photo studio optimizer page 1 photo studio...

Photo Studio Optimizer

Preface

Using This Guide More Information Conventions

What`s New?

Getting Started

Entering the Photo Studio Workbench Defining a Scene

User Tasks

Lighting Creating Global Illumination Creating Caustics Using Depth of Field Applying a Glow Effect Creating a Cartoon Rendering

Textures About 3D Textures Applying a 3D Marble Texture Applying a 3D Vein Texture Applying a 3D Rock Texture Applying a 3D Chessboard Texture Applying a 3D Alternate Vein Texture Creating a Bump Mapping for 2D Textures

Distributed Rendering Installing and Uninstalling Satellites on Windows Installating and Uninstalling Satellites on UNIX Using Distributed Rendering

Glossary

Index

1Page Photo Studio Optimizer Version 5 Release 13

PrefaceWelcome to Version 5 Photo Studio Optimizer! This new product is a dedicated Photo Studio workbench and represents an essential complement for users who want to create images and movies that will match reality.

Indeed, Photo Studio Optimizer empowers Photo Studio`s rendering capabilities with advanced technologies such as Global Illumination and Caustics.

Photo Studio Optimizer offers powerful tools to improve "like real" sensation. Thanks to 3D Texture and Bump Mapping functionalities, users will see what will be the product appearance at the beginning of its physical lifecycle.

Using This GuideMore Information

Conventions


Using This GuideThis guide is intended for any users wishing to generate photorealistic images of products.

All users should be familiar with basic Infrastructure concepts such as document windows, standard and view toolbars as well as the 3D compass.

This guide is organized as follows:

● Getting Started tutorial provides information for starting a Photo Studio session

● User Tasks section guides you step-by-step through basic procedures such as managing light sources, 3D textures, and so on

● Glossary provides keyterm definitions

● Index provides a list of terms specific to product image.


Where to Find More InformationPrior to reading this book, we recommend that you read the Infrastructure User's Guide.

You may also find useful to read the Real Time Rendering User`s Guide that allows you to define material specifications that will be shared across your entire product development process as well as map materials onto products to produce photorealistic images.

Certain conventions are used in the documentation to help you recognize and understand important concepts and specifications.


ConventionsCertain conventions are used in CATIA, ENOVIA & DELMIA documentation to help you recognize and understand important concepts and specifications.

Graphic Conventions

The three categories of graphic conventions used are as follows:

● Graphic conventions structuring the tasks

● Graphic conventions indicating the configuration required

● Graphic conventions used in the table of contents

Graphic Conventions Structuring the Tasks

Graphic conventions structuring the tasks are denoted as follows:

This icon... Identifies...

estimated time to accomplish a task

a target of a task

the prerequisites

the start of the scenario

a tip

a warning

information

basic concepts

methodology

reference information

information regarding settings, customization, etc.

the end of a task

functionalities that are new or enhanced with this Release.

allows you to switch back the full-window viewing mode.

Graphic Conventions Indicating the Configuration Required

Graphic conventions indicating the configuration required are denoted as follows:

This icon... Indicates functions that are...


specific to the P1 configuration



Graphic Conventions Used in the Table of Contents

Graphic conventions used in the table of contents are denoted as follows:

This icon... Gives access to...

Site Map

Split View mode

What's New?

Overview

Getting Started

Basic Tasks

User Tasks or the Advanced Tasks

Workbench Description

Customizing

Reference

Methodology

Glossary

Index

Text Conventions

The following text conventions are used:

The titles of CATIA, ENOVIA and DELMIA documents appear in this manner throughout the text. File -> New identifies the commands to be used. Enhancements are identified by a blue-colored background on the text.

How to Use the Mouse

The use of the mouse differs according to the type of action you need to perform.

Use thismouse button... Whenever you read...


● Select (menus, commands, geometry in graphics area, ...)

● Click (icons, dialog box buttons, tabs, selection of a location in the document window, ...)

● Double-click

● Shift-click

● Ctrl-click

● Check (check boxes)

● Drag

● Drag and drop (icons onto objects, objects onto objects)

● Drag

● Move

● Right-click (to select contextual menu)


What's New?

New Functionality

Cartoon RenderingThis new rendering mode enables the drawing of contours around the geometry.

Enhanced Functionality

Distributed RenderingImprovement of the procedure for installing satellites on Windows and on UNIX.


Getting StartedThe following tutorial introduces the basic functionalities you need to be familiar with when using Photo Studio Optimizer.

It provides 2 step-by-step tasks for:

Entering the Photo Studio WorkbenchDefining a Scene

All together, these tasks should take 15 minutes to complete.


Entering the Photo Studio Workbench

This first task will show you how to open the Photo Studio Optimizer which is accessible via the Photo Studio workbench.

The only pre-requisite for this task is to have a current Version 5 session running.

1. From the Start menu, select the Infrastructure->Photo Studio command.

The Photo Studio workbench is displayed:


Defining a Scene

This task gives you a quick methodology to define the parameters involved in the scene creation, i.e. light, camera, textures.

Open the Cat.CATProduct document.

Select the Shading with Material icon from the View toolbar.

The product looks like this:

1. Create an empty environment (either box, cylindrical or spherical).

2. Choose the point of view you want to use then click the Create Camera icon .

3. Click the Create Spot Light icon to define a conical light source then orientate the

light as you wish with the help of the light preview on the environment walls.

Set the lighting attenuation in order that it does not end before the environment, otherwise the environment will be almost entirely shadowed.


4. Click the Quick Render icon to check the result. Perform as many modifications as

necessary and check that what you get is really what you want to lit.

5. Apply a texture on your environment and your part(s) by clicking the Apply Material icon

and check the result by creating a quick render.

Once you are satisfied, you can create a shooting to have a finer result. To do so:

6. Click the Create Shooting icon to define the shooting parameters.

We advise you not to modify the default shooting parameters except those concerning

accuracy. When the accuracy parameters is set beneath the mid value, you should

obtain a result nearly as identical as the quick render.


7. Click the Render Shooting icon then the Render Single Frame button to check the

result. Go back to the material Properties to correct the parameter definition if necessary.

