orientating and Viewing the Model ....................................................85

Table of Contents

viii

To Change the Perspective View.................................................................85

To Orientate Dynamically ..........................................................................86

To Orientate by Reference.........................................................................87

To Orientate by Preference ........................................................................88

To Render a Model ...................................................................................88

About Render Region ................................................................................89

To Use Render Region...............................................................................89

Images......................................................................................................89

About Importing Images ...........................................................................89

About Saving an Image.............................................................................90

About the Image Editor.............................................................................90

To Save an Image....................................................................................91

To Edit an Image .....................................................................................91

To Use Slideshow.....................................................................................92

Glossary ....................................................................................................93

Glossary for Photorealistic Rendering ..........................................................93

Index...........................................................................................................99

1

Photorealistic Rendering

Using Photorealistic Rendering

About Photorealistic Rendering

Photorealistic Rendering compiles all the elements of a scene such as the model,

materials, room, and lights and creates a rendered image. Rendered images can

show how an environment reflects onto a surface, which reveals design flaws or

confirms design objectives. They can also show how a modeled object would look in

a real-world setting, with realistic lighting, shadowing, and surroundings. Using

Photorealistic Rendering you can assign materials to the model, add rooms, lights,

and environment effects to the model and create rendered images.

Within Photorealistic Rendering, you can:

• Use the Appearance Editor to apply appearances to the model or modify the

existing materials used in the model.

• Use the Room Editor to place the model into rooms and modify the walls,

ceiling, and floor of the room. You can apply appearances to the walls, ceiling,

and floor of the room using the Room Appearance Editor.

• Use the Light Editor to add or modify the lighting effects in the model.

• Use the Effects Editor to add surrounding effects such as fog, light scatter, and

lens flare.

• Use the Orientation dialog box to change the view orientation of the model.

• Use the Scenes dialog box to save the combination of all the effects mentioned

above as a scene file. You can reuse the scenes for different models or modify

existing scenes to suit your current modeled object.

• Use real-time rendering to view the changes in real-time.

• Use the Image Editor to modify and save images of the rendered model or

modify existing images. When you render a model to a new window, the resulting

image is displayed in the Image Editor.

Photorealistic rendering uses two rendering engines, PhotoRender and Photolux. The

Photolux renderer has advanced capabilities and is available with an optional

Photolux license. You can set the required renderer or edit its settings using the

Render Setup dialog box.

About Render Settings

To set up and customize a rendering, you can define configuration options in the

config.pro file. To prepare for rendering, you can apply appearances to your model,

create a rendering room, and define lighting. Setting the config.pro options is not

mandatory.

Photorealistic Rendering - Help Topic Collection

2

PhotoRender Setup Output Options

In the Render Setup dialog box, under Output, the available formats are:

• Full Window (Preview)—Quickly renders a low-quality image.

• Full Window—Creates an image in the current window.

• New Window—Creates an image in a new window.

• PTC Image—Creates a .imf file.

• Tiff—Tagged image file format.

• TGA—True Vision image format.

• Shima-Seiki—Shima Seiki image format.

• RGB—Silicon Graphics Inc. image format.

• JPEG—JPEG image format.

• RLA—Wavefront format.

• BMP—Bitmap image format.

• PNG—Portable Network Graphics image format.

• Postscript—Creates a file for printing to a Postscript printer.

Under Image Size, the available sizes for an image are:

• MPEG—Creates a 352 x 240 image that conforms to the standards for MPEG.

• 600 x 450—Creates a 600 x 450 picture with a 1:1 pixel ratio.

• VGA—Creates a 640 x 480 image that conforms to the standards for VGA.

• NTSC—Creates a 720 x 483 image that conforms to the standards for NTSC.

• PAL—Creates a 720 x 575 image that conforms to the standards for PAL.

• 1024-square—Creates a 1024 x 1024 image with a 1:1 pixel ratio.

• Workstation—Creates a 1024 x 1240 image.

• HDTV —Creates a picture whose size conforms to the SMPTE 240M HDTV

standards.

• HDTV (Shima Seiki)—Creates a picture whose size conforms to the Shima Seiki

HDTV standards.

• Custom—Allows you to specify a custom image size. If the size of an image is

less than 1024 x 1024, the x dimension must be a multiple of 32 and the y

dimension must be a multiple of 4. Photorealistic Rendering corrects invalid

entries by rounding up to the closest valid size.


3

Under Postscript, you can specify PostScript formats for your image. The options

include:

• DPI—The number of dots per inch for the image.

• PaperSize—Allows you to specify a standard or custom paper size.

• Units—Determines the units to compute the paper size.

• Width and Height—The width and height of the paper.

• Left and Top Margin—The top and left margins of the paper.

To Set a Renderer

1. Click or click View > Model Setup > Render Setup. The Render Setup

dialog box opens.

Alternatively, click View > Model Setup > Render Control and click on the

Render Control toolbar that appears. The Render Setup dialog box opens.

Note: To set a renderer, you must have a license for advanced rendering.

2. To set the type of renderer, select a renderer from the list in the Renderer box.

o PhotoRender—The default renderer.

o Photolux—Select this renderer for advanced rendering. You must have an

optional module or license to select Photolux as a renderer. Photolux is a

renderer that uses ray tracing to create photorealistic images.

To Customize Options for Photorealistic Rendering

1. Click Tools > Customize Screen. The Customize dialog box opens.

2. Click the Commands tab.

3. Under Categories, click View. All the Photorealistic Rendering icons are

displayed under Commands.

4. Select the Photorealistic Rendering icons that you want to customize:

—The Render Setup icon

—The Room Editor icon

—The Scene Palette icon

—The Render Control Toolbar icon

—The Real Time Rendering icon


4

—The Lights icon

—The Perspective icon

—The Render Current window icon

—The Render Subimage icon

—The Effects icon

—The Appearance Editor icon

5. Drag the icon to a suitable location in the toolbar. The Automatically save to

check box is selected by default. The selected icon is automatically saved in

the config.win file in your working directory.

6. Click OK.

Note: You can add toolbars to the Pro/ENGINEER interface by clicking Tools >

Customize Screen and selecting the required toolbar in the Toolbars tabbed page

of the Customize Screen dialog box.

To Set Quality Options


dialog box opens.



2. To set the quality of rendering, select one of the following:

o Select Draft for quick rendering and to set your model's orientation, room,

and lights.

o Select High to analyze your model and also to create renderings of

presentation quality.

o Select Maximum for presentations of the highest quality. Increases the

rendering time as quality increases.

3. Under Options tab, the default options for the above types of quality are set:

o Render Resolution

o Highlight Resolution

o Model

o Room


5

4. Click Close.

To Change the PhotoRender Setup Options

1. Click or click View> Model Setup> Render Setup. The Render Setup

dialog box opens.



2. Click the Options tab to select elements to render and control the overall

rendering quality.

3. Under Render Resolution, select an option to control the surface-rendering

quality in a model. Each improvement in quality increases the time needed to

create the rendered image.

4. Under Highlight Resolution, select one of the following options:

o Normal—Highlights are rendered faster but may look angular.

o High—Smooths the highlights, but increases render time.

5. Under Model, select the required options:

o Transparency—Renders specified surfaces as transparent, for example,

glass. Otherwise, transparent surfaces are rendered as opaque. To set the

degree of transparency, use the Appearance Editor dialog box.

o Appearance Texture—Renders the textures applied to surfaces. This

option is redundant if you do not apply surface textures.

o Self Shadows—Casts shadows from the objects in a scene onto

themselves and other objects but not on the floors and walls of the

environment. A shadow appears only if you have selected the Cast

Shadow option for one or more defined lights in the Light Editor dialog

box.

o Reflect Room—Reflects all the surfaces of the room onto the model. Once

the reflective property is assigned, you can apply a matte or mirror

appearance.

6. Under Room, select the required options:

o Render Room—Renders the model and the wall patterns. When not

selected, only the model is rendered, but wall patterns may still be reflected

on surfaces of the model. Even when the room is not displayed in the

rendering, the reflection of the room can be seen in the image.

o Reflect Model in Floor—Reflects the model onto the floor so that the floor

has a shiny appearance. However, this also increases rendering time. When

not selected, the floor has a matte appearance.


6

o Shadows on Floor—Turns shadows on or off. Casts shadows only if you

have selected the Cast Shadow option for one or more defined lights in

the Light Editor dialog box.

o Light Room—Renders the walls of the room with the active lights. When

not selected, the wall appearances are rendered with constant lighting. The

Reflect Room options are available only when this option is selected.

o Unlit—Renders the walls of the room with uniform light and reflects them

on the model.

o Lit—Renders the walls of the room with user-defined lights. Only those

parts of the walls that are illuminated by defined lights are reflected on the

model.

To Set Advanced PhotoRender Options


dialog box opens.



2. Click the Adv tab and select one or both options to sharpen textures.

o Sharpen Geometric Textures—Renders geometric wall patterns with

greater clarity. Use this option to create very large floors or walls.

Geometric patterns include stripes and checkerboards.

o Sharpen Textures at Angle—Sharpens the image of blurred wall

patterns, but may cause aliasing (jagged edges). A wall pattern can

become blurred if the angle between the pattern and the eyepoint is too

small.

To Set Photolux Options


dialog box opens.



2. Select Photolux as the renderer.

3. Click the Options tab to select elements and control overall rendering quality.

4. Select Ray Trace if you want to ray trace during rendering. Photolux ray traces

only portions of an image, when required. For example, only areas with

transparent or reflective materials are ray traced. Ray tracing is particularly

effective for models with glass and other transparencies.


7

5. Specify the number of times that the light bounces before it reaches the

eyepoint.


o Shadows—Determines whether a model casts shadows on itself during

rendering.

o Reflective—Determines whether the model is reflective. Select one of the

following options:

Environment—Reflects the room onto the model when the Render Room

option under Room is cleared.

Background—Reflects the background onto the model.

Neither—Model shows self-reflections.


o Render Room—Determines whether or not the room is shown in the

rendering.

o Light Room—Determines whether the walls of the room are affected by

lighting or not.

o Shadows—Determines whether the shadows are cast onto the walls of the

room or not.

o Reflective—Determines whether the walls of the room are reflective or

not. If the room is reflective, the model and other walls of the room are

reflected on the walls specified under Reflective. You can completely

disable reflections for individual walls using the corresponding controls.

To Set Advanced Photolux Options


dialog box opens.



2. Under Quality, select Maximum.

3. Click the Adv tab. The options in the Adv tab have a significant impact on

rendering time.

4. Select Quality or Feature Anti-Aliasing to increase the quality of your image.

These are especially useful for renderings that contain large amounts of detail.

5. Under Quality, specify the number of samples per pixel edge used for rendering

calculations. If n is the quality you specify, the number of samples per pixel edge

used for rendering calculations is n * n times. This considerably increases the

rendering time.


8

Alternatively,

Under Feature Anti-Aliasing, select Feature Anti-Aliasing. Specify values for

Threshold and Samples.

o Threshold—The relative contrast required to activate Feature-Following

Anti-Aliasing. Feature-Following Anti-Aliasing works by examining pixels of

the initial rendered image and supersampling the image where the contrast

between neighboring pixels is highest. Low values of threshold will lead to

more of the rendered image being supersampled.

o Samples—The maximum number of samples per pixel that the anti-

aliasing feature uses to resolve detail in the image.

6. Under Soft Shadow, you can increase the quality and resolution of the soft

shadows if the shadows in the image are displayed with bands. Specify quality as

a percentage and resolution in pixels. Shadows are calculated using a shadow

map. The size is in pixels. The higher the map size, the higher the resolution of

the shadow.

7. Click Geometry on demand to download only the necessary geometry to the

rendering engine as required. When not selected, all the objects in an assembly

are downloaded for rendering. Setting this option may increase the rendering

time, but reduces the memory usage.

8. Using the values for Resolution under Environment Mapping, set the

resolution of the environment map to be used when the environment is reflected

on the model but the room itself is not visible. Larger resolution values for

environment mapping yield higher quality reflections on the model but the

environment map takes a longer time to generate. The available resolution

values are 128, 256, 512, 1024, and 2048.

To Change PhotoRender Setup Output


dialog box opens.



2. Click the Output tab and select the format of the rendering output. When you

select an image type for example, a PTC image file from the Render To box, a

file name with the appropriate extension appears in the File Name box.

3. ype the required file name in the File Name box.

4. Depending on the format you have selected, select the required image size. For a

custom image size, specify the width and height of the image.

5. If you select the output format as Postscript, specify the required values under

Postscript Options.

1


Using Photorealistic Rendering

About Photorealistic Rendering

Photorealistic Rendering compiles all the elements of a scene such as the model,

materials, room, and lights and creates a rendered image. Rendered images can

show how an environment reflects onto a surface, which reveals design flaws or

confirms design objectives. They can also show how a modeled object would look in

a real-world setting, with realistic lighting, shadowing, and surroundings. Using

Photorealistic Rendering you can assign materials to the model, add rooms, lights,

and environment effects to the model and create rendered images.

Within Photorealistic Rendering, you can:

• Use the Appearance Editor to apply appearances to the model or modify the

existing materials used in the model.

• Use the Room Editor to place the model into rooms and modify the walls,

ceiling, and floor of the room. You can apply appearances to the walls, ceiling,

and floor of the room using the Room Appearance Editor.

• Use the Light Editor to add or modify the lighting effects in the model.

• Use the Effects Editor to add surrounding effects such as fog, light scatter, and

lens flare.

• Use the Orientation dialog box to change the view orientation of the model.

• Use the Scenes dialog box to save the combination of all the effects mentioned

above as a scene file. You can reuse the scenes for different models or modify

existing scenes to suit your current modeled object.

• Use real-time rendering to view the changes in real-time.

• Use the Image Editor to modify and save images of the rendered model or

modify existing images. When you render a model to a new window, the resulting

image is displayed in the Image Editor.

Photorealistic rendering uses two rendering engines, PhotoRender and Photolux. The

Photolux renderer has advanced capabilities and is available with an optional

Photolux license. You can set the required renderer or edit its settings using the

Render Setup dialog box.

About Render Settings

To set up and customize a rendering, you can define configuration options in the

config.pro file. To prepare for rendering, you can apply appearances to your model,

create a rendering room, and define lighting. Setting the config.pro options is not

mandatory.


2

PhotoRender Setup Output Options

In the Render Setup dialog box, under Output, the available formats are:

• Full Window (Preview)—Quickly renders a low-quality image.

• Full Window—Creates an image in the current window.

• New Window—Creates an image in a new window.

• PTC Image—Creates a .imf file.

• Tiff—Tagged image file format.

• TGA—True Vision image format.

• Shima-Seiki—Shima Seiki image format.

• RGB—Silicon Graphics Inc. image format.

• JPEG—JPEG image format.

• RLA—Wavefront format.

• BMP—Bitmap image format.

• PNG—Portable Network Graphics image format.

• Postscript—Creates a file for printing to a Postscript printer.

Under Image Size, the available sizes for an image are:

• MPEG—Creates a 352 x 240 image that conforms to the standards for MPEG.

• 600 x 450—Creates a 600 x 450 picture with a 1:1 pixel ratio.

• VGA—Creates a 640 x 480 image that conforms to the standards for VGA.

• NTSC—Creates a 720 x 483 image that conforms to the standards for NTSC.

• PAL—Creates a 720 x 575 image that conforms to the standards for PAL.

• 1024-square—Creates a 1024 x 1024 image with a 1:1 pixel ratio.

• Workstation—Creates a 1024 x 1240 image.

• HDTV —Creates a picture whose size conforms to the SMPTE 240M HDTV

standards.

• HDTV (Shima Seiki)—Creates a picture whose size conforms to the Shima Seiki

HDTV standards.

• Custom—Allows you to specify a custom image size. If the size of an image is

less than 1024 x 1024, the x dimension must be a multiple of 32 and the y

dimension must be a multiple of 4. Photorealistic Rendering corrects invalid

entries by rounding up to the closest valid size.


3

Under Postscript, you can specify PostScript formats for your image. The options

include:

• DPI—The number of dots per inch for the image.

• PaperSize—Allows you to specify a standard or custom paper size.

• Units—Determines the units to compute the paper size.

• Width and Height—The width and height of the paper.

• Left and Top Margin—The top and left margins of the paper.

To Set a Renderer


dialog box opens.



Note: To set a renderer, you must have a license for advanced rendering.

2. To set the type of renderer, select a renderer from the list in the Renderer box.

o PhotoRender—The default renderer.

o Photolux—Select this renderer for advanced rendering. You must have an

optional module or license to select Photolux as a renderer. Photolux is a

renderer that uses ray tracing to create photorealistic images.

To Customize Options for Photorealistic Rendering

1. Click Tools > Customize Screen. The Customize dialog box opens.

2. Click the Commands tab.

3. Under Categories, click View. All the Photorealistic Rendering icons are

displayed under Commands.

4. Select the Photorealistic Rendering icons that you want to customize:

—The Render Setup icon

—The Room Editor icon

—The Scene Palette icon

—The Render Control Toolbar icon

—The Real Time Rendering icon


4

—The Lights icon

—The Perspective icon

—The Render Current window icon

—The Render Subimage icon

—The Effects icon

—The Appearance Editor icon

5. Drag the icon to a suitable location in the toolbar. The Automatically save to

check box is selected by default. The selected icon is automatically saved in

the config.win file in your working directory.

6. Click OK.

Note: You can add toolbars to the Pro/ENGINEER interface by clicking Tools >

Customize Screen and selecting the required toolbar in the Toolbars tabbed page

of the Customize Screen dialog box.

To Set Quality Options


dialog box opens.



2. To set the quality of rendering, select one of the following:

o Select Draft for quick rendering and to set your model's orientation, room,

and lights.

o Select High to analyze your model and also to create renderings of

presentation quality.

o Select Maximum for presentations of the highest quality. Increases the

rendering time as quality increases.

3. Under Options tab, the default options for the above types of quality are set:

o Render Resolution

o Highlight Resolution

o Model

o Room


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4. Click Close.

To Change the PhotoRender Setup Options


dialog box opens.



2. Click the Options tab to select elements to render and control the overall

rendering quality.

3. Under Render Resolution, select an option to control the surface-rendering

quality in a model. Each improvement in quality increases the time needed to

create the rendered image.