Here are a few tips for lighting parameters:

● Ambient: use very carefully the Ambient parameter ("good" values are around 10%) to avoid final color saturation

● Diffuse: start by setting the Diffuse parameter to the minimum intensity: when you define the material lighting, the sum of all parameters (except Shininess) should be roughly equal to 1 to render the material with realism, but nothing forbids you to choose higher or lower sum values to achieve special effects: they may simply be harder to control

● Reflectivity/Specular: set the Reflectivity and the Specular parameters simultaneously

● Transparency: if the material is transparent, define a Transparency value. We recommend you to define this parameter at the end.

8. When the result is satisfactory, adjust the shooting parameters to refine the result such as

the reflection number, the anti-aliasing, etc. in the Shooting Definition dialog box.

9. Click OK when you have finished.


User TasksLightingTextures

Distributed Rendering


Lighting

Creating Global IlluminationCreating Caustics

Using Depth of FieldApplying a Glow Effect

Creating a Cartoon Rendering


Creating Global Illumination

This task shows how to tune your lighting parameters and shooting quality when using global illumination. Global illumination simulates indirect illumination of objects by diffuse interreflection of light coming from diffuse surfaces. This functionality allows indirect lighting effects among which caustics (detailed in another task) and color bleeding.

Below is an example of global illumination. Just click the thumbnail to see the full-size picture:

Open the CornellBox.CATProduct document.

Before starting to define indirect illumination parameters, make sure that direct lighting parameters (intensity, attenuation, etc.) have been correctly set by generating quick renders to check the result.

1. Access the light properties (by selecting the light item in the specification tree then right-

clicking the Properties command) then click the Indirect Illumination tab:

The Emit Photons options is already checked for the current sample document but note that it is deactivated by default.

energy particles take different paths as they bounce from one object to another. A photon path can evolve in two ways: photons are either absorbed by an object they hit (through reflection or transmission) and in that case the path ends, or photons get lost in space without hitting another object and the path is infinite.Photon emission can be compared to ray casting, the differences being that photons are emitted by a light source and not a camera as for rays and that photons have energies but rays have colors.

How are photons stored?

As a photon bounces from one object to another, each rebound on a diffuse surface (and on a diffuse surface only) is stored in a three-dimensional data structure called a photon map. Thus the photon map contains the position and the light energy of each photon hitting a diffuse surface, these data being used later to compute indirect illumination.The only exception in the storing phase is the first reflection or transmission point which is never taken into account because it is handled by direct illumination.

Let`s detail the figure below explaining how photons are emitted, absorbed and stored through two photon paths:


What are photons?

Photons are energy particles emitted into the scene by a light source. Once emitted, these energy particles take different paths as they bounce from one object to another. A photon path can evolve in two ways: photons are either absorbed by an object they hit (through reflection or transmission) and in that case the path ends, or photons get lost in space without hitting another object and the path is infinite.Photon emission can be compared to ray casting, the differences being that photons are emitted by a light source and not a camera as for rays and that photons have energies but rays have colors.

How are photons stored?

As a photon bounces from one object to another, each rebound on a diffuse surface (and on a diffuse surface only) is stored in a three-dimensional data structure called a photon map. Thus the photon map contains the position and the light energy of each photon hitting a diffuse surface, these data being used later to compute indirect illumination.The only exception in the storing phase is the first reflection or transmission point which is never taken into account because it is handled by direct illumination.

Let`s detail the figure below explaining how photons are emitted, absorbed and stored through two photon paths:

Photon paths

The first photon is emitted at the light source, hits a diffuse wall and is reflected at point A but not stored (it is the first reflection), and finally hits point B where it is stored and absorbed. The second photon is reflected at the diffuse floor (C) then reflected and stored at the wall (D), transmitted but not stored at the specular (non-diffuse) sphere surface points E and F, and finally stored and absorbed on the floor (G).


The first photon is emitted at the light source, hits a diffuse wall and is reflected at point A but not stored (it is the first reflection), and finally hits point B where it is stored and absorbed. The second photon is reflected at the diffuse floor (C) then reflected and stored at the wall (D), transmitted but not stored at the specular (non-diffuse) sphere surface points E and F, and finally stored and absorbed on the floor (G).

A photon is said to be absorbed on a surface when it is neither reflected nor transmitted. The photon path ends where it is absorbed.Absorption can be forced when the trace depth limit is reached. This limit is defined in the Shooting Definition dialog box where you indicate the maximum number of reflections, refractions and rebounds.

Photon emission will stop as soon as a specified number has been reached or as soon as a maximum number has been emitted.However, the photon map does not affect the rendering phase since it is almost entirely independent from the scene complexity.

The last phase is the rendering phase during which direct local illumination is computed as usual but, in that case, indirect global illumination is added by collecting neighbouring photons from the photon map and adding their contribution.

2. In the Intensity Factor field, indicate the multiplication factor of the light intensity

associated to each photon, using either the slider or the spin box.

By default, direct and indirect lighting have the same intensity so the factor is equal to 1.

A good value for Intensity Factor should be close to 1, except for a particular purpose

(style effect or especially dark scenes, for instance).

3. In the Global Illumination Photons field, define the maximum number of photons to be

stored in the photon map. This value controls the rendering quality of global illumination.

You can enter a value comprised between 10 000 and 10 000 000.

Be careful when setting this parameter since the higher the value, the longer the rendering phase and the higher the quality. On the other hand, too small values may create fuzzy light "puddles".

When Final Gathering is activated, setting lower number of photons is sufficient to get a satisfactory result.

4. Click OK to validate your lighting parameters then click the Create Shooting icon to define

the shooting parameters in the Indirect Illumination tab:


This tab lets you define global illumination parameters in order to create color bleeding, i.e. have the colors reflected from diffuse surfaces.

5. In the Global Illumination area, check the "Active" option to activate global illumination and

activate the two other fields.

6. In the Photons field, indicate for each pixel the number of photons to be searched in a

specified area (defined in the Maximum radius field) in order to compute the local intensity of

global illumination.

The default value is 500. The higher the value, the smoother the illumination but the longer

the rendering phase. A large radius gives less noise but a blurrier result.


7. Enter the Maximum radius (in millimeters) to set the limits of the area in which the

photons will be searched to compute globall illumination.

A null value means that the radius will be computed from the scene extent.

8. Check the Do not use ambient option in the Material area if you do not want the material

ambient coefficient to be taken into account when computing indirect illumination.

Ambient coefficient corresponds to the light intensity diffused in any direction by the object,

even if not lit by any light source. This parameter affects the whole object, including the

shadowed area.

Note that this option can be checked only when at least one of the indirect illumination

parameters is activated.

9. Click OK to validate your parameters then render the shooting (using the Render Shooting

icon or the Render Single Frame contextual command when selecting the Shooting item

in the specification tree) to check the result.

In case the rendered image shows artefacts, you can increase the number of photons.Note also that increasing the radius value may also help to increase the color attenuation.

The examples below illustrate the various results you can obtain according to the values you defined (we have kept a null maximum radius and a Realistic falloff for each of the four examples):


Intensity Factor = 10 Intensity Factor = 3 Global Illumination Photons = 100 000 Global Illumination Photons = 100 000 Photons = 2 000 Photons = 2 000

Intensity Factor = 1 Intensity Factor = 0.20 Global Illumination Photons = 450 000 Global Illumination Photons = 450 000 Photons = 2 000 Photons = 8 000


Creating Caustics

This task shows how to tune your lighting parameters and shooting quality using a special (specular) case of global illumination called caustics. Caustics and global illumination are to be set independently from each other since they are used in different ways and thus, require different parameters.

Open the CornellBox.CATProduct document.

Before starting to define indirect illumination parameters, make sure that direct lighting parameters (intensity, attenuation, etc.) have been correctly set by generating quick renders to check the result.

1. Access the light properties (by selecting the light item in the specification tree then right-

clicking the Properties command) then click the Indirect Illumination tab:

The Emit Photons option is already checked for the current sample document but note that it is deactivated by default.


What are caustics?

Caustics can be defined as small localized lighting effects created by specular light interactions (reflection or refraction) onto a diffuse surface.A typical example of caustics would be the light pattern cast on the bottom of a swimming pool by the wave pattern on the (refractive) water surface.

The two pictures below show examples of caustics:

Although caustics are a kind of global illumination, they are treated separately to allow finer control and improve performance.

How does it work?

Caustics and global illumination have identical photon map methods but different parameters. Refer to Using Global Illumination for detailed information.

2. In the Intensity Factor field, indicate the multiplication factor of the light intensity

associated to each photon, using either the slider or the spin box.

By default, direct and indirect lighting have the same multiplication factor which is equal to

1.

3. In the Caustic Photons field, indicate the number of photons to be stored in the photon

map. This value controls the rendering quality of caustics.

Note that too small values tend to create blurry caustics. On the contrary, high values

provide a better result but increase the duration of the rendering phase.

Caustics generally require a lower number of photons than global illumination.

4. Click OK to validate your lighting parameters then click the Create Shooting icon to define

the shooting parameters in the Indirect Illumination tab:


This tab lets you define caustics parameters for rendering purpose.

5. In the Caustics area, check the "Active" option to activate caustics and activate the two other

fields.


6. In the Photons field, indicate for each pixel the number of photons to be searched in a

specified area (defined in the Maximum radius field) in order to compute the local intensity of

caustic brightness.

The default value is 100, the highest value is 1000.

Note that increasing the number of photons makes caustics look less noisy. However the

higher the value, the blurrier the result and the longer the rendering phase.

As for lighting properties, a number of photons lower than the one required for global illumination is needed.

7. Enter the Maximum radius (in millimeters) to set the limits of the area in which the

photons will be searched to compute the local intensity of caustics` brightness.

A null value means that the radius will be computed from the scene extent.

8. Check the Do not use ambient option in the Material area if you do not want the material

ambient coefficient to be taken into account for indirect illumination.

The ambient coefficient corresponds to the light intensity diffused in any direction by the

object, even if not lit by any light source. This parameter affects the whole object, including

the shadowed area.

9. Click OK to validate your parameters then render the shooting (using the Render Shooting

icon or the Render Single Frame contextual command when selecting the Shooting item

in the specification tree) to check the result.

When setting your parameters, it is recommended to start with low values since the less photons, the quicker the rendering phase (but the lower the quality). You can then increase the values progressively to tune the result.

The following are samples illustrating the various results you can obtain for caustics according to the values you defined (we have kept a null maximum radius and a realistic falloff for each of the four examples):


Intensity Factor = 10 Intensity Factor = 3 Caustic Photons = 60 000 Caustic Photons = 60 000 Photons = 100 Photons = 100

Intensity Factor = 3 Intensity Factor = 1 Caustic Photons = 200 000 Caustic Photons = 200 000 Photons = 500 Photons = 500


Using Depth of Field

This task shows you how to add a visual effect making objects that are not in focus (i.e. located far from the camera target) appear blurry, thus giving a sense of depth to the image.

Depth of field can be used with perspective cameras/viewpoints only. Depth of field and glow effects work independently from each other.

Open the SceneEffects.CATProduct document.

1. Click the Create Shooting icon to open the Shooting Definition dialog box then select the Effects tab:

2. Activate the depth of field by checking the Active option. As soon as the option is checked, the Confusion

radius field is activated and the preview displayed to the right changes:

As you already know it, ray tracing is a rendering technique that computes the color for a given pixel by sending 1 ray from the camera into the scene. In case of depth of field effect, 4 rays are sent for each given pixel and the 4 resulting colors are then used to compute an average value, thus creating a blurring effect.Let's have a look at the schema below illustrating depth of field:


The focus plane is a fictive plane perpendicular to the camera axis (the view direction) whose origin is located at the camera target. The focus plane represents the "sharpness plane", i.e. the distance at which objects appear clear in outline. The red line corresponds to a ray sent without any effect whereas the green lines correspond to rays sent for a depth of field effect.The blue dot is the pixel in the rendered image (identified by its row and column coordinates) whose color will be determined by the ray (rays in case of depth of field) cast from the camera.

3. Use the Confusion radius field to specify the radius of the camera origin from which rays are sent.

You can enter values comprised between 1 and 10 millimeters and check the result in the preview displayed to

the right. The smallest the radius, the sharpest the result.

If the result is not satisfactory despite a small radius, you can access the Quality tab in the Shooting Definition dialog box and increase the accuracy. However, bear in mind that the more rays, the longer the processing time.