4. Under Highlight Resolution, select one of the following options:

o Normal—Highlights are rendered faster but may look angular.

o High—Smooths the highlights, but increases render time.


o Transparency—Renders specified surfaces as transparent, for example,

glass. Otherwise, transparent surfaces are rendered as opaque. To set the

degree of transparency, use the Appearance Editor dialog box.

o Appearance Texture—Renders the textures applied to surfaces. This

option is redundant if you do not apply surface textures.

o Self Shadows—Casts shadows from the objects in a scene onto

themselves and other objects but not on the floors and walls of the

environment. A shadow appears only if you have selected the Cast

Shadow option for one or more defined lights in the Light Editor dialog

box.

o Reflect Room—Reflects all the surfaces of the room onto the model. Once

the reflective property is assigned, you can apply a matte or mirror

appearance.


o Render Room—Renders the model and the wall patterns. When not

selected, only the model is rendered, but wall patterns may still be reflected

on surfaces of the model. Even when the room is not displayed in the

rendering, the reflection of the room can be seen in the image.

o Reflect Model in Floor—Reflects the model onto the floor so that the floor

has a shiny appearance. However, this also increases rendering time. When

not selected, the floor has a matte appearance.


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o Shadows on Floor—Turns shadows on or off. Casts shadows only if you

have selected the Cast Shadow option for one or more defined lights in

the Light Editor dialog box.

o Light Room—Renders the walls of the room with the active lights. When

not selected, the wall appearances are rendered with constant lighting. The

Reflect Room options are available only when this option is selected.

o Unlit—Renders the walls of the room with uniform light and reflects them

on the model.

o Lit—Renders the walls of the room with user-defined lights. Only those

parts of the walls that are illuminated by defined lights are reflected on the

model.

To Set Advanced PhotoRender Options


dialog box opens.



2. Click the Adv tab and select one or both options to sharpen textures.

o Sharpen Geometric Textures—Renders geometric wall patterns with

greater clarity. Use this option to create very large floors or walls.

Geometric patterns include stripes and checkerboards.

o Sharpen Textures at Angle—Sharpens the image of blurred wall

patterns, but may cause aliasing (jagged edges). A wall pattern can

become blurred if the angle between the pattern and the eyepoint is too

small.

To Set Photolux Options


dialog box opens.




3. Click the Options tab to select elements and control overall rendering quality.

4. Select Ray Trace if you want to ray trace during rendering. Photolux ray traces

only portions of an image, when required. For example, only areas with

transparent or reflective materials are ray traced. Ray tracing is particularly

effective for models with glass and other transparencies.


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5. Specify the number of times that the light bounces before it reaches the

eyepoint.


o Shadows—Determines whether a model casts shadows on itself during

rendering.

o Reflective—Determines whether the model is reflective. Select one of the

following options:

Environment—Reflects the room onto the model when the Render Room

option under Room is cleared.

Background—Reflects the background onto the model.

Neither—Model shows self-reflections.


o Render Room—Determines whether or not the room is shown in the

rendering.

o Light Room—Determines whether the walls of the room are affected by

lighting or not.

o Shadows—Determines whether the shadows are cast onto the walls of the

room or not.

o Reflective—Determines whether the walls of the room are reflective or

not. If the room is reflective, the model and other walls of the room are

reflected on the walls specified under Reflective. You can completely

disable reflections for individual walls using the corresponding controls.

To Set Advanced Photolux Options


dialog box opens.



2. Under Quality, select Maximum.

3. Click the Adv tab. The options in the Adv tab have a significant impact on

rendering time.

4. Select Quality or Feature Anti-Aliasing to increase the quality of your image.

These are especially useful for renderings that contain large amounts of detail.

5. Under Quality, specify the number of samples per pixel edge used for rendering

calculations. If n is the quality you specify, the number of samples per pixel edge

used for rendering calculations is n * n times. This considerably increases the

rendering time.


8

Alternatively,

Under Feature Anti-Aliasing, select Feature Anti-Aliasing. Specify values for

Threshold and Samples.

o Threshold—The relative contrast required to activate Feature-Following

Anti-Aliasing. Feature-Following Anti-Aliasing works by examining pixels of

the initial rendered image and supersampling the image where the contrast

between neighboring pixels is highest. Low values of threshold will lead to

more of the rendered image being supersampled.

o Samples—The maximum number of samples per pixel that the anti-

aliasing feature uses to resolve detail in the image.

6. Under Soft Shadow, you can increase the quality and resolution of the soft

shadows if the shadows in the image are displayed with bands. Specify quality as

a percentage and resolution in pixels. Shadows are calculated using a shadow

map. The size is in pixels. The higher the map size, the higher the resolution of

the shadow.

7. Click Geometry on demand to download only the necessary geometry to the

rendering engine as required. When not selected, all the objects in an assembly

are downloaded for rendering. Setting this option may increase the rendering

time, but reduces the memory usage.

8. Using the values for Resolution under Environment Mapping, set the

resolution of the environment map to be used when the environment is reflected

on the model but the room itself is not visible. Larger resolution values for

environment mapping yield higher quality reflections on the model but the

environment map takes a longer time to generate. The available resolution

values are 128, 256, 512, 1024, and 2048.

To Change PhotoRender Setup Output


dialog box opens.



2. Click the Output tab and select the format of the rendering output. When you

select an image type for example, a PTC image file from the Render To box, a

file name with the appropriate extension appears in the File Name box.

3. ype the required file name in the File Name box.

4. Depending on the format you have selected, select the required image size. For a

custom image size, specify the width and height of the image.

5. If you select the output format as Postscript, specify the required values under

Postscript Options.


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6. Click Close to implement the changes.

To Change PhotoRender Setup Configuration


dialog box opens.



2. Select PhotoRender as the renderer.

3. Click the Config tab to select advanced rendering options that determine how

much memory is used during rendering.

4. Select Compute tile size if you want Photorealistic Rendering to compute the

tile size. This computation is based on the model size and the value you specify

for available memory. The recommended memory setting is the amount of

memory in the computer where Photorealistic Rendering is running.

Alternatively, select Override tile size and specify the tile width or height per

pass. This determines how much of an image is rendered for each pass. The

larger the number, the more memory required, but the faster the rendering.

5. Under Output, specify a value for the preview scale. The scale of the preview

image is set to a percentage of the actual image size. Lower values give faster

rendering time, but the image is more blurred. The larger the value, the sharper

the image, but the slower the rendering.

6. Select Render Alpha if you want to write the alpha channel to the image. You

can use the alpha channel to composite the image with a background.

7. Click Close.

To Change Photolux Setup Configuration


dialog box opens.




3. Select Draft for intermediate quality, High for full quality, or Maximum for full

ray trace, for a renderer of the type Photolux.

4. Click the Config tab to select the preview scale or alpha channel to be used

during rendering.


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5. Under Config, specify a value for the preview scale. The scale of the preview

image is set to a percentage of the actual image size. Lower values mean faster

rendering time, but more blurred images. The larger the value, the sharper the

image, but slower the rendering.

6. Select Render Alpha to write the alpha channel to the image. You can use the

alpha channel to composite the image with a background.

7. Click Enable Text watermark to insert a text watermark in the model. Specify

the following definitions for text watermark:

Text—Allows you to enter the text for the watermark. The default watermark

text is Pro/ENGINEER Wildfire - Advanced Rendering.

Font—Determines the font of the watermark text. The default font is Shannon.

You can set the pro_font_dir configuration option to add fonts to the list of

available fonts.

Color—Assigns a color to the watermark text. The default color is White.

Size—Determines the size of the watermark text. The default size is 0.4.

Alignment—Aligns or positions the watermark text with respect to the model.

The default alignment is set to Bottom Left.

Alpha—Determines the percentage of transparency for the watermark text. The

default alpha is set to 50%. Alpha set to 0% renders the watermark as

transparent. Alpha set to 100% renders the watermark as opaque.

8. Click Enable Image watermark to insert an image as a watermark in the

model. Specify the following definitions for an image watermark:

Image—Allows you to browse to and select the image for the watermark.

Alignment—Aligns or positions the watermark image with respect to the model.

The default alignment is set to Bottom Right

9. Click Close.

Configuration Options

About Configuring Photorealistic Rendering

You can customize Photorealistic Rendering by specifying config.pro configuration

file options and their values in the Options dialog box (Tools > Options). For

example, you can modify memory usage, preview window size, and specify a

different graphics library for Photorealistic Rendering.

Photorealistic Rendering Help provides a list of configuration options arranged in

alphabetical order. Each option contains the following information:

• Configuration option name.

• Default and available variables or values. Default values are in italic.


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• Brief description and notes describing the configuration option.

To Set Configuration Options for Photorealistic Rendering

1. Click Tools > Options. The Options dialog box opens.

2. Select Show only options loaded from file to see currently loaded

configuration options or clear this option to see all configuration options.

3. Select the configuration option from the list or type the configuration option

name in the Option box.

4. In the Value box, type or select a value.

Note: The default value is followed by an asterisk (*).

5. Click Add/Change. The configuration option and its value appear in the list. The

appearance of in the status column confirms the change.

6. Click Apply or OK to finish configuring Photorealistic Rendering.

Note: Setting the config.pro options is not mandatory

blended_transparency

yes, no

yes—Transparent colors appear using alpha blending when the model is shaded only

if supported by the graphics configuration (graphics card and Pro/ENGINEER graphics

setting).

default_scene_filename

<path to scene file>

Specifies the complete path to the default scene file. It allows the user to preset

settings for lights, rooms and effects when modeling. These user-defined settings are

saved in the scene file to which this configuration option points.

max_image_dimension

4096, 1024, 2048, 8192, 16348

Sets the maximum size of images imported into Pro/ENGINEER. For example, if the

value is set to the default of 4096, then images larger than this value are rescaled to

the size of 4096 when they are imported. Pro/ENGINEER maintains the aspect ratio

of the image during rescaling.


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pro_colormap_path

Valid path

Specifies the path for appearance.dmt files or color.map files to be loaded from the

disk. By default, the appearance.dmt files specified in the pro_colormap_path are

loaded in preference to the color.map files.

Note: The color.map files are used for appearance files in releases prior to the

Pro/ENGINEER Wildfire release.

photorender_preview_scale

0.5

Allows a user-defined size ratio at which Photorealistic Rendering renders using the

Render To > Full Window (Preview) setting in the Render Setup dialog box.

Increasing the value creates higher quality rendering with slower performance.

Reducing the value produces reverse results. The preview scale ranges from 0.25 to

0.75

After you set the value, this option takes immediate effect in the current session of

Pro/ENGINEER.

photorender_default_width

1280

Sets the default width (in pixels) for the custom output size.

photorender_default_height

1024

Sets the default height (in pixels) for the custom output size.

photorender_memory_usage

256

Sets the amount of memory that Photorealistic Rendering allows for model

processing. The unit of measurement is megabytes (MB). This option is valid only if

you do not override the default tiling size.

photorender_capability_warnings

yes, no

yes—When using the PhotoRender renderer, enables warnings that appear if you

select options related to the Photolux renderer.

no—When using the PhotoRender renderer, disables warnings that appear if you

select options related to the Photolux renderer.


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pro_texture_library

Valid path

Allows you to specify a different location for the graphic-library directory. This

directory contains the system libraries for different editors and is available, by

default, in the <loadpoint> directory. To change the location of this library, set

pro_texture_library to the required directory. For example, if the graphic-library directory is available in C:\ptc\graphiclib\graphic-library, set

pro_texture_library to C:\ptc\graphiclib.

The graphic-library directory must contain the following subdirectories:

• textures for Appearance Placement Editor system libraries with image files

• materials for Appearance Editor system libraries with appearance files (.dmt)

• room for Room Editor system libraries with room files (.drm)

• adv_material for Photolux system libraries with appearance files (.dmt)

• lights for Light Editor system libraries with light files (.dlg)

• HDRI directory with HDRI files (.hdr) and (.exr)

• scenes for the Scene default palette (.scn)

pro_lwa_library_path

<Path to the LWA materials directory>

Allows you to specify a location to search for LWA materials in addition to the

materials in the graphics library and append these materials to the Photolux

System Library list on the File menu in the Appearance Editor. The default path

for the LWA materials is <loadpoint>/graphic-library/smdata/archives.

You cannot load LWA materials that contain a large number of appearances into the

Appearance Editor. If you try to do this directly, Pro/ENGINEER displays a warning

message and prompts you to use the pro_lwa_library_path configuration option.

You can use this configuration option to append the required LWA material to the

Photolux System Library list and then load one appearance at a time into the

Appearance Editor.

pro_lwa_license_path

<current working directory>

Allows you to specify a location to search for the LWA license.txt file other than

the current working directory. You can change the default path and point it to your

local drive by clicking Tools > Options and specifying the required path.


14

room_rotation_lock

studio, model

Allows you to set the default option for room and model rotation at the start of a

Pro/ENGINEER session.

studio—Only the model rotates.

model—The room rotates along with the model.

Note: This configuration option is valid only for models with no scene. The options

stored in a scene override the settings of the room_rotation_lock configuration

option.

save_scene_with_file

yes, no

yes—Updates the model with all the modifications made to the active scene, every

time the model is saved.

no—Does not update the model with the modifications made to the scene whenever

the model is saved.

Note: When you set the save_scene_with_file configuration option to yes, the

Save scene with model option in the Scenes dialog box remains selected for the

session. Clear this option if you do not want to save the scene with the model.

save_texture_with_model

yes,no

yes—Saves the texture images applied to the model or to the walls of the room with

the model and the scene. You can delete the texture file after saving the model or

the scene.

no—Does not save the texture images applied to the model or to the walls of the

room, when you save the model or the scene.

Note:

• When you set the save_texture_with_model configuration option to no, only the

name of the texture is saved with the model. In this case, on reloading the model

or the scene, the textures are visible with the model only if the texture file exists

in the directory set by the texture_search_path configuration option.

• Setting the save_texture_with_model configuration option to yes causes a

significant increase in the file size of the models or scenes in which the textures

are saved. Moreover, changes that you make to the independent texture files are

not reflected in the respective textures that are saved with the models or scenes.


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spherical_map_size

256x256, 512x512, 1024x1024

Selects the image resolution of the environment map to be used for realtime

rendering. Increasing the image resolution affects performance but improves quality.

Note: This option is valid only in the OpenGL graphics mode and for graphics cards

that do not support cubic environment mapping.

texture_search_path

Valid path

Appends a directory to the search path for textures. You can specify more than one

directory.

window_gamma

<float>

Controls the brightness of the rendered image. Values less than 1 darkens the

image. Values more the 1 brighten the image. The default value is 1.0.

Realtime Rendering

About Realtime Rendering

Realtime rendering allows you to view changes in real time if you have defined the

settings for reflection and shadows cast on the walls. You can enable realtime

rendering by clicking View > Realtime Rendering.

You can modify:

• Room settings using the Room Editor dialog box

• Wall surfaces using the Room Appearance Editor dialog box

• Light settings using the Light Editor dialog box, and

• Appearance settings using the Appearance Editor dialog box

All rendering changes take effect as soon as you apply them. The speed with which

these changes take effect is limited only by the capabilities of the graphics card of

your system.

For a cylindrical room, realtime rendering is performed only for the floor and ceiling

which are planar surfaces. The realtime renderer supports shadows and reflections

only on planar wall surfaces and not on curved surfaces. The model in the room is

used for casting shadows or reflections. You can cast shadows only by shaded

surfaces. Self shadows is not supported in realtime rendering. Room reflections on a

model are also supported.


16

Settings for Realtime Rendering

All options in the Room Editor dialog box are supported by realtime rendering.

The Light Editor dialog box options that are supported by realtime rendering are:

o All options under the Basic tab.

o All options under the Position tab.

o Cast Shadows under the Advanced tab. The lightbulb, spot, and distant

types of light support realtime rendering, except the default ambient light.

The direction of the shadow cast by a lightbulb, skylight or Environment

type of light is from the position of the light towards the center of the room.

The shadows cast are based on the calculation for the distant type of light

for any defined light.

The Room Appearance Editor dialog box options supported by realtime rendering

are:

o Appearance creation, color definition, and assignment options under the

Basic tab.

o Color Texture under the Map tab.

o Reflection under the Advanced tab.

The Appearance Editor dialog box options supported by realtime rendering are:

o Appearance creation, color definition, and assignment under the Basic tab.

o All options under the Map tab.

o Transparency and Reflection under the Advanced tab.

Note: Options under the Photolux tab are not supported by realtime

rendering.

Note: In the Style module, if you have enabled multiple views, then the view in the

right top corner supports realtime rendering.

To Set Transparency for a Model

1. Click View > Display Settings > Model Display. The Model Display dialog

box opens.

2. Click the Shade tab.

3. Under Enable, select Transparency to enable transparency for a model in the

current window and activate the transparency settings. The transparency types

are enabled and available for selection.

4. Select one of the following transparency types.

o Stippled—Offers low quality imaging with better performance in complex

models.


17

o Blended—Offers high quality imaging with compromised performance in

complex models, by default.

5. Click OK to apply the changes and close the dialog box.

To Set Realtime Rendering


box opens.


3. Under Enable, select Realtime rendering to activate realtime rendering to

create a reflection.

Alternatively, you can also enable realtime rendering by clicking View >

Realtime Rendering.

4. Under Realtime Rendering, select Reflect Model to switch on the reflection of

the model.

Note: Reflection on the walls is dependent on the appearance set for the wall.

5. Select Shadows if you want the model to cast shadows on the wall surfaces. A

shadow appears only if you have selected Cast Shadows in the Light Editor

dialog box. The point, spot, or distant type of light can cast shadows. Ambient

light does not cast shadows. Shadows and reflections are displayed on all planar

room surfaces.

Note: To display reflections and shadows, click Room > Rectangular in the

Room Editor dialog box.

6. Select the required wall surface from the Walls list to apply reflection and

shadow properties to be cast on the surfaces of the render room.

7. Click Apply to apply the changes or OK to apply the changes and close the dialog

box.

To Enable the Reflection of the Environment on a Model


box opens.


3. Under Enable, select Realtime rendering. Environment Mapping and Hide

Environment become available.

4. Select Environment Mapping and click Apply to enable the reflection of the

environment on the model.

5. Select Hide Environment and click Apply to hide the environment, if required.

The reflection of the environment on the model remains visible.


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Note: The reflection of the environment on the model is updated in realtime only

when you make changes to the model or the view and not when you change the

render room geometry. Click on the Pro/ENGINEER toolbar or close the Render

Room dialog box to update the reflection of the environment on the model if you

change the render room geometry.

About Shaded Models

You can create a shaded image that can be moved in real time. Shaded images are

limited and always have a matte appearance because they do not reflect the

environment on the surface.

Textures are supported only on hardware platforms with a graphics card that

supports hardware textures. If the graphics card does not support hardware

textures, performance might be slow.

Shaded images are created by View > Shade. The current working model appears

shaded with either default or user-defined colors.

Appearances

Creating Appearances

About Material Appearance

The appearance of a material is based on information such as:

• Color

• Highlights

• Maps

• Reflection

• Transparency

The appearance can be defined by color alone, texture alone, or a combination of

both color and texture. For example, you can define an appearance with a color that

is covered by a decal, with a part of the decal being transparent so that the color is

seen underneath it.

You can specify a color for any part or assembly. If you do not modify the

appearance, Pro/ENGINEER assigns a default color. A color can be defined through

levels of HSV (hue, saturation, and value) or RGB (red, green, and blue. You cannot

modify the default color.

Appearances are saved with the model, but when the model is loaded, the

appearances are not loaded into the palette. To load an appearance file, you can:

• Load a saved appearance file


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• Add model appearances to the appearance palette using Material > Select from

Model from the Appearance Editor dialog box, or

• Specify an appearance file as the value for the pro_colormap_path configuration

option in the config.pro file to load the appearance file for each Pro/ENGINEER

session

About the Appearance Editor

The Appearance Editor dialog box allows you to create and assign textures to your

model. It consists of the following elements:

• Appearance palette

• Assignment container

• Properties container

Appearance Palette

The Appearance palette displays a list of user-defined colors that are used in the

model. The list shows a thumbnail color swatch and the name of the predefined

appearances. By default, only the default appearance is displayed in the palette. Use

File > System Library to access predefined appearances available in the system

library.

Assignment Container

The Assignment container has the following elements:

• A list that allows you to select a model part or surface to which you assign an

appearance.

• Clear—Clears the selection of the currently-selected part or surface in the model.

• Apply—Applies an appearance to a selected part or surface in the model.

• From Model—Allows you to select an appearance from the model.

Properties Container

The Properties container consists of the following elements:

• The appearance sphere that displays the current material properties.

• The appearance Class, which lists the different classes of the appearances. The

Generic class contains properties applicable to all rendering modes, interactive

graphics, PhotoRender and Photolux. All other appearance classes are tailored for

Photolux. The class determines the shader types that are available in the

Photolux tab of the Appearance Editor.

• Four types of appearance properties:

o Basic—Allows you to define the color properties of the appearance.


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o Map—Allows you to define and assign the material map.

o Advanced—Allows you to define advanced properties such as Reflection,

Transparency, and Refraction.

o Photolux—Allows you to edit the properties of Photolux materials. This tab

becomes active when the current rendering engine is set to Photolux and

the appearance Class to a type other than Generic.

Note: The sphere in the Properties container displays the changes as you apply the

properties. However, some appearance options are evident only when displayed in a

rendered image.

About Managing Appearances in the Appearance Editor

You can use Appearance Chooser in the Appearance Editor to control the display

of appearances that are present in the appearance editor palette.

You can access Appearance Chooser by clicking Material > Hide/Unhide in the

Appearance Editor dialog box.

The Appearance Chooser dialog box has two tabs, Available Appearances and

Visible Appearances. All the appearances listed in the Visible Appearances tab

are displayed in the appearance editor palette. You can hide the appearances

displayed in the appearance editor palette by moving them from the Visible

Appearances tab to the Available Appearances tab and clicking Apply. Similarly,

you can select an appearance from the Available Appearances tab and move it to

the Visible Appearances tab, and click Apply to make it available in the

appearance editor palette.

You can filter the list of appearances displayed in the Available Appearances tab

by specifying the name in the Apply Filter box and clicking Apply Filter. To display

all the appearance back in the Available Appearances tab, leave Apply Filter

blank and click Apply Filter.

The customized display of the appearances in the Appearance Editor is applicable

only to the current session of Pro/ENGINEER. You cannot save this display setting in

a DMT file.

System Libraries

Two system libraries are available in Pro/ENGINEER. These libraries must be installed

along with the Pro/ENGINEER software in order to access them. The system libraries

work with all available renderers and are visible in the Photorealistic Rendering

graphics window. The Photolux System Library provides a set of advanced material

libraries applicable only to the selected renderer. You can access the system libraries

from the File menu in the Appearance Editor dialog box.

About the Color Editor

Colors are used to define material and light properties. Use the Color Editor dialog

box to create and modify colors and to customize the display of geometric items such

as curves and surfaces and interface items such as fonts and background. You can


21

access the Color Editor dialog box by clicking a color swatch on the Appearance

Editor or the Light Editor dialog box.

The Color Editor dialog box contains the following elements:

• Current Color—The color displayed above the Color Wheel.

• Color Wheel—Used to select a color and its brightness level.

• Blending Palette—Used to make a continuous blend of up to four colors.

• RGB—Defines colors along two axes as you move the cursor up and down or

back and forth across the box. Click the Red-Green, Red-Blue, or Green-Blue

planes. The RGB values range from 0 to 100. Set all three RGB values to 0 to

produce black, and set them to 100 to define white color.

• HSV—Uses the hue, saturation, and brightness values to select colors. Hue

defines the dominant spectral color, while saturation determines the color

concentration. Brightness controls the lightness and darkness of the color. The

hue values range from 0 and 360, while saturation and brightness values range

from 0 to 100 percent.

To Display Colors

1. Click Tools > Environment. The Environment dialog box opens.

2. Select Colors and click Apply to display colors used for the model.

or


box opens.

2. Click the General tab.

3. Under Display, select Colors to display colors used for the model.

Tip: Creating an Appearance

One of the most common mistakes in defining an appearance is to make the

appearance too shiny. Use bold colors in a rendering, but make sure that they are

not too shiny. A model that is too shiny may look artificial or like a cartoon. If your

image appears artificial, use the Appearance Editor dialog box to tone down the

appearance. Reduce the shininess and intensity of the highlight in the Basic tab and

reduce the reflection toward the matte end of the scale in the Advanced tab. You

can also use texture maps in the Map tab to increase the realism of your model. If

your model has Photolux appearances applied to it, you can edit these appearances

using the Photolux tab.

To Create an Appearance Color

1. Click or click View > Color and Appearance. The Appearance Editor

dialog box opens.


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2. Click Material > New or click on the editor to create a new appearance.

Note: You cannot modify default appearances. However, you can make a copy of

the default appearances. When you click Material > New or click a copy of

the appearance is made. The Appearance Editor allows you to change the

name and properties of the copy.

3. If required, specify a name for the copy of the appearance.

4. Open the Properties container and click the Basic tab.

5. Click the color swatch. The Color Editor dialog box opens.

6. Use the Color Editor to define a color.

7. Click Close to return to the Appearance Editor.

8. Adjust the options in the Appearance Editor dialog box to fully define the

appearance.

9. Click Close to add the new appearance to the Appearance Palette.

Note: You can load an existing color.map file from the pre Wildfire Pro/ENGINEER

release using the Appearance Editor dialog box or by specifying the color.map file

as a value for the pro_colormap_path environment variable in the config.pro file.

To Modify an Appearance from the Model

If you load a model that has appearances set to it but you do not have the

appearances used in the model, in the Appearance Palette, you can retrieve the

appearance definition from the model and add it to the Appearance Palette of the



dialog box opens.

2. Open the Assignment container and click From Model.

3. Select the appearance from the model.

4. If required, modify the material properties using the Properties container.

5. If required, specify a name for the appearance.

6. Press ENTER to add the new appearance to the Appearance Palette. The color

name is displayed as you move the cursor over the appearance in the

Appearance Palette.

If the selected appearance already exists in the Appearance Palette, you are

prompted to replace or overwrite the appearance.


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To Select and Mix Colors


dialog box opens.

2. In the Appearance Palette, click the required appearance.

3. Click the Basic tab in the Properties container.

4. Click the color swatch. The Color Editor dialog box opens.

5. Select a new color using the color wheel for hue, saturation, and brightness

(HSV) values or the color box for red, green, and blue (RGB) values. If you select

both the RGB and HSV sliders, you can mix colors using both color models.

6. If you use the Color Wheel to define a color, click in the wheel to choose a hue

and then click the brightness bar below it to fully define the color.

7. If you use the Blending Palette, click a corner of the palette and then choose a

color from the color wheel to use for blending. Click the black bar between two

corners to change both colors at the same time. This allows you to define one-

dimensional linear color ramps.

8. Click Close when you have finished defining the color.

To Set an Appearance to the Model

1. After you have fully defined and saved an appearance using the Appearance

Editor dialog box, select the required appearance in the Appearance Palette.

2. From the Assignment list, choose whether to apply the appearance to the entire

part, individual surfaces, quilts, or datum curves.

3. Select the desired portion of the model to which you want to apply the

appearance. Photorealistic Rendering applies the appearance to the model. Use

CTRL to select multiple entities.

4. Click Apply in the Assignment container.

Note: In the Assembly mode, you can set an appearance that does not include

texture to an assembly, component, part, quilt, or surface. If you have assigned a

texture as part of the appearance, you can assign the appearance to a part, quilt, or

surface. Textures are ignored for assemblies and components.

Basic Appearance Options

Use the Basic tab in the Properties container of the Appearance Editor dialog box

to define or modify a color.

The Color properties are:

• Color – Controls the color of the surface. Click the color swatch and use the

Color Editor dialog box that opens to define a color.


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• Intensity—Controls the reflection from lights.

• Ambient—Controls the amount of ambient light reflected by the surface.

The Highlight properties are:

• Color—Controls the color of the surface highlight. For example, for a metal, the

highlight color is the color of the metal; for plastic the highlight color is the color

of the light source.

• Shine—Controls the shine of the surface. The shinier the surface, the smaller the

highlight.

• Intensity—Controls the brightness of the highlight and is directly related to

shininess. A highly polished surface has a small bright highlight, but an etched

plastic has a large dim highlight.

Use the slider to adjust the color and highlight from Dim to Bright. You can also

modify the color by typing a value next to the slider.

Map Appearance Options

Use the Map tab in the Properties container of the Appearance Editor dialog box

to use a texture to define an appearance. The texture can be one of Bump, Color

Texture, and Decal.

• Bump—A type of texture that creates the illusion of surface roughness. When

you apply a bump, you can also specify a bump height that defines the height or

depression of the applied bump values.

• Color Texture—An image which when applied to the surface or part, replaces

the base color overlapping the area affected by the image.

• Decal—Replaces the base color overlapping the areas affected by the image. The

decal lies on top of any color texture just like a sticker or logo. The decal may

also include transparent areas that, although within the image, still allow the

base color or color texture to show through.

Select the check box and the image next to the option. In the Appearance

Placement dialog box that opens, specify values for Positioning and Mapping of

the selected surface.

Advanced Appearance Options

Use the Advanced tab in the Properties container of the Appearance Editor

dialog box to set the following advanced appearance properties:

• Reflection—Controls how much the part reflects the room or scene. A dull

appearance reflects less of the room than a shiny appearance. For example,

fabric reflects less than a metal.

• Transparency—Controls the degree to which you can see through a surface.


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• Refraction—Determines how much light bends as it passes through a surface.

You can model the effects of refraction on a thin, transparent object, such as a

windowpane or an automobile windshield. This effect is seen in the final rendered

image with the Photolux renderer only.

To Save a Material File


dialog box opens.

2. Create the required appearances.

3. Click File > Save and type a name for the file. By default, the file is saved in the

.dmt format.

Note: You can load a saved color.map file from the pre Wildfire Pro/ENGINEER

versions using the Appearance Editor dialog box.

Photolux Appearance Options

Use the Photolux tab in the Properties container of the Appearance Editor dialog

box to create an advanced appearance. In the Class list of the Appearance Editor

dialog box, each appearance class has the following options under the Photolux tab.

Each of these options contains a list of relevant shaders.

Reflectance—Defines the reflectance properties of the material.

Color—Defines the base color for the material.

Bump—Optionally allows for a displacement or bump effects to give the material a

rough texture.

Transparency—Optionally allows for transparency effects to be applied to the whole

or part of a surface.

When applied to a surface, the shaders are combined and each of the options above

contributes to the overall appearance of the surface. For convenience and ease of

use, each material class contains a number of shader types relevant for that material

class.

To Remove an Appearance from the Model or Palette


dialog box opens.

2. Select the appearance that you want to remove from the Appearance Palette in

the Appearance Editor dialog box.

3. In the Assignment container, select All Objects or other available items of the

model from the list and click Clear.

4. Click Yes when prompted for confirmation.


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5. To delete an appearance from the Appearances Palette, select the appearance

and click or click Material > Delete.

Note: This will not remove instances of the color already applied to models in the

Pro/ENGINEER session.

Advanced Appearances

About Advanced Appearances

Appearances simulate the look and feel of the model and how it reacts to light.

Appearance properties include color, ambience, shine, intensity, reflectivity,

transparency, and appearance maps.

All appearance properties are specified using the Appearance Editor. Advanced

appearances are grouped into classes.

Appearance Classes

When you choose the class of an appearance, you are specifying the single most

important factor in the material definition. This factor determines how realistic the

applied material appears.

Each class is tailored to a different rendering type. The Generic class contains

properties applicable to all rendering modes, interactive graphics, PhotoRender, and

Photolux. All other appearance classes are tailored for Photolux. The appearance

class determines the shader types that are available in the Photolux tab of the

Appearance Editor.

The classes available for Photolux are:

• Plain and Plastic—Reflectance is the most influential property for these classes.

• Wood, Stone, and Pattern—Color is the most influential property for these

classes.

• Metal, Glass, Multilayer Paint, and Fabric—Reflectance is the most influential

property for these classes.

Note: In the appearances palette of the Appearance Editor, advanced appearances

are displayed with a blue triangle ( ) in the lower right corner of the appearance

thumbnail, to distinguish advanced appearances from general appearances.

To Create Advanced Appearances


dialog box opens.

2. Click on the Appearance Editor dialog box to add a new appearance to the

palette.


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3. In the Properties container, select the required class of the appearance from the

Class panel. The default is Generic.

Note: For the Class panel to be available, the current renderer must be set to

Photolux. Set the class to a type other than Generic to select the shader types in

Photolux tab.

4. In the Photolux tab, set the Reflectance, Color, Bump, and Transparency

shader types as required.

5. Click Edit to change the selected shader's parameters as required.

6. To render the sample sphere as you make the changes, click Option >

Renderer.

About Setting the Reflectance of Advanced Appearances

You can define advanced appearances using the Photolux tab in the Properties

container of the Appearance Editor. Set the material reflectance to any of the

following types to define the reflectance properties for each class.

For the Plain, Wood, Stone and Pattern classes the available reflectance types are

the following:

• Matte—This reflectance type does not reflect the environment on the surface of

the model.

• Mirror—This reflectance type reflects the room and lights onto the surface of the

model. You can define this type by changing the mirror factor.

• Plastic—Allows you to define the roughness of the model.

For the Plastic class, the available reflectance types are:

• Translucent Matte

• Translucent Shiny

These reflectance types allow you to set the translucency factor of the material.

You can also edit the roughness of the model to make it appear shiny.

The translucency factor defines how much light passes through the material. The

light picks up the color of the material as it passes through.

For the Glass class, the available reflectance types are:

• Basic Glass—Approximates glass-like materials using ray tracing, supporting

reflection and refraction.

• Dielectric—Accurately simulates glass-like materials using ray tracing,

supporting reflection, refraction and Fresnel filtering.

You can edit the refraction and the transmission factors of these reflectance

types.

o Refraction—Determines how much light bends as it passes through a

surface.


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o Transmission Factor—Defines how much light passes through the glass.

The light picks up the color of the glass as it passes through.

For the Metal class, the available reflectance types are:

• Basic Metal

• Brushed—Defines the depth and spacing of the wire scratches.

• Chrome 2D—Defines a chrome-like reflectance using a two-dimensional chrome

map.

• Circular Brushed—Defines the width and height to control the size of the

circular patches and the depth and spacing of the wire scratches.

• Conductor—Defines a fresnel filtering effect. Fresnel filtering creates light

interaction on surfaces. Choose a metal type and, if necessary, modify the

refraction and absorption coefficients.

For the Multilayer Paint class, the reflectance type is:

Basic Paint—Defines the lacquer, paint, and the metallic flakes within the paint.

For the Fabric class, the reflectance type is:

Basic Fabric—Defines the woven properties of the material, controlling the

relative contribution of the warp and weft (horizontal and vertical threads).

For the Custom class, the available reflectance types are:

• Phong—A reflectance model conforming with the popular Phong model in which

reflections are greatest in the mirror direction of a surface opposite the viewing

direction with respect to the surface normal.

• Constant—A reflectance model providing a constant color. This model ignores

the effect of all light sources and gives the same result as an environment

containing a single, white, ambient source.

Multilayer Paint Options

Choose a metallic flake from the Metallic flakes list and define the following

properties:

• Lacquer specular factor—Defines the specular factor of the lacquer.

• Lacquer transmission factor—Defines how much light passes through the

material. The light picks up the color of the lacquer as it passes through.

• Lacquer mirror factor—Determines how much light is reflected by the material.

• Lacquer roughness—Determines the shininess of the lacquer.

• Lacquer refraction—Determines how much light bends as it passes through a

surface.

• Metallic layer factor—Determines the amount of paint and metallic flake on a

surface.


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• Metallic roughness—Determines the shininess of the metallic layer.

• Metallic scale—Determines the relative size of the flakes.

• Metallic amplitude—Determines the size of the flakes.

• Metallic detail—Determines the amount of detail in the metallic layer.

• Metallic sharpness—Determines the sharpness of each flake.

To Map the Checker Transparency Shader


dialog box opens.

2. Set the Class to a type other then Generic.

3. Select Checker for the Transparency channel in the Photolux tab.

4. Click Edit. The Checker shader parameters dialog box opens.

5. Specify a value for Scale. Specifying a value for Scale affects all other options in

the editor.

6. Edit the other attributes of the shader, if required.

o Odd Coverage—Determines the transparency of the odd squares in the

shader.

o Even Coverage—Determines the transparency of the even squares in the

shader.

o Fuzz—Determines the sharpness of the edges of the squares.

7. If required, position the shader using the Position container.

8. If the result is not desirable, edit the properties or position of the shader until

you are satisfied with the result.

To Map the Brick Shader


dialog box opens.

2. Set the appearance Class to Stone.

3. Click Photolux tab and select Brick for the Color channel.

4. Click Edit. The Brick shader parameters dialog box opens.

5. Specify a value for Scale. Specifying a value for Scale affects all other options in

the editor.

6. Modify the colors of the shader, if required. You can change the color of the brick

or the mortar.


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o Brick Width—Determines the width of each brick.

o Brick Height—Determines the height of each brick.

o Mortar Size—Determines the thickness of mortar between the bricks.

o Fuzz—Determines the sharpness of the edge of the bricks.