4. Click OK to validate.

You are now ready to render the shooting using the Render Shooting icon in the Render dialog box (or

the Render Single Frame contextual command when selecting the Shooting item in the specification tree).

The following are samples illustrating the various results you can obtain:

No depth of field Confusion radius = 1.5 mm

Confusion radius = 3 mm Confusion radius = 5 mm


Applying a Glow Effect

This task shows you how to simulate a glow effect. A glow is a visual effect that generates a halo around bright pixels of the rendered image. This glow not only gives an impression of greater brightness, but it can also interfere with the visibility of nearby pixels, thus improving the realism of images by adding effects which perceptually expand and enhance the perceived dynamic range. The effect is obtained thanks to a filter applied onto the image at the end of the rendering as a post-processing.

Below is an example of glow. Just click the thumbnail to see the full-size picture:

Open the SceneEffects.CATProduct document.


2. Check the Active option to activate the glow effect as well as the fields and sliders displayed below:


3. Use the Threshold field to define which pixel intensities will be considered as high and thus, processed for glow

effect.

If one of the three primary colors (Red, Green, Blue) composing the overall color of the light source is higher

or equal to the defined threshold, the light intensity will be considered as a high intensity.

You can enter a value comprised between 0.5 and 4 but a "good" value would be equal to or greater than 1.

You must carefully define the threshold and try not to set a too high value because the more processed pixels, the higher the price to pay in performance.If you are not satisfied with the result, we recommend that you access the light properties in order to check (and modify, if necessary) the light intensity.

4. The Intensity field determines how bright the glow effect will show. The lower the value, the less saturated the

image and thus, the darker the glow:

Note that this parameter has no impact on processing time.

5. Use the Size slider to specify the size of the glow. This parameter directly affects the size of the filter applied

onto the image.

You can enter values comprised between 0 and 1.

The two images below illustrate this (both with an intensity set to 1):

Bear in mind that a very big size can dramatically increase the processing time.


6. Use the Flare Intensity slider to make the flare more or less visible to create a halo type image. The flare is

the colored irisation that appears in a corona around the light source.

In order to be as close to reality as possible, it is recommended to set a relatively low value since the flare is

usually hardly perceptible, and sometimes invisible.

7. The Flare Diffusion field is used to set the width of the flare corona. The higher the value, the wider the circle

bands.

8. The Radial line size slider lets you define the size of the streaks.

Setting this parameter to 1 means that the size of the radial lines will match the size of the glow.

9. The Star Effect slider lets you define the length and arrangement of the streaks more or less at random.

The lower the value, the more aleatory the streaks.


10. Click OK to validate then render your shooting by clicking the Render Shooting icon in the Render dialog

box (or the Render Single Frame contextual command when selecting the Shooting item in the specification

tree).

The rendering time is totally independent from the model complexity since the post-processing depends only on the threshold you defined.

The following are samples of lens flare effects with different types of glows:


Creating a Cartoon Effect

In this scenario you will learn how to generate a rendered image showing the drawing of contours around the geometry to create a cartoon-style effect.

When applying a cartoon effect, it is recommended not to combine it with another lighting effect (such as glow, indirect illumination, etc.) since the aim is to produce a simplified rendered image.

Photorealistic image Cartoon-style image



2. Activate the cartoon effect by checking the Active option.

3. Activate the desired cartoon effect, "Contours only" or "Ink pen effect" (you can use both effects, if desired):

● Contours only

Only the contours of the drawing will be displayed on the rendered image.

● Contour thickness

Sets the thickness of the contour line to be applied when using "Contours only" or "Ink pen effect". This

value is expressed as a percentage of the overall image size.

The preview displayed to the right is then automatically modified according to the thickness value you

enter.


Below are two examples for "Contours only" with two different thickness values:

Contours only "on"Contour thickness = 0.5

Contours only "on"Contour thickness = 1

● Ink pen effect

Makes the thickness of the contour line depend on its orientation. The contour line will be wider in the

stroke direction.

The preview displayed to the right is then automatically modified according to the thickness value you

enter.

Below are two examples for "Ink pen effect" with two different thickness values:

"Ink pen effect" onContour thickness = 0.5

"Ink pen effect" onContour thickness = 1

Colors do not look the same when using cartoon effects. The reason is that only two colors are used for each applied material (one for shadowed areas and one for illuminated areas).



You are now ready to render the shooting using the Render Shooting icon in the Render dialog box (or

the Render Single Frame contextual command when selecting the Shooting item in the specification tree).

The image will be computed with a "complete" model, the contours will be displayed during the post-processing phase only.

Below are two examples using both "Contours" and "Ink pen effect":

Contour thickness = 0.5Ink pen effect "on"

Contour thickness = 1Ink pen effect "on"


Textures

About 3D TexturesApplying a 3D Marble TextureApplying a 3D Vein TextureApplying a 3D Rock Texture

Applying a 3D Chessboard TextureApplying a 3D Alternate Vein Texture

Creating a Bump Mapping for 2D Textures


About 3D Textures

A 3D texture is an image that is defined for every point of the 3D space and thus, seems to be sculpted in a material block.

In this section you will find detailed information on capabilities common to all the 3D textures provided with Photo Studio Optimizer. These common capabilities deal with the methods you can use to apply your texture onto the object and with the parameters used to add noise effects to your texture.Each 3D texture is also described with its specific parameters further in this guide and you can click the desired hyperlink below to display the related documentation:

● Marble

● Vein

● Rock

● Chessboard

● Alternate Vein.

Mapping Types

When accessing the Texture tab in the selected 3D texture properties, you now have the ability to choose among 5

mapping types by clicking the Change Mapping Type and Preview button:


The available mapping types are:


These different mapping types let you select the most appropriate mapping for the shape of the geometry and are used for real time display only:

● Planar Mapping is similar to a slide projector (a picture on a wall, for instance). You can use it for textures with two privileged directions such as Chessboard or Wall of Bricks

● Spherical Mapping is similar to a painted light bulb. You can use it for textures that do not have a privileged direction such as stone or raw metal

● Cylindrical Mapping is similar to placing a label on a can of food. You can use it for textures having a privileged direction such as shiny metal or marble

● Cubical Mapping is similar to wrapping a box

● Adaptive Mapping lets you choose between two mapping types: Automatic or Manual.