8. If required, you can position the shader using the Position container.



To Map the Checker Shader


dialog box opens.

2. Set the appearance Class to Pattern.

3. Click Photolux tab and select Checker for the Color channel.

4. Click Edit. The Checker shader parameters dialog box opens.

5. Specify a value for Scale. Specifying a value for Scale affects all of the other

options in the editor.

6. Modify the colors of the shader, if required. You can modify the color of the odd

and even squares.

7. Edit Fuzz of the shader, if required. Fuzz determines the sharpness of the edges

of the squares.




To Map the Dimple Shader


dialog box opens.

2. Set the appearance Class to any procedural type other than Generic.

3. Click Photolux tab and select Dimple for the Bump channel.

4. Click Edit. The Dimple shader parameters dialog box opens.





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o Separation—Determines the distance between the centers of adjacent

dimples.

o Radius—Determines the radius of each dimple.

o Center Depth—Determines the maximum depth of each dimple. The depth

of a dimple cannot be greater than its radius.

o Blend—Determines the amount of blending between the dimple and the

surface.




To Map the Dots Shader


dialog box opens.


3. Click Photolux tab and select Dots for the Color channel.

4. Click Edit. The Dots shader parameters dialog box opens.



6. Modify the colors of the shader, if required. You can specify the color of the

background and the color of the dots.



dots.

o Radius—Determines the radius of the dots.

o Edge Softness—Determines the softness of the sphere boundaries.




To Map the Grid Shader


dialog box opens.



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3. Click Photolux tab and and select Grid for the Color channel.

4. Click Edit. The Grid shader parameters dialog box opens.



6. Modify the colors of the shader, if required. You can specify the color of the

background and the color of the grid.

7. Edit the other attributes of the texture, if desired.

o Width—Determines the width of each square.

o Height—Determines the height of each square.

o Grid Size—Determines the width of the grid lines.





To Map the Grid Transparency Shader


dialog box opens.


3. Click Photolux tab and select Grid for the Transparency channel.

4. Click Edit. The Grid shader parameters dialog box opens.




o Width—Determines the width of each square.

o Height—Determines the height of each square.

o Grid Size—Determines the width of the grid lines.

o Transparency—Determines the transparency of the squares.






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To Map the Knurl Shader


dialog box opens.


3. Select Knurl for the Bump channel in the Photolux tab.

4. Click Edit. The Knurl shader parameters dialog box opens.




o Amplitude—Determines the maximum height of each knurl.

o Blend—Determines the amount of blending between the knurl angles.




To Map the Leather Shader


dialog box opens.


3. Click Photolux tab and select Leather for the Bump channel.

4. Click Edit. The Leather shader parameters dialog box opens.



6. If required, edit the following properties of the leather shader's cells:

o Cell amplitude—Determines the height of each leather cell.

o Irregularity—Determines the overall shape of each leather cell. The shape

can vary from square to irregular convex.

o Smooth min—Determines the smoothness of the edges of the leather cells

by defining the minimum smoothness.

o Smooth max—Determines the smoothness of the edges of the leather cells

by defining the maximum smoothness.

7. Edit the rough properties of the shader. The rough properties specify the high

frequency bumps that occur within cells:

o Rough amplitude—Determines the size of the bumps.


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o Rough frequency—Determines the amount of bumps.

8. Edit the curve properties of the shader. The curve properties specify the shape of

the grooves between cells:

o Curve amplitude—Determines how curved the edges of the cells are.

o Curve frequency—Determines how jagged the edges of the cells are.

9. Edit the fold properties of the shader. The fold properties specify the widespread

undulating pattern used to simulate wrinkles in the leather:

o Fold amplitude—Determines the height of the fold.

o Fold frequency—Determines the amount of folds.

10. Determine the complexity of the Rough, Curve, and Fold properties by editing

the values of the following:

o Rough detail—Determines the detail in the bumps.

o Curve detail—Determines the amount of detail in the curves between

cells. Increase this value to create a more creased appearance.

o Fold detail—Determines the amount of detail in the fold.




To Map the Rough Shader


dialog box opens.


3. Click Photolux tab and select Rough for the Bump channel.

4. Click Edit. The Rough shader parameters dialog box opens.




o Amplitude—Determines the extent of the roughness.

o Detail—Determines the complexity of the map.

o Sharpness—Determines the sharpness of the edge of the rough areas.





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To Map the Solid Casting Shader


dialog box opens.


3. Click Photolux tab and select Solid Casting for the Bump channel.

4. Click Edit. The Solid Casting shader parameters dialog box opens.

5. Specify a value for Scale. Enter a value that is approximately the size of the

model to begin with and increase it or decrease it as required.

Note: This value affects all of the other attributes of the solid shader therefore it

is important to set it correctly before modifying any other values of the shader.

6. If required, edit the other properties of the shader:

o Casting Amplitude—Determines the height of the casting displacements.

o Dented Amplitude—Determines the depth of the indentations in the

casting displacements.

o Dented Scale—Determines a relative scale for dents. Increasing this value

makes the surface dents appear larger.

o Dented Threshold—Determines the relative displacements and

indentations. Increasing this value makes the surface appear more

irregular.

7. If required, define the complexity of the shader by controlling the value of

Detail.

8. If the result is not desirable, edit the properties of the shader until you are

satisfied with the result.

To Map the Solid Checker Shader


dialog box opens.


3. Click Photolux tab and select Solid Checker for the Color channel.

4. Click Edit. The Solid Checker shader parameter dialog box opens.






36

6. Modify the colors of the shader, if required. You can change the color of the odd

and even checker squares.



To Map the Solid Clouds Shader


dialog box opens.

2. Set the Class to Stone.

3. Click Photolux tab and select Solid Clouds from the Color channel.

4. Click Edit. The Solid Clouds shader parameters dialog box opens.





6. Modify the colors of the shader, if required. You can change the color of the

background and the clouds.

7. Modify the value of Detail, if required. This value determines the level of

complexity of the clouds; higher values make the clouds appear wispier.



To Map the Solid Dots Shader


dialog box opens.


3. Click Photolux tab and select Solid Dots for the Color channel.

4. Click Edit. The Soild Dots shader parameters dialog box opens.






background and dots.


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7. Edit the pattern properties of the shader:


dots.

o Radius—Determines the radius of the dots.

o Sharpness—Determines the sharpness of the sphere boundaries.



To Map the Solid Eroded Shader


dialog box opens.


3. Click Photolux tab and select Solid Eroded for the Transparency channel. The

Solid Eroded shader provides the illusion of erosion on the surface of a model.

4. Click Edit. The Solid Eroded shader parameters dialog box opens.





6. If required, edit the following properties of the shader:

o Coverage—Determines the degree of erosion.

o Fuzz—Determines the sharpness of the edges of erosion.



To Map the Solid Glow Shader


dialog box opens.


3. Click Photolux tab and select Solid Glow for the Transparency channel.

Note: Use this option to create the illusion of a glow on a surface. A light source

is necessary to see the effect of the glow. Glow is typically applied to spherical

surfaces and the effect depends on the angle between the surface and the

eyepoint.

4. Click Edit. The Solid Glow shader parameters dialog box opens.


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5. If required, edit the coverage properties of the shader. Coverage specifies how

widespread the glow effect is:

o Center Coverage—Determines the opacity of the glow at the center of the

surface. Full center glow and minimum edge glow creates the effect of a

diminishing glow surrounding a light source.

o Edge Coverage—Determines the opacity of the glow at the edges of the

surface. Full edge glow and minimum center glow creates the effect of a

bubble surrounding a light source.

o Zero Angle—Determines the angle from the eyepoint at which the glow

becomes fully transparent.

o Edge Falloff—Determines the rate of falloff of the glow.

6. You can also edit the noise properties of the glow:

Noise Density—Determines the sharpness of the edge of the glow.

7. Edit the other attributes of the shader if required:

o Scale—Enter a value that is approximately the size of the model to begin

with and increase it or decrease it as required. This value affects the other

noise attributes therefore it is important to set it correctly.

o Detail—Determines the amount of detail in the glow.



To Map the Solid Leather Shader


dialog box opens.


3. Click Photolux tab and select Solid Leather for the Bump channel.

4. Click Edit. The Solid Leather shader parameters dialog box opens.

Note: Leather is defined by a series of cells of unit size that can vary in shape.





6. If required, edit the following properties of the leather shader's cells:

o Cell amplitude—Determines the height of each leather cell.

o Irregularity—Determines the overall shape of each leather cell. The shape

can vary from square to irregular convex.


39

o Smooth min—Determines the smoothness of the edges of the leather cells

by defining the minimum smoothness.

o Smooth max—Determines the smoothness of the edges of the leather cells

by defining the maximum smoothness.

7. If required, edit the rough properties of the shader. The rough properties specify

the high frequency bumps that occur within cells:

o Rough amplitude—Determines the size of the bumps.

o Rough frequency—Determines the amount of bumps.

8. If required, edit the curve properties of the map. The curve properties specify the

shape of the grooves between cells:

o Curve amplitude—Determines how curved the edges of the cells are.

o Curve frequency—Determines how jagged the edges of the cells are.

9. If required, edit the fold properties of the map. The fold properties specify the

widespread undulating pattern used to simulate wrinkles in leather:

o Fold amplitude—Determines the height of the fold.

o Fold frequency—Determines the amount of folds.

10. You can also determine the complexity of the rough, curve and fold properties by

editing the values of the following:

o Rough detail—Determines the detail in the bumps.

o Curve detail—Determines the amount of detail in the curves between

cells. Increase this value to create a more creased appearance.

o Fold detail—Determines the amount of detail in the fold.



To Map the Solid Marble Shader


dialog box opens.


3. Select Solid Marble for the Color channel in the Photolux tab.

4. Click Edit. The Solid Marble shader parameters dialog box opens.






40

6. Modify the colors of the shader, if required. You can change the ground (base)

color and vein color.

7. You can edit the following properties of the shader, if required:

o Vein Contrast—Varies the contrast of the color bands within the veins.

Increase this value to produce a greater contrast of colors.

o Grain—Determines the amplitude of the marble crystal grain. Increase this

value to accentuate the granularity of the marble.

o Grain Scale—Determines the size of the crystal grain.

8. You can define the level of complexity in the bands of the marble by controlling

the value of Detail.



To Map the Solid Rough Shader


dialog box opens.


3. Click Photolux tab and select Solid Rough for the Bump channel.

Note: The Solid rough shader provides a cast metal-like finish to a model.

4. Click Edit. The Solid Rough shader parameters dialog box opens.





6. If required, edit the properties of the shader:

o Amplitude—Determines the extent of the surface roughness.

o Detail—Determines the complexity of the texture.

o Sharpness—Determines the sharpness of the changes between the highs

and lows of the surface.



To Map Solid Wood Shaders


dialog box opens.


41

2. Set the appearance Class to Wood.

3. Click Photolux tab and select any one from the solid wood shaders available in

the Color channel.

4. Click Edit. The shader parameter dialog box for the respective shader opens.






wood, the color of the grain within the wood, and the ring color.

7. dit the other attributes of the shader, if required:

o Ring Fuzz In—Determines the sharpness of the inner ring edge, the side

of the ring toward the trunk center.

o Ring Fuzz Out—Determines the sharpness of the outer ring edge, the side

of the ring away from the trunk center.

o Ring Width—Determines how much of the wood is covered by rings.

o Gnarl—Determines the smoothness of the rings inside the trunk. Increasing

this value makes the ring pattern more irregular.

8. Edit the grain properties of the shader:

o Grain—Determines the amount of grain, that is, imperfections in the wood.

o Ring Fuzz Grain—Determines the jaggedness of the ring edges.

o Grain Scale—Determines the relative size of the grain.

9. You can position the trunk using the Position container.

o Direction—Determines the axis of the trunk.

o Center—Determines the location of the center of the trunk.



To Map the Texture Brick Shader


dialog box opens.


3. Click Photolux tab and select Texture Brick for the Color channel.

4. Click Edit. The Texture Brick shader parameters dialog box opens.


42



6. Modify the colors of the shader, if required. You can specify two different colors

for the bricks and another color for the mortar.


o Brick Width—Determines the width of each brick.

o Brick Height—Determines the height of each brick.

o Mortar Size—Determines the thickness of mortar between the bricks.

o Rough Scale—Determines the complexity of the roughness along each

brick.

o Rough Amplitude—Determines the magnitude of the roughness.

o Offset—Determines the alignment of the bricks. When set to 0, all the

bricks in all the rows are aligned one on the top of the other.

o Fuzz—Determines the sharpness of the edges of the bricks.

8. If required, position the shader using the Position container.



To Map the Treadplate Shader


dialog box opens.


3. Click Photolux tab and select Treadplate for the Bump channel.

4. Click Edit. The Threadplate shader parameters dialog box opens.

5. Enter the Scale. Specifying a value for Scale affects all of the other options in

the editor.


o Radius—Determines the radius of the protruding areas.

o Amplitude—Determines the extent of the roughness.

o Blend—Determines the amount of blending between the tread and the

surface.

7. If required, use the Position container to position the shader.




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To Map Wood Floor Shaders


dialog box opens.

2. Set the appearance Class to Wood.

3. Click Photolux tab and select a wood floor shader from the color channel. Wood

floor is a pattern consisting of wooden planks combined according to the selected

floor style.

4. Click Edit. The shader parameter dialog box for the respective shader opens.

5. Select the Replication Type. Replication Type determines the replication

method that will be applied.


wood, the color of the grain within the wood, the ring color, and the color of the

groove.

7. Edit the floor properties of the shader:

o Plank Length—Determines the length of a single plank.

o Plank Width—Determines the width of a single plank.

o Offset—Determines the number of planks in basic rectangle.

o Groove Width—Determines the width of the groove between planks.

o Plank Variation—Determines the variation of brightness between planks.

o Pattern Scale—Determines the relative displacement of odd and even

rows of the pattern and is relative to the plank length.

8. Specify a value for Scale. Scale represents the scale of the wood floor. You might

not want to modify this value until you have rendered a small portion of your

model and seen the results. Specifying a value for Scale affects all of the other


9. Edit the other attributes of the shader, if required:

o Ring Fuzz In—Determines the sharpness of the inner ring edge, that is the

side of the ring toward the trunk center.

o Ring Fuzz Out—Determines the sharpness of the outer ring edge, that is

the side of the ring away from the trunk center.

10. If required, use the Position container to position the shader.




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Types of Mapping

You can select one of the following projections for the selected surface or surfaces

under Mapping in the Position container of the Appearance Editor dialog box:

Planar—To use on a flat, uncomplicated object or surface. The map drops over the

entire applied area. You can use a projection-based method to map a single material

across multiple surfaces. The projection is based on a coordinate system parallel to

the screen. To map surfaces for a specific rendering view, create the required

rendering view and map the view with a planar projection. Render the model to

create the image. You can also select a coordinate system to orient the texture along

the z-axis.

Cylindrical—To use on rounded objects or surfaces. By default, the map is oriented

relative to the screen coordinate system. You can orient the map to a user-defined

coordinate system. For best results, orient the coordinate system such that the y-

axis points along the axis of the cylindrical shape.

Spherical—To use on spherical objects or surfaces. By default, the map is oriented

relative to the screen coordinate system. You can orient the map to a user-defined

coordinate system. For best results, orient the coordinate system such that the y-

axis points along the axis of the spherical shape.

Parametric—To use on surfaces in your model that you can map individually with a

material. This method maps according to the u-v coordinates of a surface. An easy

way to tell if Parametric will work well for a surface is to examine its mesh lines. If

a surface has regular mesh lines, then Parametric may be a good mapping method.

Parametric mapping maps a complete copy of the material map onto each surface.

If you have selected multiple surfaces, each surface is mapped independently with

the complete material map.

Positioning the Appearance Shaders Using the Position Container

You can use the Position container in the Appearance Editor dialog box for the

relevant shader parameter to position the shaders. The following options in the

Position container determine the position of the shader on the selected surface or

surfaces:

• Mapping—Determines the projection type of the shader on the selected surface

or surfaces. You can select from the Planar, Cylindrical, Spherical and

Parametric mapping types from the Type box.

• Copies—Single maps one copy of the shader. Multiple copies completely fill the

surfaces. Use the Repeat thumbwheel to specify how many copies of the shader

are mapped across the surfaces. For the Cylindrical and Spherical mapping

types, a value of 1.000 for Single implies that one copy of the texture covers

180 degrees of the map, while a value of 1.000 for Multiple implies that two

copies of the texture cover 360 degrees of the map.

• Position—Adjusts the orientation of the map in the x- or y-direction.


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• Rotate—Modifies the rotation of the map about the origin. The range is -180 to

180 degrees.

• Flip—Mirrors the map in the horizontal or vertical direction.

Note: You can position only some shaders using the Position container.

About Additional Shaders

The following are some additional shaders available for the Photolux renderer under

the Photolux tab of the Appearance Editor dialog box:

For the Plain class under Reflectance:

Constant—A reflectance model providing a constant color. This model ignores

the effect of all light sources and gives the same result as an environment

containing a single, white, ambient source.

For the Wood class under Color:

Simple Wood—A simple wood pattern with concentric rings of light and dark

wood.

For the Stone class under Color:

• Blue Marble—A solid texture giving the appearance of a blue marble.

• Brick Bonds—A wrapped color source shader in which you can choose from

several brick bonding patterns.

• Roof Tiles—A wrapped color shader that simulates various styles of roof tiles.

For the Pattern class under Color:

• Turbulent—A shader that simulates turbulent medium variations.

• Diagonal—A shader pattern giving a line across the leading diagonal of the

texture space.

For the Metal class under Reflectance:

Chrome 2D—A chrome-like reflectance using a two-dimensional chrome map.

For the Fabric class under Reflectance:

Basic Fabric—A reflectance shader that simulates the directional reflectance

properties of surfaces consisting of woven threads.

For the Custom class under Reflectance:

Phong—A reflectance model conforming to the popular Phong model in which

reflections are greatest in the mirror direction of a surface opposite to the

viewing direction with respect to the surface normal.

For the Custom class under Color:

• Chrome—A color source that provides simple chrome-like reflections.

• Wood


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For the Custom class under Transparency:

• Plain Coverage—A plain, uniform transparency.

• Square—A transparency shader that provides a single square aligned with the

texture space.

You can edit the parameters of these shaders by clicking Edit for the respective

shader in the Photolux tab of the Appearance Editor.