The "Automatic" adaptive mapping automatically creates a planar mapping on each object face.

"Manual" adaptive mapping gathers together faces which have close normal vectors. For each group of faces, a unique planar mapping is applied. The precision value defined using the slider modifies the tolerance used during the grouping process: the lower the precision, the more faces with greatly different normal vectors will be gathered together. This "Manual" mapping enables textures to cross slightly sharpen edges, thus providing higher visual quality.

This mapping type is especially relevant for materials with no specific orientation such as leather or wood for example.

Noise Parameters

Noise parameters compute a value that will be used to perturbate artificially the point coordinates (x, y, z).

Each point is associated to a color map. When you define a noise value ( ) for a given point ( ), the resulting color

will be the one of the perturbated point = + .

These parameters are defined in the texture properties and, more specifically, in the Deformation area.

When applying a Marble, Vein, Alternate Vein or Rock texture, the following parameters are available:

● Turbulence

● Amplitude (for Vein and Alternate Vein only)

● Complexity

● Perturbation

● Gain

● Attenuation.

Let's look more carefully at each of the above-mentioned noise parameters:

● Turbulence: enhances the effect of the second color. Below are two pictures using Rock texture as an example:


Let's look more carefully at each of the above-mentioned noise parameters:

● Turbulence: enhances the effect of the second color. Below are two pictures using Rock texture as an example:

● Amplitude: coefficient applied to the values defined for Complexity, Perturbation and Gain. The greater the coefficient value, the more irregular the veins. This enables to give realism by increasing the number of details of textures. If set to 0, the veins are linear.Note that this parameter is available only when applying a Vein or Alternate Vein texture.

● Complexity: sum of the perturbations applied by the application. Setting this parameter to "1" means that the

perturbation effect will be applied once

● Perturbation: applies a kind of "pixellisation" to the texture. This parameter is relevant only when used in

combination with Complexity (i.e. Complexity value must be other than "0"). Perturbation parameter has a minor

impact on final result

● Gain: applies a grainy effect to the texture. This parameter must be used in combination with Complexity and

Perturbation. You can choose values comprised between 0 and 1

● Attenuation: makes the color look more or less dark.

The following are samples of deformation applied to a Rock texture with different complexity, perturbation and gain values:


Applying a 3D Marble Texture

This task shows you how to apply a 3D marble texture to an object. 3D textures are defined for every point of the 3D space and thus, seemed to be sculpted in a material block.


The two images below compare the different results you can obtain using a standard texture (Blue Onyx in our example) and a 3D texture of type "Marble":

Rendered image with Blue Onyx Rendered image with Marble texture

1. Select the Blue Onyx material in the specification tree then click the Properties contextual command (or use the

ALT+ENTER keyboard shortcut).

2. Access the Texture tab then use the pulldown list of the Type field to select "Marble". You can also click the Ray

Traced Preview icon to display a preview of the material texture:


When a 3D texture is selected, the corresponding texture image is projected onto the object in the geometry area so that you can get a better idea of the final result:


However, note that:

● the projected image does not reflect exactly what you get when rendering the image

● the texture has a low resolution in order not to deteriorate performance and as a consequence, the image projected onto the object may sometimes be pixellised.

You can also choose a mapping type but do not forget that this mapping is relevant for real time display only, it will have no impact when computing the rendered image.Refer to "Mapping Types" for detailed information.

The color bar graduated from 0 to 1 defines the color interpolation for a half-vein, the four parts of this bar (0-

0.25, 0.25-0.50, 0.50-0.75 and 0.75-1) representing one color width each.

3. To modify the lighting color effect of the half-vein, just click the desired arrow then drag it to the left or to the right to

change the width of the corresponding color.

You can also drag an arrow down to disable the corresponding color:

Note that double-clicking an arrow displays the Color chooser to let you select the desired color.


4. The Deformation area lets you define noise parameters. Refer to Noise Parameters for detailed information.

5. The Bump area also lets you define an Amplitude value but this time, in order to create a "relief".

Bump textures consist of a lighting surface effect added to the object that locally modifies the geometric aspect of

the basic object by means of an artificial perturbation of the normal.

You can use the slider or enter a coefficient value comprised between -10 and 10:

● 0 means no bump effect

● 10 means that bright colors will appear above dark colors

● -10 means that dark colors will appear above bright colors.

Let`s have a look at the samples below to get an idea of the various results you can obtain:

6. Use the Transformation area to adjust the mapped texture:

● Scaling: stretches the texture along X, Y, and Z axes

● Rotation: rotates the texture around X, Y and Z axes

● Translation: translates the texture along X, Y and Z axes.

7. Click OK when satisfied with your parameters.

Note: 3D textures created in a material library are identified by a specific symbol: .


Applying a 3D Vein Texture

This task shows you how to apply a 3D vein texture to an object (to simulate wood, for instance).


The two images below compare the different results you can obtain using a standard texture (Blue Onyx in our example) and a 3D texture of type "Vein":

Rendered image with Blue Onyx Rendered image with Vein texture

1. Select the Blue Onyx material in the specification tree then click the Properties contextual

command (or use the ALT+ENTER keyboard shortcut).

2. Access the Texture tab then use the pulldown list of the Type field to select "Vein". You can also

click the Ray Traced Preview icon to display a preview of the material texture:


However, note that:




The color bar graduated from 0 to 1 defines the color interpolation for a half-vein, the four parts

of this bar (0-0.25, 0.25-0.50, 0.50-0.75 and 0.75-1) representing one color width each.


3. To modify the lighting color effect of the half-vein, just click the desired arrow then drag it to the

left or to the right to change the width of the corresponding color.

You can also drag an arrow down to disable the corresponding color:

Note that double-clicking an arrow displays the Color chooser to let you select the desired color.

4. The Deformation area lets you define noise parameters. Refer to Noise Parameters for detailed

information.

5. The Bump area lets you define an Amplitude value to add a lighting surface effect to the object.










To keep the symmetry when setting the perturbation coefficient, just translate or move the center of the compass (automatically snapped to the mapping support when selecting the material in the specification tree).



Applying a 3D Rock Texture

This task shows you how to apply a 3D rock texture to an object.


The two images below compare the different results you can obtain using a standard texture (Blue Onyx in our example) and a 3D texture of type "Rock":

Rendered image with Blue Onyx Rendered image with Rock texture



2. Access the Texture tab then use the pulldown list of the Type field to select "Rock". You can

also click the Ray Traced Preview icon to display a preview of the material texture:


However, note that:




3. The Colors area lets you define two lighting color effects:

● Material color: corresponds to the "background" color of the object

● Color 1: corresponds to the color to which the material color will change gradually

Just click the desired color square to open the Color chooser then select the color to

apply.

4. The Deformation area lets you define noise parameters. Refer to Noise Parameters for

detailed information.


5. The Bump area lets you define an Amplitude value to add a lighting surface effect to the

object.











Applying a 3D Chessboard Texture

This task shows you how to apply a 3D Chessboard texture to an object. Chessboard texture is well adapted for materials showing regular patterns.


The two images below compare the different results you can obtain using a standard texture (Blue Onyx in our example) and a 3D texture of type "Chessboard":

Rendered image with Blue Onyx Rendered image with Chessboard texture



2. Access the Texture tab then use the pulldown list of the Type field to select "Chessboard". You

can also click the Ray Traced Preview icon to display a preview of the material texture:


However, note that:




The Colors area lets you define Tile and Join colors:

● "Tile Color" represents the colored bricks and corresponds to a color sequence. You can create a pattern with squares in up to 4 alternating colors

● "Join Color" represents the color of the grid pattern.


3. Just click the color square to select the desired color from the Color chooser.

You can also deactivate a color by unchecking the Enable option.

4. The Deformation area lets you define

● Tile Width and Height: sets the width and height of the tile

● Join Width and Height: sets the width and height of the join. This parameter allows you to simulate a brick wall

● Offset: translates the join lines horizontally. You can enter values comprised between 0 and 0.5, "0" meaning that the join lines are in perfect adjustment. This parameter allows you to simulate a brick wall, for instance.

The following are samples of deformation with different tile, join and offset values:

5. The Bump area lets you define an Amplitude value to add a lighting surface effect to the object.







Applying a 3D Alternate Vein Texture

This task shows you how to apply a 3D alternate vein texture to an object (to simulate materials such as wood or marble, for instance).


The two images below compare the different results you can obtain using a standard texture (Blue Onyx in our example) and a 3D texture of type "Alternate Vein":

Rendered image with Blue Onyx Rendered image with Alternate Vein texture

1. Select the Blue Onyx material in the specification tree then click the Properties contextual command

(or use the ALT+ENTER keyboard shortcut).

2. Access the Texture tab then use the pulldown list of the Type field to select "Alternate Vein". You can

also click the Ray Traced Preview icon to display a preview of the material texture:


This texture creates an interpolation by alternating up to 4 vein colors. In the above dialog box, each color square represents a vein. Alternate Vein texture differs from Vein texture since it interpolates the colors of complete veins (and not half-veins as for Vein texture).



However, note that:




3. To modify a Vein Color, just click the corresponding square button then select the desired color from

the Color chooser.

4. Use the slider or the value-entry field to set the width of the vein.

When the Enable option is checked, the corresponding color is activated.

5. The Deformation area lets you define noise parameters. Refer to Noise Parameters for detailed

information.


6. The Bump area also lets you define an Amplitude value but this time, in order to create a "relief".

Bump textures consist of a lighting surface effect added to the object that locally modifies the

geometric aspect of the basic object by means of an artificial perturbation of the normal.











Creating a Bump Mapping for 2D Textures

This task shows how to create a bump mapping effect when applying 2D textures.

Bump mapping is a lighting surface effect, based on a texture, that locally modifies the geometric aspect of the basic object by means of an artificial perturbation of the surface normals. These normals are vectors perpendicular to the surface defining the orientation of the surface.

Bump mapping cannot be visualized in real time display, it is used for rendering purposes only.


1. Access the Blue Onyx material properties by selecting the material item in the specification

tree then the Properties contextual command (or use the ALT+ENTER keyboard shortcut):


2. Click the Ray Traced Preview icon to display a rendered preview of the texture.


3. Use the Bump slider (or enter the desired value directly in the field) to set the bump

amplitude to be applied to the mapped texture.

You can enter values comprised between -1 and 1:





5. You can then generate a rendered image either by generating a quick render or a shooting.

Blue Onyx texture with bump effect Blue Onyx texture with no bump effect


Distributed Rendering

Installing and Uninstalling Satellites on WindowsInstalling and Uninstalling Satellites on UNIX

Using Distributed Rendering


Installing and Uninstalling Satellites on Windows

This task explains how to set up your environment on Windows for distributing the rendering process to remote workstations (called "satellites") in a network. As a matter of fact, rendering images may be very time-consuming and using distributed rendering will help you to save time since it lets you use up to 8 CPUs simultaneously.

At least one configuration must be installed on each satellite. For detailed information about installing configurations, refer to Unloading Your Product Code on Windows.

You can install your satellites either using the automatic procedure or the former manual procedure.

Installing Satellites Automatically

This procedure must be carried out for each satellite you intend to use.

1. Log on as an administrator.

You must belong to the Administrators group, or have the privileges assigned to the Administrators group. Otherwise, you will not be able to start the installation.

2. Insert the Version 5 software CD-ROM into the drive.

3. Access the INTEL folder.

4. Run the program:

StartSAT.exe

The Setup dialog box appears:


5. In the Welcome dialog box, click Next.

The Choose Destination Location dialog box appears. A default destination folder is already proposed:

C:\Program Files\Dassault Systemes\PhotoStudioSatellite\B13D43


6. If the default destination folder is suitable, click Yes in the Confirmation dialog box that opens (to create

the directory) then Next to move to the next step.

Otherwise, you can click the Browse... button and navigate to select another folder then click OK to

validate.

The folder you choose must be empty. You can also specify a new folder: the folder will be created

after confirmation.

The following dialog box appears to indicate that the copy of the necessary program files is about to start. The required size as well as the installation directory specified in the previous step are indicated:


7. Click Install to start copying files.

The Setup Complete dialog box appears to inform you that all the necessary files have been installed.

8. Click Finish to exit the installation phase and close the dialog box.

All the necessary files have been installed on the satellite.