Textures

About Textures

Applying texture involves applying a surface texture to surfaces that cannot be

represented by color alone, such as woodgrain or cloth. A texture map is a

specialized image file. You can create these files from digital images also. You can

apply the following types of texture to surfaces or a part:

• Color textures—These texture files are applied onto an entire surface. Texture

maps represent surface color and are usually scanned images such as woodgrain,

geometric patterns, and pictures. The wood texture in the ceiling fan model

below is an example of a color texture.

• Decals—Decals are specialized texture maps such as company logos or text that

are applied to a surface. A decal is a texture with an alpha or transparency mask.

If the alpha value for a pixel is greater than zero, the pixel color is mapped onto

the surface. If the alpha value is zero, the base texture color of the surface is

visible through the pixels. The process is analogous to laying a stencil on a

surface and painting a texture over the stencil. When you pull off the stencil, you

leave behind a decal on the surface.


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The following watch model has two decals, the face of the watch and the words

PARAMETRIC TECHNOLOGY.

• Bump maps—Bump maps are single-channel texture maps that represent height

fields. Normal vectors are affected by the height values during surface shading.

The resulting shaded surface has a wrinkled or irregular appearance. The effects

of a bump map texture are displayed only when you render a image using

Render Model. In interactive graphics, the bump map is displayed over the base

color or texture to simulate the effect.

In the Appearance Placement dialog box, under Properties, use the Map tab

page to adjust bump height. If you specify a negative value, the bumps become

depressions or indentations on the surface. This model of a tire tread is an

example of how bump maps can be used to simulate surface roughness.

You can view textures in shaded display if you have selected Textures in the Shade

tab of the Model Display dialog box (View > Display Settings > Model Display).

Although it is possible to place a texture on more than one surface at a time, it is

best to place the map on each surface individually to ensure that the maps are

correctly oriented. Depending on the texture, some experimentation may be required

to get satisfactory results.


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About Loading or Storing Textures

A graphics library that contains many textures is available with the Pro/ENGINEER

installation. This library is installed by the system administrator and is available

when you click File > System Library in the Appearance Editor dialog box.

You can use the existing PTC-provided graphics library or create your own texture

files. Ensure that the texture directory and all the texture files within it are available

in a location for which you have appropriate permissions. This directory must be

specified as the value for the texture_search_path environment variable in the

config.pro file. This allows Pro/ENGINEER to find the texture files the next time you

open a part or assembly. Pro/ENGINEER also searches this directory when you

specify a texture filename in the File > Open dialog box.

To Create a Textured Appearance


dialog box opens.

2. Click or Material > New to add new appearance.

3. If required, create a color for this appearance using the Color Editor dialog box.

Usually, a color is required to define an appearance when you are using bump

maps and decals, for which the color is below the texture. Color textures typically

cover an entire surface or part. Therefore, they override any underlying basic

color.

4. Under Properties, click the Map tab and click on the Bump, Color Texture, or

decal swatch to invoke the Bump Placement, Color Placement, or Decal

Placement dialog box.

5. Change the bump height and decal intensity coefficients as needed.

6. If required, type a name for the appearance.

7. Click OK to finish defining the appearance. The name is displayed as you move

the cursor over the appearance swatch in the Appearance Palette.

About Placing Textures

You can directly manipulate textures in the Pro/ENGINEER graphics area.

A frame and a sphere with direct manipulation controls are available for placing

textures dynamically. Direct manipulation consists of two sets of controls. One set

comprises a sphere and two rings of which one ring rotates about the x-axis, while

the other rotates about the y-axis. This set of controls positions the origin of the

texture in 3-dimensional space. The second set of controls comprising a frame,

corner handle, and edge handles scales, rotates, and flips the texture.


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The following image shows controls for direct manipulation.

1. Frame

2. Corner Handle

3. Sphere

4. Rotation Handle

5. Edge Handles

In the above image, the intersection of the two rings at the front side of the sphere

defines the source point on which the frame is located. The center of the sphere is

called the aim point. This aim point along with the source point and image origin

define the mapping or projection direction.

1. Source Point

2. Pole

3. Two Rings

4. Aim Point


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• You can hold down the SHIFT key and drag the aim point to snap it to the

nearest geometry.

• You can move the entire sphere by dragging the line connecting the source and

aim points.

• When the source point is close to lining up with the aim point in the current view,

that is, when the line connecting the source and aim points gets close to being

perpendicular to the current view, gravity snaps the source point into place.

Note: Snapping the source point into place means aligning the source point in

such a way that the line connecting the source and aim points is perpendicular to

the current view.

To Place Textures

1. Click or View > Color and Appearance. The Appearance Editor dialog

box opens.

2. Select the required appearance from the Appearance Palette.

Note: You cannot modify default appearances from the Appearance Palette.

However, you can make a copy of the of the default appearances. When you click

or Material > New, a copy of the appearance is made. The Appearance

Editor allows you to change the name and properties of the copy.

3. Click File > System Library in the Appearance Editor to select textures from

the library.

4. Under Assignment, choose whether you want to apply the texture to the entire

part, surfaces, quilts, datum curves, or all objects.

5. Under Properties, in the Map tabbed page, click the following swatches:

o Bump—To specify the image to be used for the Bump map. The Bump

Placement dialog box opens.

o Color Texture—To specify the image to be used for the Color Texture

map. The Color Placement dialog box opens.

o Decal—To specify the image to be used for the Decal map. The Decal


6. In the Positioning container, under Mapping, select one of the following

projections for the selected surface or surfaces in the Bump Placement, Color

Placement, and Decal Placement dialog box:

o Planar—To use on a flat, uncomplicated object or surface.

o Cylindrical—To use on rounded objects or surfaces.

o Spherical—To use on spherical objects or surfaces.


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o Parametric—To use on surfaces in your model that you can map

individually with a material.

Note:

o The Mapping type is synchronized across Bump, Color Texture, and

Decal. For example, if you change the Mapping type for Bump from

Planar to Spherical, the Mapping type for Texture and Decal also

changes to Spherical.

o Changing the Mapping type does not affect the placement parameters.

7. Click OK in the Bump, Color, or Decal Placement dialog box to apply the

mapping and close the dialog box.

8. Click Apply under Assignment in the Appearance Editor dialog box.

9. Click the Bump, Color Texture, or Decal swatch again to open the respective

Placement dialog boxes.

The Mapping type that you selected in step 7 is active when the Placement

dialog box opens. Depending on the Mapping type that you selected, a frame

and a sphere with direct manipulation controls appear in the graphics area. Use

these controls to scale, rotate, and flip the texture.

Note: A frame and a sphere with direct manipulation controls do not appear for

the Parametric mapping type or in the non-shaded display mode.

10. If required, click and select a new coordinate system. The frame and the

sphere with direct manipulation controls reorient themselves and the new

coordinate system is the center of the sphere or aim point.

11. Select the required number of Copies, either Single or Multiple. If you select

Multiple, the texture map is repeated across the object or surface.

Note: For Cylindrical and Spherical mapping types, a value of 1.000 for Single

implies that one copy of the texture covers 180 degrees of the map, while a

value of 1.000 for Multiple implies that two copies of the texture cover 360

degrees of the map.

12. Click OK in the Bump, Color, or Decal Placement dialog box to place the

texture and close the dialog box.

13. Click Close to close the Appearance Editor dialog box.

To Manipulate Textures

1. Click or View > Color and Appearance. The Appearance Editor dialog

box opens.

2. Click the Bump, Color Texture, or Decal swatch to open the Bump, Color, or

Decal Placement dialog box, respectively.


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3. In the Bump, Color, or Decal Placement dialog box, select the mapping type

as Planar, Cylindrical, or Spherical. A frame and sphere with handles are

displayed in the Pro/ENGINEER graphics area.

4. To directly manipulate the texture in the graphics window, perform one or more

of the following operations using the handles:

• Scale operation

Use the handles on the frame to scale the texture while placing it. By default, the

scaling is symmetrical around the center axis of the frame.

o Drag any corner of the frame to simultaneously scale the texture in the X

and Y directions.

o Drag an edge handle for scaling in either the X or Y direction.

o Alternatively, under Repeat, use the thumbnails to specify values for X and

Y to scale the texture.

o Hold down the CTRL key and drag a corner or edge handle to scale the

texture asymmetrically around the center axis. When you hold down the

CTRL key and drag a corner or edge handle, only that corner or side of the

frame moves while the opposite side is stationary.

o Hold down the SHIFT Key and drag a corner or edge handle to lock the

aspect ratio while scaling the texture symmetrically around the center axis.

o Hold down the CTRL and SHIFT keys simultaneously and drag a corner or

edge handle to lock the aspect ratio while scaling the texture

asymmetrically around the center axis.

o If required, click Reset to align the frame to the initial position when the

appearance texture was applied.

Before Scale

After Scale


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• Rotate operation

o Drag the rotation handle on top of the frame to rotate the texture.

Note: While using the rotation handle to rotate the texture, gravity will

snap the rotation at 0, 90, 180, and 270 degrees.

o Alternatively, under Position, use the thumbwheels to specify a value for

Rotate to rotate the texture.



Before Rotate

After Rotate

• Pole rotation

o Drag the pole handle or icon on top of the frame to rotate the axis of the

sphere along with the texture.

For Planar Mapping type, the pole handle is displayed as .

For Cylindrical Mapping type, the pole handle is displayed as .

For Spherical Mapping type, the pole handle is displayed as .

Note: While using the rotation handle to rotate the texture, gravity will

snap the rotation at 0, 90, 180, and 270 degrees.

o Alternatively, under Mapping, use the thumbwheels to specify a value for

Pole to rotate the texture.




54

Before Pole

After Pole

• Move the Frame Center

o Click inside the frame and drag anywhere in the graphics window to the

frame in a translational manner.

o Hold down the SHIFT Key while dragging the frame to make it move either

along the horizontal direction or along the vertical direction.

o Alternatively, under Position, use the thumbwheels to specify values for X

and Y to move the frame center.

Before Moving Frame Centre

After Moving Frame Centre


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• Flip the applied texture

o Right-click any corner handle of the frame and click Flip to flip the texture.

Before Flip

After Flip

You can flip the textures diagonally, horizontally, or vertically.

o Right-click any corner handle of the frame and select Flip to flip the texture

diagonally.

o Right-click any of the edge handles on the right or left edge of the frame

and click Flip to flip the texture horizontally.

o Right-click any of the edge handles on the top or bottom of the frame and

click Flip to flip the texture vertically.

o Alternatively click to flip the texture horizontally or click to flip

the texture vertically.

5. Click OK in the Bump, Color, or Decal Placement dialog box to place the

texture and close the dialog box.

6. Click Close to close the Appearance Editor dialog box.

To Edit a Placed Texture


dialog box opens.

2. Under Assignment, click From Model to activate the edit mode.

Note: When you click From Model, you cannot edit other appearances in the

palette. To edit other appearances, click From Model again.


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3. Select a surface from the active model.

4. Click the Map tab.

5. Click the Bump, Color Texture, or Decal swatch. The Bump Placement, Color

Placement ,or Decal Placement dialog box opens. If you had previously

selected a non-parametric mapping for the texture, a sphere and a frame with

direct manipulation controls appear.

Note: Within an Assembly, direct manipulation controls are available for edit only

for the top-level assembly surfaces and quilts.

Clicking From model on component level appearances that have textures allows

modification through the Appearance Placement Editor only. You cannot

change mapping types of such appearances at the assembly level. You can edit

mapping types of only top level assembly surfaces and quilts.

6. If required, change the number of Copies and the Mapping type.

7. Scale, rotate, or flip the texture, or move the frame using the controls on the

sphere and frame.

8. Click Apply and OK in the Bump, Color, or Decal Placement dialog box,

respectively, to place the texture.

9. Click From Model again to exit the edit mode or, click Close to close the


To Edit a Texture Placed in Pro/ENGINEER Wildfire 3.0 or Earlier Releases


dialog box opens.

2. Under Assignment, click From Model to activate the edit mode.

3. Select a surface from the active model.

4. Click the Map tab.

5. Click the Bump, Color Texture, or Decal swatch.

6. Click OK in the Bump, Color, or Decal Placement dialog box, respectively.

7. Click From Model again to edit the appearances in the Appearance Palette.

8. Select the applied appearance from the Appearance Editor and click to

make a copy of it.

9. Under Assignment, click Apply to apply the copied appearance to the required

assignments.

10. Click the Bump, Color Texture, or Decal swatch.


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11. If required, change the number of Copies and the Mapping type.

12. Scale, rotate, or flip the texture, or move the frame using the controls on the

sphere and frame.

13. Click OK in the Bump, Color, or Decal Placement dialog box to apply and place

the texture.

14. Click From Model again to exit the edit mode, or click Close to close the


To Save Textures

1. Open a model in Pro/ENGINEER.


dialog box opens.

3. Click From Model and select a surface. The appearance that is embedded in the

selected surface is loaded into the Appearance Editor dialog box.

4. Under Properties, click the Map tab. The textures used with the appearance are

displayed under Bump, Color Texture, or Decal.

5. Click the texture box next to Bump, Color Texture, or Decal. The Bump,

Color, or Decal Placement dialog box opens, respectively, and displays the

textures used with the appearance.

6. Select the required texture in the texture palette.

7. Click Texture > Show texture. The selected texture is displayed in the Image

Editor.

8. In the Image Editor, click File > Save As and save the texture.

Note:

• If the individual texture files are not available for embedded textures, that is, for

textures saved with the model, then this procedure is the only way of extracting

the individual texture from the model and saving it.

• To save the textures applied to the walls of a room, open the Room Editor

dialog box and select a wall. In the Room Appearance Editor dialog box that

opens, select a texture map and save it in the Image Editor.

• To save the textures with the model, set the save_texture_with_model

configuration option to yes.

To Display Textures

1. Click Tools > Environment. The Environment dialog box opens.

2. Select Textures and click Apply to display the textures used for the model.

or


58


box opens.


3. Under Enable, select Textures to display the textures used for the model.

To Remove Textures


dialog box opens.

2. Under Properties, click the Map tab.

3. Click the Bump, Color Texture, or Decal swatch. The Bump, Color, or Decal


4. Select the texture that you want to remove and click or click Texture >

Delete. The texture is removed from the Texture Palette.

LightWorks Archives

About the LightWorks Material Archives

The LightWorks Archives (LWA) are third-party appearances. These appearances are

supported only by the Photolux renderer.

The LWA materials are of two types:

• Licensed—For licensed archives, you must purchase the license keys from the

archive vendor. Once you have the license keys, you can load appearances in the

Appearance Editor.

• Free—You can use and modify these appearances as and when required. You can

save them with the model but you cannot save them in the .dmt or .drm formats.

Both licensed and free LWA materials can be either public or private or they can have

a combination of public and private appearances.

• Private (Copy-protected)—You cannot view the shader parameters of the private

LWA appearances in the Appearance Editor and therefore, cannot edit them.

• Public—You can view and edit the contents of public LWA appearances.

You can access the LWA materials from the Appearance Editor by clicking File >

Open. If you set the pro_lwa_library configuration option to the LWA materials

directory, then the LWA materials under that directory are appended to the

Photolux System Library list. You can then access the LWA materials from the

Appearance Editor by clicking File > Photolux System Library.

If you select an LWA material that requires a license, Pro/ENGINEER displays a

License Validation dialog box in which you must specify a valid license key to use


59

the required material set. The License Validation dialog box also contains the LWA

material information that is required to purchase the license key.

For LWA files that require licenses, Pro/ENGINEER checks for licenses during the

following operations:

• Loading a licensed LWA material from a part or an assembly into the

Appearance Editor.

• Rendering a model that has been saved with licensed LWA materials.

• Loading licensed LWA materials into the Appearance Editor by clicking File >

Open.

Note:

• The Skip and the Do not show this dialog again options in the License

Validation dialog box are available only when you render a model that has LWA

materials applied to it.

• Click Skip in the License Validation dialog box to skip the LWA license

validation process for the current LWA material and replace it with the default

material appearances.

• Click Do not show this dialog again in the License Validation dialog box to

skip the LWA license validation process for all the LWA materials that do not have

a valid license and replace these materials with the default material appearances.

On completing the rendering process, click Info > Session Info > Message

Log to refer to the list of LWA materials that failed the license validation.

To Obtain and Set the LWA License

1. Click Get License Key in the License Validation dialog box that opens when

you try to load a licensed LightWorks Material Archive (LWA). The LightWorks-

Users Web site opens in the Pro/ENGINEER browser. This site displays a form

where you must specify your personal details.

2. If you want to purchase the archive, then within the form you must provide your

credit card details. After you have entered all the required details, the browser

then displays the license key for the selected archive. You also receive the license

key through an email message.

3. Type the license key in the License Key box in the License Validation dialog

box and click OK. The LWA material is loaded into the Appearance Editor and

the license.txt file is created in the current working directory or in the

directory set by the pro_lwa_license_path configuration option. If a

license.txt file already exists in this location, then it is updated with the newly

obtained license key information. You can also manually create or update the

license.txt file.

Note:

• When you load a licensed LWA material into the Appearance Editor using File >

Open, Pro/ENGINEER does not check the validity of the license key that you have

specified in the License Validation dialog box. If you have specified an incorrect


60

license key, then Pro/ENGINEER does not inform you of the error. The

license.txt file is also updated with the incorrect license key due to which

license validation fails each time you try to load the archive and you are

prompted to enter the correct license key again.

• Ensure that you have write permissions for the license.txt file itself and its

parent directory. If Pro/ENGINEER tries to write to the file and fails because of

inadequate permissions, an error message is displayed.

• When obtaining a license key, the LightWorks-Users Web site may also provide

license data along with the license key. If this license data is different from the

existing license data in the License Validation dialog box, then type the new

license key in the License Key box as follows:

<new license key>:<new license data>

• Each license key is locked to a specific computer and user.

To Create a license.txt File for the Licensed LWA Material

1. Open a new text document.

2. For each licensed LWA material, type the license ID, license key, and license data

in a line, each separated by a space, starting with the first line in the text

document.

3. Click File > Save As. The Save As dialog box opens.

4. Browse to the Pro/ENGINEER working directory or to the directory set by the

pro_lwa_license_path configuration option.

5. Specify the name of the file as license.txt and click Save.

To Edit the LightWorks Material Archives

You can edit the LightWorks Material Archives (LWA) for which you have the required

licenses, only if they are public or have a combination of public and private

appearances.

If licensed LWA materials have both public and private appearances, then you cannot

edit the private appearances. For a free LWA material, you can edit it only if the

entire material is public or if it has a combination of public and private appearances.

In this case, you can edit only the public appearances.

You cannot save the changes made to the public appearances in the .dmt or .drm

formats. While saving models that have LWA appearances, the LWA appearances are

excluded from the .dmt or .drm formats. However, you can save public appearances

in the .scn format (Scene files).

You can edit the public LWA materials through the Appearance Editor dialog box in

the same way as any of the Photolux materials.


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Lights

About Lights

All renderings must have a light source. The quality of an image is enhanced when

you use lights to highlight portions of the model or to create back lighting. For a

shaded image, you can have a maximum of 6 user-defined lights and 2 default lights

using the Light Editor dialog box. You can apply a light scatter effect to only the

Lightbulb and Spotlight type of lights. Each light that you define for a model

increases rendering time. The available types of light are:

• Ambient—Ambient light illuminates all surfaces equally. The position of the light

in the room has no effect on the rendering regardless of the angle between the

model and the light source. Ambient light exists by default and cannot be

created.

• Lightbulb—This light is similar to light from a bulb in a room where the light

radiates from the center. The light reflected off a surface varies, depending on

the surface position with respect to the light.

• Distant—Directional light casts parallel light rays illuminating all surfaces at the

same angle, regardless of the position of the model. This type of light simulates

the sun or any other distant light source.

• Spot—A spotlight is similar to a lightbulb but its rays are confined within a cone,

called the spot angle.


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• Skylight—Skylight provides a way to simulate the sky using a hemisphere that

contains a number of light source points. To accurately render the skylight, the

Photolux renderer must be used. If Photorender is used as the renderer, this light

is treated as a single source of distant light type.

• Environment—Uses a High Dynamic Range Image (HDRI) to illuminate the

model. This type of light can be used only with the Photolux renderer. If the

renderer is set to Photorender, the Environment light is not displayed in the lights

palette.

To Create Lights

1. Click or click View > Model Setup > Lights. The Light Editor dialog box

opens.

2. Click to create a new distant light, to create a new lightbulb, to

create a new spotlight, or to create a new skylight.

Alternatively, click Light > New to add a new spotlight, distant light, lightbulb,

or skylight to the list of lights.

Note: Click to the left of each light to switch on a light, or Light > Toggle to

switch off a light. If is switched off, light is not displayed or used during

shading or rendering.

About Light Icons

Light icons are used to show the position and direction of a light type. When you

activate a light in the Light Editor, its icon is displayed in the Pro/ENGINEER

graphics area and you can manipulate the light's parameters directly from the

graphics area. You can also show the inactive lights in the graphics area by clicking

Show Light Icons in the Light Editor for the respective light type. The following

types of lights have light icons:

• Lightbulb—Represents the light position. The color of the light is indicated by

the color of the lightbulb.


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• Distant—Consists of the position of the light and an aim point with a direction

line. The color of the light is indicated by the color of the bottom face of the

distant light.

• Spotlight—Consists of the light position, an aim point, a direction line, an

arrowhead focus angle, and a spread angle cone. The color of the light is

indicated by the color of the cone's bottom face.

• Skylight—Represented by a hemisphere. The color of the light is indicated by the

color of the skylight icon. The light source points are scattered around a virtual

hemisphere, and the light icon does not represent the position of these light

sources by itself.

• Environment Light—Represented by a hemisphere. This icon is used to position

the light pole, and does not represent the position of any light source.

Lightbulb Distant Light Spotlight Skylight

Note: Ambient light does not have a light icon because it does not have a position or

direction.

Light is updated dynamically as you manipulate the light icons in the graphics area.

An active light has a larger light icon when compared to inactive lights. The size of

the light icons also depends on the size of the model. Depending upon the type of

light, the light icons have a maximum of four components; Source Location, Aim

Point Location, Focus, and Angle.

You can select the lights by clicking on the light icons in the graphics area. A light

icon has the following controls:

• Light Source Point Controls—This zone controls the X-, Y-, and Z-coordinates

(with respect to the screen) of the light source location in the Light Editor. You

can manipulate the following entities to modify the light source point:

Sphere o The light source point is located at the intersection of

the 2 polar rings. You can move it along the surface

of an imaginary sphere.

o The source point component is highlighted when you

move the pointer over it and while dragging.

o The sphere is divided into front and back hemispheres

by an imaginary plane that is parallel to the screen.

o While dragging, when the pointer leaves the sphere's

silhouette, the point movement continues onto the


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rear side of the sphere. You can do the same to come

back to the front side.

o You can change the size of the sphere by dragging

the sphere’s silhouette. The silhouette edge of the

sphere is highlighted when you move the pointer over

it and while dragging.

The 2 Polar

Rings

o Holding the light source point, you can rotate the polar rings about the X-

and Y-axis of the screen. You can also move the light source along the ring

path by selecting and dragging either of the rings.

o When the light source point is located in front of the sphere, only the front

portion of the ring is displayed.

o When the light source point is located behind the sphere, only the back

portion of the polar rings is displayed as dashed lines.

o Drag the ring to change the size of the sphere and the location of the light

source.

o The rings are highlighted when you move the pointer over them.

1. Sphere's silhouette

2. Y-axis ring (Polar Ring)

3. X-axis ring (Polar Ring)

4. Light Source


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5. Direction Line

6. Aim Point

• Aim Point (Center of sphere)—This zone corresponds to the X-, Y- and Z-

coordinates of Aim Point Location in the Light Editor.

o The aim point location is highlighted when you move the pointer over it and

while dragging.

o A line connects the aim point location and the source point of the light to

indicate the direction of the light. The color of the line is also that of the

light. You can move the entire sphere by dragging the direction line. In case

of a spotlight, drag the black portion of the direction line to move the

sphere. For other types of lights, you can move the entire direction line to

move the sphere.

Note: In case of the lightbulb, the black line does not indicate direction of the

light, because this light throws light in all directions. This line in case of the

lightbulb and the skylight is used to move the entire sphere.

You can position the aim point location in the following ways:

o You can freely drag the aim point location parallel to the screen (X- and Y-

axis, no Z-axis).

o Based on model geometry—Hold down the SHIFT key and drag the aim

point location. The aim point snaps to any geometry immediately behind it.

In addition to the above controls, the spotlight also has the following controls:

• Spread Angle for Spotlight

o The base edge of the spotlight is highlighted on moving the pointer over it.

o You can drag the base edge of the spotlight cone normal to the direction

line to control the value of the spread angle of the spotlight.

• Focus Arrow for Spotlight

You can also change the focus angle of the spotlight by dragging the arrowhead

of the aim point direction line. The longer the arrowhead, the sharper is the focus

of the spotlight.

About High Dynamic Range Images (HDRI)

High Dynamic Range Images (HDRIs), if used for lighting, greatly improve the

quality of renderings. HDRI are images that use the pixel color value of the image as

light sources, and are therefore also called image based lighting. This renders images

as they would appear in the real-world environment. HDRIs do not require any

external light sources for rendering lighting effects and are quick to setup unlike

direct lighting like spot, distant or lightbulb type of lights

HDRIs can be used as sources of lighting, backgrounds, and for model reflections.


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HDRI or Environment lighting is available only when you set the renderer as

Photolux.

Pro/ENGINEER supports only the following types of HDRI – Spherical, Angular

spherical and Panoramic (also known as Latitude-Longitude) types.

To Enable Environment Light as Background (HDRI)

1. Click to access the Perspective dialog box and set up a perspective view

for the model.

Note: The model must be in the perspective view for the High Dynamic Range

Image (HDRI) to be visible as the background.

2. Click to the left of the Environment light in the Light Editor dialog box to

switch on the Environment light, if the Environment light is switched off, or click

Light > Toggle to switch it on.

3. Click the Basic tab and click the thumbnail to select or change an environment

image under Environment Lighting.

To preview the environment image, right click the thumbnail, and click Preview

HDRI. A preview of the environment image is displayed in the Image Editor.

4. In the Effects Editor, click Background under Background.

5. Click the Settings tab under Background. The Background Settings dialog

box opens.

6. In the Background Settings dialog box, click Environment under Background

I.

7. If required, click Fit Image under Background I to fit the image in the graphics

area. Fit Image is not available if the HDRI type is spherical or angular-

spherical.

8. Under Background Zoom, adjust the slider to scale the background image. The

slider ranges from -20 to 20.

Note: The Background Zoom slider is available only when you select

Environment as Background I and you clear the Fit Image check box.

9. Click or View > Render Window to render the HDRI as the background.

Note: In addition to the background, the HDRI also lights the model.

To Set Environment as Lighting

1. Click or View > Model Setup > Lights. The Light Editor dialog box

opens.

2. Click to the left of the Environment light to switch on the light.


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3. In the Basic tabbed page under Environment Lighting, click the thumbnail to

select another environment Image.

To preview the environment image, right click the thumbnail, and click Preview


Note: You can also load Low Dynamic Range images in the JPG and TIFF

formats. However, these images do not provide the rendering quality and effects

of High Dynamic Range images in the HDR and EXR formats.

4. Under Environment Lighting, specify the Accuracy as High, Medium, or Low.

Accuracy corresponds to the number of samples, where Low corresponds to 50

samples, Medium corresponds to 300 samples while High corresponds to 600

samples. Higher accuracy increases rendering time.

5. Click Show Light Icons to display the environment light icon in the graphics

window, even when the light is not selected in the Light Editor.

6. In the Advanced tabbed page, click Cast Shadows to cast soft or hard

shadows.

For hard shadows, use the slider to adjust the Noise Factor ranging from 0

through 1.00.

7. Click the Intensity tab to adjust the absolute intensity and the unit for the

Environment light.

8. Under Saturation, use the saturation slider to change the color saturation of the

environment light.

Saturation of the Environment light ranges from -1 to 1. The default saturation

value is 0.

9. Click the Position tab and use the thumbwheels under Source Location to

change the position of the light along the x-, y-, and z-axes. Use the Rotation

slider to rotate the light along the y-axis. You can also rotate the light by

dragging the light icon in the graphics window.

10. Click or View > Render Window to render the environment lighting effects

in the graphics window.

To Use Environment Light for Model Reflections


opens.

2. Click the left of the Environment light to switch on the light.

3. In the Basic tabbed page under Environment Lighting, click the thumbnail to

select an environment Image.


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To preview the environment image, right click the thumbnail and click Preview


4. Click or View Model Setup > Render Setup. The Render Setup dialog

box opens.

5. In the Options tabbed page, under Model, click Reflective and select

Environment.

On rendering the model, the environment image is reflected on the model

wherever Model is set to Reflective.

Note: Room Reflections on Model will always take precedence over

Environment Reflections if Render Room is ON.

About Hard and Soft Shadows

You can set hard and soft shadows for each individual light using the Light Editor

dialog box.

• Hard shadows are translucent, can travel through objects, and pick up the color

of the material that they pass through.

• Soft shadows are always opaque and gray. You can control the softness of soft

shadows.

Note: You can see the effect of hard and soft shadows only when you select the

Photolux renderer.

To render shadows using the PhotoRender type of renderer, you must select

Shadows on Floor or Self Shadows in the Render Setup dialog box. For

Photolux renderer, you can select Shadows under both Model and Room.

Light Definition

Lighting is crucial to a good rendering. Lighting creates dramatic effects in an image

the same way photographers use lights to set up their subjects. If you have

photographs of a similar design, try to recreate the lighting from the pictures.

Experiment with lighting and keep the following tips in mind:

• A good lighting position to begin with is a little above the eyepoint and to the side

(try a 45° angle), similar to a light positioned over your shoulder.

• Spread out your lights and do not make one light stand out too strongly.

• Your model will appear too harsh if you use lights emitting from only one side.

• Too many lights can cause a model to look washed out.


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Remember that pure white lights are only created in a laboratory situation and are

not found in the natural environment. However, use only a small amount of color for

most of your lights. Colored lights enhance a rendered image but can alter the

appearance you have applied to your part. Here are more tips you can use to define

lights:

• To simulate an outdoor environment, use warm colors reflecting from below to

simulate the earth and cool colors from above to simulate the sky.

• For a studio setting, use lights that are close to white.

• Use a directional light with HSV values of 10, 15, 100 to simulate sunlight.

• Use a directional light with HSV values of 200, 39, 57 to simulate moonlight.

• Use a point light with HSV values of 57, 21, 100 to simulate an indoor lamp.

Some of these recommendations include HSV values for lighting. These values may

work for a majority of cases, but remember that HSV values look different depending

on your monitor calibration. If you have customized your monitor, these values

might not work for you.

To Modify Lights From the Light Editor


opens.

2. Select the light that you want to modify.

3. Click Reset to restore the active light to its default position.

4. Under Basic, specify a name and color to define any or a combination of the

following types of lights:

• Lightbulb

• Spotlight

• Distant light

• Skylight

You can also specify the Color Temperature for these lights. The default color

temperature is set to None.

5. Under Spotlight, specify additional definitions for spotlights.

o Angle—Controls the size of the light beam. The spot angle is the diameter

of the beam.

o Focus—Controls the focus of the light beam.

6. Under Sky Light and Environment Lighting in the Basic tabbed page the

Accuracy as Low, Medium, or High for the skylight, where Low

correspondents to 50, Medium corresponds to 300, while High corresponds to

600.


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Note: Higher accuracy increases rendering time.

7. Select Show Light Icons to display light in the graphics window. This enables

you to adjust the position of the lights. In case of spotlights, the Show Light

Icons help in adjusting the spot angle.

8. Under Shadows in the Advanced tabbed page, click Cast Shadows and click

Soft or Hard shadows. For hard shadows of skylight and environment light,

specify the Noise factor. Noise factor controls the magnitude of noise in the

hard shadow. The Noise factor slider value ranges from 0 through 100.

Cast Shadows casts shadows during a rendering. By default, shadows are cast

for the default distant light.

9. Lens Flare Threshold—Controls the lens flare for spotlight and lightbulb. The

Lens Flare Threshold slider value ranges from 0 through 100.

Note: If the threshold value of the light is less than the threshold value set in

Lens Flare effects, lens flare will not be generated for that light.

10. Under Absolute Intensity in the Intensity tabbed page, specify the following

definitions for lightbulb, spotlight, skylight and Environment light:

o Absolute Intensity—Adjusts the absolute intensity of light. Use the

thumbwheel to specify the value. You can see the effect of the light

intensity only when you select the Photolux renderer.

o Unit—Determines the intensity of the light. You can choose Brightness,

Candelas, Kilocandelas, Lumens, or Kilolumens for spotlight and

lightbulb,or Brightness, Lux, Kilolux and Footcandles for distant light,

skylight, and Environment light as the unit of light intensity.

Under Light Scatter in the Intensity tabbed page, specify the following options:

o Scatter—Scatters the light for the lightbulb and spotlight type of lights.

You can see the effect of scattered light only when you select the Photolux

renderer, and enable Scatter in the Effects Editor with appropriate

parameters.

o Falloff—Determines whether light intensity diminishes from the source.

You can diminish light using a natural or linear method or you can turn off

Falloff.

Note: Falloff is available for spotlight and lightbulb.

To scatter light during the rendering, select Light Scatter in the Effects Editor

dialog box.

Note: Scatter is unavailable for distant light, skylight, and Environment light.

11. Under Position, specify the following options:

o Source Location—Positions the light in the x-, y-, or z-direction. This is

independent of the default Pro/ENGINEER coordinate system. The z-

direction is always perpendicular to the screen or view.


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o Aim Point Location—Aims the light.

Note: Aim Point Location is unavailable for light bulb, skylight, and

environment light contain a number of light source points.

o Locked to—Fixes a light to an object or a view.

Camera—The light is fixed in a position relative to the camera.

Model—Fixes a light to the model. The light illuminates the same point on

the model at all times, independent of the viewpoint.

Studio—Fixes a light to the studio. The light illuminates the same point in

the view at all times, independent of the room and model rotations.

Room—Fixes light at the same position, relative to the room. For example,

if you place a light in the top left corner of the room, it always stays in the

same corner of the room.

To Modify Lights From the Graphics Area


opens.

2. Select the light that you want to modify. The light icon is displayed in the

graphics area.

Within the graphics area, you can modify the light in the following ways:

o Place the pointer over the light source that you want to modify and drag it

along the polar ring to the required location. To snap the light source to any

geometry closest to the pointer, hold down the SHIFT key while dragging

the light source.

o You can move the aim point independently of the light source by dragging

the aim point to the required location. This also changes the direction of the

light. To snap the aim point to any geometry closest to the pointer, hold

down the SHIFT key while dragging the aim point.

o Change the spread angle of the spotlight by dragging the base edge of the

spotlight. The base edge is highlighted when you move the pointer over it.

You can also change the focus of the spotlight by dragging the arrowhead

on the direction line of the aim point.

o To move the entire silhouette sphere, drag the direction line of the aim

point. In case of a spotlight, drag the black portion of the direction line to

move the entire sphere.

Note: Changes to the light parameters in the graphics area are synchronized with

the values in Light Editor dialog box and vice versa.


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To Delete Lights


opens.

2. Select the light you want to delete from the light list. You can delete all the lights

in the list except the default lights.

3. Click or Light > Delete to delete the selected light.

To Save a Light File


opens.

2. Click File > Save As in the Light Editor dialog box. The Save As dialog box

opens.

3. Type a name for the light file.

4. Click OK. The light files are saved with a .dlg extension.

Note: Lights scale and reposition parametrically according to the size and position of

the model. This makes the light files reusable with any kind of geometry. To take full

advantage of this capability, save your light files that were created in Pro/ENGINEER

Wildfire 2.0 or earlier releases to the Pro/ENGINEER Wildfire 3.0 format.

To Open a Light File


opens.

2. Click File > Open. The Open dialog box opens. Locate the required light file and

click OK.

or

Click File > System Library to open a predefined light file. The System Library

dialog box opens. Select the required light file and click or double click any

light file to load the light in the Light Editor dialog box.

3. Click Close.

Note: To open a light file from a release prior to the Pro/ENGINEER Wildfire, select a

file with the .lgh extension from the Open dialog box.


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Environment

About the Effects Editor

Use the Effects Editor dialog box to set advanced render functionality. All the

options in this dialog box are supported by Photolux rendering and are available only

with an optional Photolux license. Use this dialog box to define and modify a new

environment, open a saved one, or access the system library of environments.

The following options are available in the Effects Editor dialog box:

• Light Scatter—Simulates the atmospheric scattering of light within a medium

such as a smoky room or a hazy atmosphere. Lightbulbs and spotlights support

light scatter.

• Fog—Adds a fog effect to a rendering.

• Visible Light Lens Flare—Simulates the lens flare effect that is produced when

a camera is pointed towards a light. Lens flare is produced by lightbulbs and

spotlights.

• Hidden Light Lens Flare—Simulates the hidden light lens flare effect.