The next step is to activate the distributed rendering.


Installing Satellites Manually

1. Install the Version 5 Photo Studio 2 and Photo Studio Optimizer products on each satellite.

To do so, refer to Installing Additional Products and in step 9, choose Photo Studio 2 and Photo Studio Optimizer from the list displayed in the Select Software dialog box.

2. On the first satellite, create the directory (for instance, "c:\satellite") to which you will copy Version 5 files

indicated in step 3.

3. Copy the following Version 5 files from the installation folder to each satellite directory you created in the

previous step.

We assume that the product code has been installed in the default folder proposed which is:

C:\Program Files\Dassault Systemes\Bn\intel_a\

where "n" is the release number.

In this scenario, we assume that the product code has been installed in the default

folder proposed.

This folder will be referred to as "install_root" in this scenario.

The files to be copied are:

install_root\code\command\ray.batinstall_root\code\bin\CATRdgSatellite.exeinstall_root\code\bin\CATMathematics.dllinstall_root\code\bin\CATRmaShaders.dllinstall_root\code\bin\CATSysMultiThreading.dllinstall_root\code\bin\JSOGROUP.dllinstall_root\code\bin\JSOSPEXT.dllinstall_root\code\bin\CATSysAllocator.dllinstall_root\code\bin\rayserver.exe

4. Access the folder "c:\winnt\system32\drivers\etc\" then open the file "services" and add the line:

mi-ray 7001/tcp # Rendering slave

Note: You can specify a port number other than "7001", if necessary. The port number is arbitrary but must be the same for all the satellites and the local host so that they can communicate.

6. Change to the satellite directory created in step 2. For instance:

cd c:\satellite

7. At the command prompt, enter

rayserver/install

to install the server in Windows services.

8. Repeat steps 1 to 6 for the other satellites you intend to use.

Your environment is now ready!


Uninstalling Satellites The procedure is identical whatever installation procedure you used (automatic or manual).


5. Open your Command Prompt window.

6. Change to the satellite directory created in step 2. For instance:

cd c:\satellite


rayserver/install

to install the server in Windows services.





1. Change to the folder "c:\winnt\system32\drivers\etc\" then open the file "services" and remove the line:


or

mi-ray port_number/tcp # Rendering slave

(if you have specified a port number other than "7001")

2. Open your Command Prompt window.


3. Change to the satellite directory (created in step 2 in "Installing Satellites"). For instance:

cd c:\satellite


rayserver/remove

to remove the files from the installation directory.

5. Repeat steps 1 to 4 for the other satellites you want to uninstall.


Installating and Uninstalling Satellites on UNIX

This task explains how to install and uninstall remote workstations (called "satellites") on UNIX for distributing the rendering process. As a matter of fact, rendering images may be very time-consuming and using distributed rendering will help you to save time since it lets you use up to 8 CPUs simultaneously in a network.

At least one configuration must be installed on each satellite. For detailed information about installing configurations, refer to Unloading Your Product Code on UNIX.

You can install your satellites either using the automatic procedure or the former manual procedure.

Installing Satellites Automatically

This procedure must be carried out for each satellite you intend to use.

1. Log on as an administrator.

You must belong to the Administrators group, or have the privileges assigned to the Administrators group. Otherwise, you will not be able to start the installation.

2. Insert the Version 5 software CD-ROM into the drive.

3. Run the program:

StartSAT.exe

The Setup dialog box appears:


4. In the Welcome dialog box, click Next.

The Choose Destination Location dialog box appears. A default destination folder is already proposed:

/usr/DassaultSystemes/PhotoStudioSatellite/B13D43


5. If the default destination folder is suitable, click Yes in the Confirmation dialog box that opens (to create

the directory) then Next to move to the next step.

Otherwise, you can click the Browse... button and navigate to select another folder then click OK to

validate.

The folder you choose must be empty. You can also specify a new folder: the folder will be created after

confirmation.

The following dialog box appears to indicate that the copy of the necessary program files is about to start. The required size as well as the installation directory specified in the previous step are indicated:


6. Click Install to start copying files.

The Setup Complete dialog box appears to inform you that all the necessary files have been installed.

7. Click Finish to exit the installation phase and close the dialog box.

All the necessary files have been installed on the satellite.



Installing Satellites Manually

1. Install the Version 5 Photo Studio 2 and Photo Studio Optimizer products on each satellite.

To do so, refer to Installing Additional Products and in step 9, choose Photo Studio 2 and Photo Studio Optimizer from the list displayed in the Select Software dialog box.

2. On the first satellite, create the directory (for instance "/usr/satellite") to which you will copy the Version 5

files indicated in step 3.

3. Copy the Version 5 files indicated below from the installation folder to each satellite directory you created in

the previous step.

We assume that the product code has been installed in the default folder proposed which is:

/usr/DassaultSystemes/Bn/OS_a

where

"n" is the release number

and

"OS_a" is:

● aix_a

● hpux_b

● irix_a

● solaris_a.

This folder will be referred to as "install_root" in this scenario.

AIX

If you are running AIX, the files to be copied are:

install_root/code/command/ray.shinstall_root/code/bin/CATRdgSatelliteinstall_root/code/bin/libCATMathematics.ainstall_root/code/bin/libCATRmaShaders.ainstall_root/code/bin/libCATSysMultiThreading.ainstall_root/code/bin/libJSOGROUP.ainstall_root/code/bin/libJSOSPEXT.ainstall_root/code/bin/libCATSysAllocator.ainstall_root/code/bin/libCATMainwin.a


IRIX

If you are running IRIX, the files to be copied are:

install_root/code/command/ray.shinstall_root/code/bin/CATRdgSatelliteinstall_root/code/bin/libCATMathematics.soinstall_root/code/bin/libCATRmaShaders.soinstall_root/code/bin/libCATSysMultiThreading.soinstall_root/code/bin/libJSOGROUP.soinstall_root/code/bin/libJSOSPEXT.soinstall_root/code/bin/libCATSysAllocator.so