• Background—Places a background behind the scene. The background simulates

the model in a particular setting and is rendered behind the model and the room.

• Depth of Field—Produces varying focus throughout a scene. Depth of Field is

available only for rendering in the perspective view.

Note: Fog and Light Scatter are mutually exclusive that is you cannot select both

for a single image.

Environment settings are saved in a file with the .den extension.

To Set Fog Properties

1. Click or click View > Model Setup > Effects. The Effects Editor dialog

box opens.

Alternatively, click View > Model Setup > Render Control and click on

the Render Control toolbar that appears. The Effects Editor dialog box opens.

2. Select Fog and click Settings. The Fog dialog box opens.

3. Click the Color swatch and define the color using the Color Editor dialog box.

4. Select Layered Fog to create fog in a horizontal or vertical layer such as ground

fog, cloud cover, or shore fog. Standard Fog is the default.


74

5. Specify the following:

o Distance—Specifies the distance, in model units, that the fog extends to

from the eyepoint.

o Density—Specifies the density of the fog.

6. If required, select Fog Background to render the fog over the background as

well as over the geometry including the room.

7. For additional layered fog properties, specify the following:

o Height—Specifies the height to which the fog extends in the room from the

selected falloff wall.

o Falloff—Specifies the direction in which the fog decreases relative to the

room. For example, if you choose ceiling, the fog falls off from the ceiling of

the room towards the floor.

8. Click Close.

To Set Light Scatter Properties


box opens.



2. Select Light Scatter and click Settings. The Light Scatter dialog box opens.

3. Click the Color swatch and define the color using the Color Editor dialog box.

4. Specify the density of the scatter medium. Increasing the density intensifies the

effect and makes the scattering more visible.

5. Use the Clip thumbwheel to specify the distance, in model units, that the

medium extends to from the eyepoint.

6. If required, select Turbulence to create turbulent light scattering effect and

specify the amount of detail in the scatter medium and the overall size of the

turbulence. Rendering time increases significantly after applying turbulence.

7. If required, select Shadows to specify whether the medium itself receives

shadows. Selecting Shadows increases rendering time significantly and is valid

only when lights cast shadows.

Note: You must select Scatter for the required lightbulb or spotlight in the scene

from the Light Editor dialog box.


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To Set Background Properties


box opens.



2. Select Background and click Settings. The Background Settings dialog box

opens. You can specify a single background or mix two backgrounds.

3. Under Background I, define one of the following properties:

o Color—Defines a solid color for the background using the Color Editor

dialog box.

o Image—Defines an image for the background. Select the image using the

file browser.

Fit Image is available for selection if you select an Image as the

background for both Background I and Background II. Fit Image fits

the image to the graphics window.

o Blend—Defines a procedural image that is a gradation of two colors from

the top to the bottom of the image. Click the Color swatch and specify the

top and bottom colors for the blend in the Blended Color dialog box. To

reset the blended color to previously defined values, select Top or Bottom.

o Clouds—Defines a cloud procedural image. Click the Color swatch and

specify the properties for clouds in the Cloud Editor dialog box.

Specify the color of the cloud and the background.

Use the slider or type a value for Detail. This is the amount of detail in the

clouds and how many wisps are rendered around them. For example, 1

renders a simple outline of the clouds while 6 renders the clouds with fine

detail.

Use the slider or type a value for Scale, specifying the size of the clouds.

4. If you choose to use a second background, under Background II, select Enable

and define the properties for the second background.

Specify a mix ratio which indicates how much of the second background is to be

mixed with the first background. A value of 20 means that 20% of the second

background is mixed with 80% of the first background.

To Set Depth of Field Properties

1. Click or click View > Model Setup > Perspective. The Perspective dialog

box opens.


76


the Render Control toolbar that appears. The Perspective dialog box opens.

2. Use the Perspective dialog box to set the perspective view.

3. Click View > Model Setup > Effects. The Effects Editor dialog box opens.

4. Select Depth of field and click Settings. The Depth of Field Settings dialog

box opens.

5. Select Camera or Planes to define depth of field by either describing a camera

model or a pair of focus planes, respectively.

6. Select Auto Focus to automatically focus at a certain position in the scene. You

can use Auto Focus in conjunction with either Camera or Planes.

7. If you have selected Camera, the scene is in focus at a single plane. The rate of

change of focus is controlled by the F-Stop value. Specify the following

properties:

o F-Stop—Specifies the aperture opening of the camera. This value is

analogous to how you set up a camera, although you are not restricted to

exact camera settings. The minimum value is 1.4 which creates a narrow

depth of field. The maximum value is 20.0 which creates a broad depth of

field.

o Focus—Specifies the distance in model units, from the eyepoint to the

point at which the scene is in focus.

8. If you have selected Planes, the scene is in focus between two planes. The rate

of change of focus is controlled by the blur factor. Specify the following properties

of the focal planes:

o Near and Far—Specifies the focus planes. The model is in focus between

these two planes. The Near and Far planes are indicated by blue vertical

lines and green horizontal lines, respectively. You can see the intersection

of these lines with the model and adjust them manually.

o Blur—Specifies how quickly the scene blurs outside the focus planes.

To Set Lens Flare Properties


box opens.



2. Set up one lens flare environment for visible lights and another one for hidden

lights. A hidden light is one that is behind the geometry or outside the view.

3. Specify a percentage for the overall intensity of the lens flare effect.


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4. Specify the rotation of the lens flare effect in degrees.

5. Specify the minimum flare threshold. For example, if the threshold is set to 0.5,

then only those lights in the scene that have a threshold value of 0.5 or above

produce a lens flare. The threshold slider value ranges from 0 to 100.

Note: You can have a lens flare effect only for lightbulb and spotlight type of lights.

For spotlight, the lens flare effect is visible only if the spotlight is aimed at the

camera.

To Set Lens Flare Effects


box opens.



2. Select Visible lights lens flare or Hidden lights lens flare and click Settings.

The appropriate dialog box opens.

3. Under Effects, click the Rays check box to define light streaks that extend from

the light source. Click the Rays tab and define the following properties for lens

flare rays.

o Color—Defines the color of rays.

o Type—Defines the type of rays. Regular rays are specified by a number and

are bold rays. Random rays are numerous light rays. Mix is a mix of regular

and random rays.

o Number—Defines the number of pairs of regular rays. The number of rays

that you can select ranges from 1 to 20.

o Intensity—Defines the intensity of the rays.

o Length—Defines the length of the ray as a ratio of the glow radius. For

example, the ray extends to the edge of the glow when the length is 1.0.

4. Under Effects, click the Glow check box to define the glow of the light source.

Click the Glow tab and define the following properties for lens flare glow.

o Color—Defines the color of the glow.

o Shape—Defines the shape of the glow. Select from Circle, Polygon, or

Soft Polygon. The polygon shape is a hexagon with sharp corners.

o Intensity—Defines the intensity of the glow.

o Radius—Defines the size of the glow.

5. Under Effects, click the Halo check box to define the halo around the lens iris.

Click the Halo tab and define the following properties for lens flare halos.


78

o Color—Defines the color of the halo.

o Shape—Defines the shape of the halo. Select from Circle, Polygon, or


o Intensity—Defines the intensity of the halo.

o Radius—Defines the size of the halo.

o Width—Defines the thickness of the halo ring.

6. In a photograph, ghosts are caused by the light bouncing between the elements

of the camera lens. To create the same effect in your image, under Effects, click

the Ghosts check box. Click the Ghosts tab and define the following properties

for lens flare ghosts.

o Shape—Defines the shape of the ghost. Select from Circle, Polygon, or


o Number—Defines the number of ghosts. The number of ghosts that you

can select ranges from 1 to 20.

o Intensity—Defines the intensity of the ghost.

Room

About the Room

A room sets the stage for a rendering and is an integral part of a rendered image. A

well-defined room shows a model's best features. The elements of a room include

size, position, and wall patterns (assigned textures).

A room can be either rectangular (default) or cylindrical in shape. You can change

the size of the room and use either the wireframe or shaded display. A shaded

display is automatically viewed in any background room or wall surface.

You can assign textures to the walls of a room. Assign a texture to an individual wall

or to all four walls at once.

To Create a Room

1. Click or View > Model Setup > Room Editor. The Room Editor dialog

box opens.

2. Click Room > Rectangular to create a rectangular room represented by a floor,

ceiling, and four walls or click Room > Cylindrical to create a cylindrical room.

Photorealistic Rendering represents a cylindrical room with a floor, ceiling, and

one wall. By default, a room is rectangular in shape.

3. To assign appearances to the ceiling, floor, and walls of the room.

a. Under Room Appearances, click a thumbnail. The Room Appearance

Editor dialog box opens.


79

b. Select the required appearance from the appearance palette and modify it,

if required.


the default appearances. When you make a copy, the Room Appearance Editor

allows you to change the name and properties of the copy.

4. Select the Lock Room to Model check box to rotate the room along with the

model. Clear the Lock Room to Model check box to rotate only the model.

Note: The Lock Room to Model check box is selected by default if you set the

room_rotation_lock configuration.

5. Click the Position tab.

• Enter values for the size of the Ceiling, Floor, Wall 1, Wall 2, Wall 3, and

Wall 4 of the room. Alternatively, use the thumbwheels to adjust the size of the

ceiling, floor, and walls.

• If required, click next to Ceiling, Floor, Wall 1, Wall 2, Wall 3, and Wall

4, respectively to align the ceiling, floor, or walls of the room to the visible

shaded geometry.

• Under Scale, use the thumbwheel to scale the entire room. If required, select

Scale Floor to scale the floor along with the walls and ceiling.

The dimensions of the ceiling, floor, and walls and the size of the room change

dynamically in the graphics window.

6. Click the Rotate tab.

• Enter values for x-, y-, and z-axis to rotate the room on its axes. Alternatively,

specify values for x-, y-, and z-axis by using the thumbwheels.

• If required, set room orientation to Studio or Model and click Orient.

If you select Studio and click Orient, the room is oriented such that Wall 2 is

parallel to the screen and the x-, y-, and z-axis values are reset to zero.

However, if you select Model and click Orient, the room changes its orientation

to align to the default coordinate system of the model.

7. Click the Display tab.

• Under Walls Displayed, click or clear the check box next to Ceiling, Floor,

Wall 1, Wall 2, Wall 3, and Wall 4 to display or hide them, respectively.

• Under Display Options, select either the Shaded or Wireframe mode of

display for the room.

8. Click Close.

Tip: Creating a Room

The size and orientation of the room and the placement of textures on the walls,

ceiling, and floor are all issues that affect the quality of an image. For a rectangular


80

room, making the corners of the room look realistic can be the hardest aspect of

room creation.

You can avoid the problem of room corners by either creating a cylindrical room or

by making the room so large that the corners are not included in the image. Move

the walls of the room away from the model and then zoom in on the model for the

rendering.

To Apply a Texture to a Room


box opens. You can assign textures to the walls of a room. Assign a texture to an

individual wall or to all the walls at the same time.

2. Select a texture using one of the following methods:

o File > Open to open an existing room file.

o File > System Library to open a predefined room file.

o File > New to add a new room file. This resets the texture of the room

with the default room file.

3. Under Room Appearances, click the appearance that you want to modify. The

Room Appearance Editor dialog box opens.

4. Select the required appearance from the Room appearance palette and click

in the editor, or Material > New to create a new appearance.


the default appearances. If you want to change the appearances, click , or

Material > New to make a copy of the appearance. The Room Appearance

Editor allows you to change the name and properties of the copy.

5. If required, specify a name for the copy of the appearance.

6. Specify values for the options on the Basic, Map, Advanced, and Photolux

tabbed pages in the Appearance Editor dialog box to define the appearance.

7. Click Close to close the Room Editor dialog box.

To Save a Room File


box opens.

2. Click File > Save As in the Room Editor dialog box. The Save As dialog box

opens.

3. Type a name for the room file.

4. Click OK. The room file is saved with a .drm extension.


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Note: A room scales parametrically. The size of the room changes according to the

size of the model. This makes the room files reusable with any kind of geometry. To

take full advantage of this capability, save your room files that were created in

Pro/ENGINEER Wildfire 2.0 or earlier releases to the Pro/ENGINEER Wildfire 3.0

format.

To Open a Room File

1. Click or click View > Model Setup > Room Editor. The Room Editor

dialog box opens.

2. Click File > Open. The Open dialog box opens. Locate the required room and

click OK.

or

Click File > System Library to open a predefined room. The System Library

dialog box opens. Select the required room file, click or double-click any

room file to load the room in the Room Appearances palette.

3. Click Close.

Scenes

About the Scene File

A scene file is a collection of render settings applied to a model. These settings

include lights, rooms, and environment effects. All information about the scene is

stored in a file with a .scn extension.

Note: Set the default_scene_filename <path to scene file> configuration

option to point to the scene file where you have saved the light, room and effects

settings in the scene file. You can use this file as your default scene file.

You can access the Scenes dialog box by clicking or View > Model Setup >

Scene Palette. The scenes palette in the Scenes dialog box, by default, displays

the default scenes located at <loadpoint>/graphic-library/scenes. The scenes

palette also displays scenes from the Pro/ENGINEER startup directory. Using the

Scenes dialog box, you can add scenes to the scenes palette, create new scenes,

copy existing scenes, edit current scenes, and save scenes for future use.

You can apply a scene to a model by double-clicking the scene thumbnail in the

scenes palette. On applying the scene, the lights and room are displayed only if the

light and room editors are open.

Scenes are loaded and remain in memory during the session. If you want to save the

scenes permanently, then you must save them as scene files.

When you activate a scene from the scenes palette, the scene settings are applied to

the model in the current window. This also becomes the active scene in the memory.

On making changes to this scene, the active scene in the memory is modified. You


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can save these changes made to the active scene in the memory by either saving the

scene with the model or by saving the scene as a scene file.

Saving the model does not save the modifications made in the active scene, unless

you click the Save scene with model check box in the Scenes dialog box. The

Save scene with model option is controlled by the save_scene_with_file configuration option. When you set the save_scene_with_file configuration option

to yes, Save scene with model remains selected for the duration of the session.

You can also save the scene independently by clicking File > Save As in the Scenes

dialog box. If you want to save the textures with the scene, then you must set the

save_texture_with_model configuration to yes.

You can save only one scene with the model. When you reload the model from its

location, the scene that is saved with the model is activated.

Room and lights within the scenes scale parametrically, depending on the size of the

model to which the scene is applied. The room is automatically resized or the

position of the lights change making the scene reusable with any kind of geometry.

Note:

• In the scenes palette, the thumbnail of a new scene is displayed with a symbol

while the thumbnail of a modified scene is displayed with a symbol.

• In the scene palette, the active scene's thumbnail has a red border while the

selected scene's thumbnail has a blue border.

• Result of rendering would differ from thumbnails when using Photorender.

To Create a New Scene

1. Open a model in Pro/ENGINEER.

2. Click or click View > Model Setup > Scene Palette. The Scenes dialog

box opens.


the Render Control toolbar that appears. The Scenes dialog box opens.

3. Click File > New in the Scenes dialog box. The scene with the default settings is

added to the scene palette and is also applied to the model. The newly added

scene has a symbol over its thumbnail in the scene palette.

4. If required, edit the lights, room, and other render options.

5. Click File > Save As in the Scenes dialog box. The Save As dialog box opens.

6. Type the required name and click Save. The scene is saved as a scene file with a

.scn extension.

Note: While saving a scene file, the scene name is appended to the names of the

scene's room appearances so that the room appearances have unique names.


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To Create a New Scene by Copying an Existing Scene

1. Open a model that does not have a scene saved with it.


box opens.



3. Select a scene from the scene palette and click Edit > Copy to create a copy of

the selected scene. The copied scene is added to the scene palette as a new

scene with a symbol on its thumbnail.

4. To activate the new scene, double-click its thumbnail in the scene palette. The

new scene is loaded into the current window.

5. Edit room, lights, and render options, if required.

Note: When you edit the scene, the symbol on the scene's thumbnail changes

to a symbol, indicating that the scene has been modified.

6. Click Save scene with model and save the model. The new scene is saved with

the model. If you continue modifying the scene and saving the model, the latest

updates of the scene and the model are saved.

Alternatively, click File > Save As in the Scenes dialog box and save the scene

as a scene file.

To Retrieve and Update an Existing Scene From the Disk


box opens.



2. Click File > Append to load a scene from the library to the palette if the scene is

not already loaded. The newly loaded scene has a symbol on its thumbnail.

3. To activate the scene, double-click the scene's thumbnail in the scenes palette or

click Edit > Apply. The scene is applied to the current model.

4. Make modifications to the scene by changing the lights, room settings, or

environment effects.

Note: When you edit the scene, the symbol on the scene's thumbnail changes

to a symbol, indicating that the scene has been modified.

5. Click File > Save As. The Save As dialog box opens. Overwrite the original

scene file in the scene library.

Note: A warning is displayed when overwriting the file.


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6. Click OK. The original scene is updated with the changes and its thumbnail is

updated in the palette.

To Reuse a Scene From Another Model

1. Open a model that has a scene saved with it.


box opens. The scene that is saved with the model is loaded in the scene palette

for the session. The thumbnail of the scene has a symbol.

3. Right-click on the scene's thumbnail in the scene palette and click Copy. A copy

of this scene is created in the scenes palette. The copied scene's thumbnail also

has a symbol on it.

4. Open a second model that has a scene saved with it.

5. Open the Scenes dialog box. The second model's scene is loaded in the scenes

palette. The second model and its scene now become the active model and the

active scene.

6. Double-click on the first model's copied scene that is available in the scenes

palette, to apply this scene to the second model.

7. Click Save scene with model in the Scene dialog box and save the model. The

scene is saved with the model.

To Save a Scene With the Model

1. Open a model that does not have a scene saved with it.

2. Click View > Model Setup.

3. Click the appropriate command to set up room, lights, and render options.


box opens.

5. Click Save scene with model and save the model. The new scene is saved with

the model. If you continue modifying the scene and saving the model, the latest

updates of the scene and the model are saved.

Alternatively, click Update > Model and save the model. The model is updated

with the active scene settings immediately. These settings are saved with the

model when the model is saved.

To Remove a Scene From the Scene Palette


box opens.


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2. In the scenes palette, select the scene that you want to remove from the palette.

3. Click Edit > Delete. The scene is removed from the palette.

Orientating and Viewing the Model

About Orientating and Viewing the Model

Use the Orientation dialog box to change the view of the model. The view is created

by selecting an axis or two surfaces that lie along two planes. The model is oriented

along the reference.

Perspective viewing creates a dynamic single-vanishing point perspective of a shaded

or wireframe model. You can observe an object as the view changes following a

curve, axis, cable, or edge around an object. Choose a viewing path and then control

the position of the model, rotating the perspective view, zooming, and changing the

viewing angle.

To Change the Perspective View

1. Click or click View > Model Setup > Perspective. The Perspective dialog

box opens.

2. Select one of the following methods to move a view:

o Fly Through—Manual method of changing the perspective view. The

orientation and position of the model is controlled with flight simulator-like

interactions.

Middle-clicking starts the Fly Through method. In the Fly

Through mode, you can move the object as follows:

Middle click to move towards the object. Middle-click and hold down to

accelerate the forward movement of the view.

CTRL+middle-click will decrease the speed while moving forward.

After reaching the zero-velocity, use CTRL+middle-click to move away from

the object. Middle-click and hold down to accelerate the backward

movement of the view.

Similarly, middle click to decrease the speed of movement of the view while

moving the view away from the part.

Middle-click twice to stop the movement of the view without exiting from

the Fly Through mode.


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Note: After reaching the zero-velocity, you can restart the forward and

backward movement of the view. Using the spin center symbol, you can

then spin the model with the movement of the mouse.

To exit the Fly Through mode, hold down the SHIFT+CTRL keys and

middle-click.

o Walk Through—The view can be manipulated using only the controls in

the Perspective dialog box. This method allows you to move the object

only in the two-dimensional view.

o From/To⎯Viewing path along the object is defined by two datum points or

vertices.

o Follow Path⎯Viewing path is defined by an axis, edge, curve, or

silhouette.

3. Select Dynamic Update to automatically display the adjustment of the settings.

4. Specify a value for Eye Dist to move the viewpoint along the selected path

through the model. For a shaded model, nothing is visible when the path lies

inside the model.

5. Specify values for Rotate Eye in the range of -180 to +180 degrees, to set the

rotation around axes.

6. Specify values for Pan Eye to set the horizontal and vertical position of the

display.

7. Specify the Zoom value. This sets the percentage of magnification of the display.

8. Specify the View Angle in the range of 0 to 45 degrees.

9. Click OK to set the values.

Note: In the Perspective mode, you may find it difficult to view the model if the

eyepoint is close to the model. Surfaces also may not be rendered correctly if the

model is complex and contains many surfaces that are close to each other. Use the

zoom functions for a better perspective view of the model.

To Orientate Dynamically

1. Click or click View > Orientation > Reorient. The Orientation dialog box

opens.


the Render Control toolbar that appears. The Orientation dialog box opens.

2. Under Type, select Dynamic orient as the type of orientation to orientate the

model.

3. Under Options, specify the horizontal and vertical values for Pan to set the

position of display.


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4. Specify the Zoom value. This sets the percentage of magnification of the display.

5. Click Refit to fit the model to screen or Center to pick a new screen center.

6. Under Spin, click to spin using the spin center axis or to spin using

the screen center axis.

7. Select Dynamic Update to automatically display the adjustment of the settings.

8. If required, save the view. Open the Saved Views container and select the

required view. The selected view is displayed in the Name box.

9. To define a view name of your choice, type a name for the view in the Name box

and click Save to save the new view name.

10. If required, select a view and click Set to set the selected view as the current

view.

11. Click OK to orientate the view dynamically.

To Orientate by Reference


opens.



2. Under Type, select Orient by reference as the orientation type.

3. Under Options, select a plane or axis as a reference for orientation from the list

in the Reference 1 box.

4. To use the axis method, select Horizontal axis or Vertical axis from the list in

the Reference 1 box. Select an axis from the screen or from the dialog box. The

model is orientated in the view.

or

To use the plane method, select one of the planes from the list in the Reference

1 box and select the surface from the view. This orientates the selected surface

along the defined plane, but you must select another reference point to complete

the orientation.

5. If you orientate a surface along a plane, select the required plane from the list in

the Reference 2 box. Select the surface to orientate along the second reference

plane. The model is orientated in the view.






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view.

9. Click OK to orientate the model by reference.

To Orientate by Preference


opens.



2. Under Type, select Preferences as the type of orientation.

3. Under Spin Center, select one of the following spinning methods:

o Model center—The spin center is at the center of the model.

o Screen center—The spin center is at the center of the screen.

o Point or vertex—The spin center is at the selected point or vertex.

o Edge or axis—The spin center is at the selected edge or axis.

o Coordinate system—The spin center is at the selected coordinate system.

4. Under Default Orientation, set the orientation to Isometric, Trimetric, or

create a User Defined orientation.






view.

8. Click OK to orientate the view by preference.

To Render a Model

1. Load the part or assembly.

2. Define and set appearances for the part or surfaces using the Appearance

Editor dialog box.

3. Define a rendering room using the Room Editor dialog box. Size and orient the

room to fit your model and rendering style. Apply textures to the room to create

a detailed background, if required.

4. Create and position lights using the Light Editor dialog box. Illuminate the

model from different angles with a variety of light sources.


89

5. Move and rotate the model until you achieve the required view. You can also

change the viewing perspective.

6. Choose and apply an existing scene from a variety of scenes from the Scene

dialog box.

7. Select rendering options using the Render Setup dialog box. Set the render

Output as Full Window in the Render Setup dialog box.

8. Click or click View > Render Window to render the model. If required,

modify the rendering settings and render again.

9. To save the rendered output, click from the Render Control toolbar and save

the currently displayed image to a file.

About Render Region

Rendering an entire window to view the results of the effects applied to the model

takes considerable amount of time. In such cases, the Render Window functionality

enables you to view the results of the effects on the model without having to render

the entire window.

This functionality enables you to select a region of the window where the effects are

applied, and render only this selected region.

To Use Render Region

1. Click on the Render Control toolbar.

2. In the graphics window, select a region of the model that you want to render.

Pro/ENGINEER renders the selected region.

If Pro/ENGINEER has already performed a full window rendering, render region is

composited over the full window rendering.

Note: Render region is available only when:

• You set the renderer to Photolux.

• You select the render output as Full Window under Output in the Output tab.

Images

About Importing Images

When importing large images, Pro/ENGINEER rescales the image to the value set for

the max_image_dimension configuration option. This configuration option sets the

maximum size of images that Pro/ENGINEER can load. Images larger than the

maximum size are rescaled to the specified size when they are imported.

Pro/ENGINEER maintains the aspect ratio of the image during rescaling.


90

About Saving an Image

You can save an image to a file while you are rendering, or view the image and then

decide to save it. Use the Image Editor to edit any supported image file.

You can also use the Image Editor to display one image at a time or multiple

images in a slideshow-like format.

About the Image Editor

The Image Editor provides the following options:

• Edit—Includes the following options:

o Undo—To undo the previous operation performed on the image.

o Cut—Removes the selected area from the image.

o Copy—Copies the selected area.

o Paste—Pastes the area that was previously cut or copied to the image.

• View—Includes the following options:

o Display Alpha Channel—Displays the Alpha Channel.

o Pointer Position—Displays the x- and y-coordinates of the pointer in the

bottom right corner of the Image Editor.

o Pixel ARGB Value—Displays the Alpha and RGB values at the pixel

location of the pointer in the bottom right corner of the Image Editor.

• Image—Includes the following options:

o Size—Resizes the image.

o Mirror—Mirrors the image either horizontally or vertically.

o Rotate—Rotates the image either clockwise or counterclockwise.

o Crop—Crops the image.

o Repeat—Duplicates the image. Use this option to create a tiled texture

larger than the original image file.

o Blur—Blurs the image. The valid range is 2 through 9.

o Oil Paint—Creates an oil paint effect on the image.

o Smear—Smears the image.

o Sharpen—Sharpens the image. The valid range is 0.0 through 1.0.

o Brighten—Brightens the image.

o Contrast—Changes the contrast of the image. The default contrast value is

20.

o Saturation—Changes the saturation of the image.


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o Tint—Changes the tint of the image.

o Grey Scale—Converts the image to grey scale.

o Emboss—Creates an embossed effect on the image.

o Create Alpha Channel—Reads any pixel of the specified RGB values in the

image and makes it a transparent channel.

o Slideshow—Displays multiple images in a slideshow format.

To Save an Image


dialog box opens.



2. Use the Render Setup dialog box to save the image after rendering. Preview the

image until you have the required result.

3. Click the Output tab.

4. Select the required file format for the rendering output in the Render To box. A

file name with the appropriate extension appears in the File Name box. This will

output the image with the required file name while rendering the model using

Render Model.

5. To view a rendered image first and then decide whether to save it, set the

rendering output to Full Window, render the model, and click to save it.

or

Set the rendering output to New Window and render the model to display the

image in the Image Editor. Modify the image if required and click File > Save

to save the image.

6. Click File > Save a Copy from the top menu bar of the Pro/ENGINEER window to

save a shaded image using any valid image file formats.

To Edit an Image

1. Click . The Image Editor opens.

2. Open the image that you want to modify.

3. Use one of the following options available on the Image Editor to modify the

image.


92

4. Use the Edit, View, or Image menu options to further modify the image.

5. Click File > Save to save the image.

To Use Slideshow

1. Click . The Image Editor opens.

2. Open the image that you want to modify.

3. Click Image > Slideshow. The Slideshow dialog box opens.

4. Click Insert and use the Open dialog box to add individual files to the slideshow

or

Click Append Dir and use the Select Working Directory dialog box to add all

the images in the selected directory into the slideshow.

5. Select the directory where the images are stored and, if necessary, select image

files. To add multiple files, hold down the CTRL key, select additional images, and

click OK in the respective dialog box.

6. Use the following methods to control the slideshow:

o —Cycles through the images in a continuous loop.


93

o —Displays the images once and stops. Reverses the direction before

beginning the slide show or when you select the continuous loop option.

o —Optimizes the size of the image to fit the window while retaining

the width and height ratio.

o —Stores the image files in memory. Replaying the images is faster

as the slideshow does not reload them from disk each time.

7. Click Close.

Glossary

Glossary for Photorealistic Rendering

Term Definition

Alpha The optional fourth channel in an RGB image file,

typically used for compositing.

Ambient Light A light that equally affects all portions of all objects in a

rendering scene.

Ambient Light

Reflection

A property of the surface that determines how much

light from an ambient light source is reflected off the

surface, regardless of the position or angle of any light

source.

Appearance A set of attributes that determine the appearance of a

surface. These attributes include color, reflecting

ability, transparency, texture, and so on.

Appearance

Sphere

The sphere that is contained in the appearance editor

that displays the current appearance properties.

Backface The back side of a surface.

Background The environment, other than the room, in which the

model is rendered.

Bounces A ray trace option that determines how many times a

light ray bounces before it arrives at the eyepoint.

Brightness The property of an appearance that determines its

intensity after the hue is chosen.

Bump Map A one-channel texture map that creates the illusion of

surface roughness.


94

Term Definition

Bump Height The height or depression of the bump map features.

Color The surface color of a lighted model.

Color Blender A part of the color editor that provides a continuous

range of colors. Blends colors between the four color

chips of the blender.

Color Box A part of the color editor that allows you to define

colors along two axes based on red, green, and blue

values of colors.

Color Palette A part of the color editor that provides an array of

colors.

Color

Temperature

Color Temperature is a property that indicates the hue

of a specific type of light source.

Color Texture A three-channel texture map that consists of red,

green, and blue values.

Color Wheel A part of the color editor that allows you to select

colors based on hue, saturation, and brightness.

Decal A four-channel texture map that consists of a standard

color texture map and a transparency (or alpha)

channel.

Decal Intensity The intensity of the decal map.

Depth of Field The distance between the closest and the farthest

points from a camera that are in sharp focus.

Distant Light Distant lights cast parallel light rays, illuminating all

surfaces at the same angle, regardless of the position

of the surfaces. This type of lighting simulates the sun

or any other distant light source.

Effects Additional special effects like fog, scatter, lens flare and

depth of field that can be applied to the final rendered

scene.

Environment

Light

High Dynamic Range Image (HDRI) Light that uses the

image pixels for lighting a scene.

Fog A misty effect that can be applied during rendering.

Gamma An inherently nonlinear reproduction of intensity by a

display device (monitor).


95

Term Definition

Highlight Color The color of the highlight that is reflected from the

model.

Highlight Shine The sharpness or spread of the highlight; the smaller

the highlight, the shinier the surface.

Highlight

Intensity

The brightness of the highlight.

Hue The basic shade or tint that defines a color.

Hue,

Saturation,

Brightness

The combination of dominant wavelength, purity, and

intensity that fully specifies a color.

Image The picture that is created during a rendering. An

image can be displayed on the screen or written to a

file.

Lens Flare An effect caused by internal reflections of light within

the lens of a camera.

Graphics

Library

A collection of textures, appearances, rooms, and lights

that are stored together on disk for convenient access

when assigning parts of a scene.

Light Necessary for all renderings, lights have position, color,

and brightness. Some lights also have direction,

spread, or concentration. The six types of lights are

ambient, environment, skylight, distant, lightbulb, and

spotlight.

Lightbulb A type of light where the illumination radiates from the

center of the bulb. The effect of a lightbulb on a surface

depends on the position of the light from the surface.

Light Room A rendering option that determines whether the room

is lit by user-defined lights or a standard ambient

lighting.

LWA LightWorks Material Archives. These are third party

appearances that are supported only by the Photolux

renderer. You must have appropriate licenses to view

or edit these materials.

Mapping Types The specification for how textures are to be mapped

onto a surface. Available mapping methods are planar,

cylindrical, spherical, and parametric.


96

Term Definition

Palette A collection of rendering objects that are displayed

together in an editor. Palettes are available for

appearances, lights, and scenes.

Perspective

View

Viewing the model the way our eye perceives 3D

objects in the real world.

PhotoRender A rendering utility that creates photorealistic images of

a scene.

Pixel A single dot of an image, displayed by the combination

of three primary colors, red, green, and blue.

Preview A framed area in the graphics window that displays the

contents of the image before rendering, depending on

the image size you select.

Ray Trace An approach to generating more realistic images.

Models are shaded by simulating the inter-reflection of

rays of light between objects in a scene. Rays are

"traced" from the light through the scene to the

eyepoint.

Reflect Model

in Floor

A rendering option that reflects a model in the floor

during a rendering.

Reflect Room A rendering option that controls the reflection of the

room on the model.

Reflection The degree to which a model reflects its surroundings.

Refraction The degree to which light bends as it passes through a

material.

Render Window Generates a photorealistic image of the model.

Render Quality A rendering option that controls the surface-rendering

quality in a model.

Render Room A rendering option that switches the display of the

room during a rendering.

RGB The red, green, and blue values of a color.

Room The environment in which the model is rendered. A

rectangular room has four walls, a ceiling, and a floor.

A cylindrical room has one wall, a floor, and a ceiling.

You can display the room with a grid pattern or apply

textures to a room.


97

Term Definition

Saturation The purity of the hue in a color. An "unsaturated" color

is gray.

Scatter Light scattering is an effect used to simulate

atmospheric or volumetric scattering of light within a

medium, for example a smoky room or a hazy

atmosphere.

Scene A collection of render settings applied to a model.

These settings include lights, rooms, and environment

effects.

Self Shadows A rendering option that causes shadows from a model

to be cast onto itself.

Shadows on

Floor

A rendering option that switches floor shadows.

Sharpen

Geometric

Textures

A rendering option that renders geometric textures

with more clarity.

Sharpen

Textures at

Angle

A rendering option that sharpens the image of textures

that are rendered at a shallow angle to the view.

Skylight A light source that simulates the sky using a

hemisphere that contains a number of light source

points.

Slideshow A utility that displays multiple images in a sequence.

Spotlight A type of light whose light rays are confined within a

cone. The effect of spotlight on a surface depends on

the light’s position from the surface.

Spot Angle The diameter of a spotlight's circle of light.

Spot Focus The sharpness of a spotlight's beam.

Supersampling Supersampling is a method to calculate the color

between a number of pixel samples. To obtain the

required color, the reading of a number of pixel

samples is taken and then an average of their values is

calculated to get a better approximation.

Surface A three-dimensional form that defines a geometric

object.

Texture An image that is used to determine the color or


98

Term Definition

appearance of a surface.

Transparency The degree to which you can see through a surface.

Watermark A watermark refers to text or an image that appears

over your rendered image. Watermarking can also be

used as an authentication technique. A watermark is a

unique identifier that is inserted to personalize the

rendered image.

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Index

A

Appearances

creating texture......................... 48

remove appearances .................. 25

setting to model ........................ 23

Appearances ................................ 18

C

Color

about Color Editor...................... 20

creating appearance................... 21

display colors ............................ 21

using Color Editor ...................... 23

Color........................................... 23

config.pro Options

PhotoRender Setup Options...11, 12,

13, 14, 15

setting PhotoRender options..2, 3, 4,

10, 11

config.pro Options ........................ 10

config.pro Options ........................ 11

E

Environment

Background............................... 75

Depth of Field............................ 75

Fog Property ............................. 73

Lens Flare............................76, 77

Light Scatter ............................. 74

Environment ................................ 73

F

File formats

Image........................................ 8

saving a room............................80

saving images............................91

saving lights ..............................72

File formats ..................................90

I

Image Size

editing ......................................91

Render options..................... 3, 5, 6

Image Size...................................91

Images

editing ......................................91

saving................................. 90, 91

Slideshow..................................92

Images ........................................90

L

Light Icons ...................................62

Lights

creating .............................. 62, 68

deleting ....................................72

modifying............................ 69, 71

saving.......................................72

understanding............................61

Lights ..........................................61

LWA

editing ......................................60

obtaining license ........................59

LWA ............................................58

LWA ............................................59


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P

PhotoLux

creating.................................... 26

editing.... 27, 29, 30, 31, 32, 33, 34,

35, 36, 37, 38, 39, 40, 41, 42, 43

Options .................................. 6, 7

PhotoLux ....................................... 9

PhotoLux ..................................... 25

PhotoLux ..................................... 26

R

Realtime Rendering

Settings...............................16, 17

Realtime Rendering....................... 15

Render

Procedure ........................ 3, 85, 88

rendering model ............. 86, 87, 88

System Libraries........................ 20

Render .......................................... 1

Room

creating...............................78, 79

Render options............................ 5

saving................................. 80, 81

texturing ...................................80

Room ..........................................78

S

Scene

creating .............................. 82, 83

removing ..................................84

saving.......................................84

Scene ..........................................81

Shadows

Hard and Soft Shadows...............68

Shadows......................................16

T

Textures

applying to a room .....................80

creating appearance ............. 46, 48

displaying textures .....................57

storing ......................................48

Textures ......................................46

photo render

Documents