SOLARIS

If you are running Solaris, the files to be copied are:

install_root/code/command/ray.shinstall_root/code/bin/CATRdgSatelliteinstall_root/code/bin/libCATMathematics.soinstall_root/code/bin/libCATRmaShaders.soinstall_root/code/bin/libCATSysMultiThreading.soinstall_root/code/bin/libJSOGROUP.soinstall_root/code/bin/libJSOSPEXT.soinstall_root/code/bin/libCATSysAllocator.soinstall_root/code/bin/libM77.so.2install_root/code/bin/libCATMainwin.soinstall_root/code/bin/libsunmath.so.1install_root/code/bin/libF77.so.4install_root/code/bin/libCATMathStream.so

HP-UX

If you are running HP-UX, the files to be copied are:

install_root/code/command/ray.shinstall_root/code/bin/CATRdgSatelliteinstall_root/code/bin/libCATMathematics.slinstall_root/code/bin/libCATRmaShaders.slinstall_root/code/bin/libCATSysMultiThreading.slinstall_root/code/bin/libJSOGROUP.slinstall_root/code/bin/libJSOSPEXT.slinstall_root/code/bin/libCATSysAllocator.slinstall_root/code/bin/libCATMathStream.slinstall_root/code/bin/libCATMainwin.sl

4. Access the folder "/etc/" then open the file "services" and add the line:




5. Still in the folder "/etc/", open the file "inetd.conf" then add the line:

mi-ray stream tcp nowait nobody /usr/satellite/ray.sh /usr/satellite

where "/usr/satellite" is the satellite directory you have created in step 2.

Note: a user "nobody" must exist and be authorized to execute files in the folder /usr/satellite. If such a

user does not exist, you need to create it or indicate another user fulfilling this criterion.

6. Restart the inetd daemon by running the command:

kill -1 daemon_pid

where "daemon_pid" is the identification number of the daemon process.

Note: You can get the "daemon pid" using the following command

ps -e|grep inetd






1. Access the folder "/etc/" then open the file "services" then remove the line:


or

mi-ray port_number/tcp # Rendering slave

(if you have specified a port number other than "7001")

2. Still in the folder "/etc/", open the file "inetd.conf" then remove the line:

mi-ray stream tcp nowait nobody /usr/satellite/ray.sh /usr/satellite

3. Restart the inetd daemon by running the command:

kill -1 "daemon pid"

4. Access the satellite directory (created in step 2 in "Installing Satellites") containing the Version 5 files you

copied.

5. Remove the files contained in this directory.

6. Repeat steps 1 to 5 for the other satellites you want to uninstall.


Using Distributed Rendering

This task explains how to define the name of the remote computers ("satellites") used in network to compute a rendered image.Distributed rendering enables to decrease rendering time since several processors are used to generate the image.This capability is especially useful when rendering huge models.

The local host will allocate and distribute all the necessary data to the participating satellites (4 in the example below) which, in turn, will process the rendering then return the final result back to the local host:


As shown in the above picture, the satellites can run on different platforms. The following platforms are supported:

● AIX

● IRIX

● HP-UX

● Solaris

● Windows.

Prior to distributing rendering to satellites, you must first install these satellites. Refer to Installing and Uninstalling Satellites on Windows or Installing and Uninstalling Satellites on UNIX, depending on your operating system.

You can use up to 8 CPUs simultaneously (including those of the local host).

You must also configure your local host by accessing the "services" file located in "c:\winnt\system32\drivers\etc\" (on Windows) or "/etc/" (on UNIX) then adding the line:



1. Open your model document.

2. Select the Tools->Options... command then in the Infrastructure category, click the Photo Studio

subcategory.

3. Click the Satellites tab.

Note: This tab is available only when using Photo Studio Optimizer.

4. Check the "Enable" option to activate distributed rendering. The other fields are activated:


5. Click the Add Satellite button to open the following dialog box:

6. In the Name field, enter the name of the first satellite to be used.

7. Click OK to validate then repeat steps 4 and 5 as many times as necessary to add other satellites.

The application checks the connection then retrieves information on the satellite (name, operating system, CPU) in the corresponding columns under the Satellites tab:


If a problem occurs while checking the connection, an error message will be displayed.

To remove a satellite from the list, select it then click the Remove Satellite button.

8. You can uncheck the "Use Local Host" option if you do not want to use the CPUs of the local host.

Unchecking this option lets you reduce CPU usage on the local machine and you can then use this

machine to perform other operations (except those requiring the use of a Version 5 session).

However, bear in mind that whether the "Use Local Host" option is checked or not, the local host's CPUs will always be used for pre-processing.

9. Click OK to validate and close the dialog box.

Now that the satellites have been correctly installed and defined, it is time to generate your rendered image.

10. Click the Create Shooting icon to define your rendering parameters then generate the rendered

image.

Refer to the Shooting section for detailed information.

To deactivate distributed rendering, simply re-access the Satellites tab then uncheck the "Enable" option.


Glossary

Numerics3D texture An image defined for every point of the 3D space and thus, seeming to be sculpted in

a material block

Aaccuracy A parameter enabling to define the degree of precision of the rendering quality

attenuation The action of lessening illumination

Bbump mapping A technique based on a texture and introducing apparent surface deviations from its

original shape (such as waves of the sea or pleated leather)

Ccamera A rectangular-shaped element with a lens used to specify the chosen viewpoint to

take the image

caustics Light patterns formed on other objects by the reflection or transmission of light striking a reflective or refractive surface


D

depth of field A visual effect making objects that are not in focus appear blurry, thus giving a sense of depth to the image.

diffuse lighting The intensity of light diffused by the object when lit by light sources

directional light

A light coming from a given direction (like the sun, for instance) generating constant intensity parallel lighting

E

environment A geometrical element, either rectangular, cylindrical or spherical, used to simulate interior as well as exterior scenes

F

Final Gathering A method used to compute light energy on any surfaces surrounding an object in the scene. Synonym: "indirect illumination"

Gglobal illumination

A simulation of indirect illumination of objects by diffuse interreflection of light coming from diffuse surfaces

glow A visual effect generating a halo around bright pixels of the rendered image.

Llight source A source of light illuminating the object to be rendered


Mmapping A method used to apply an image onto an object in order this object acquires a

surface texture

material An object that can be mapped onto a geometry to simulate visually and physically the components an object is made of (e.g. wood, stone, etc.)

Pphoton An energy particle emitted in the scene by a light source

point light A punctual illumination (like a bulb, for instance) emitting light isotropically, i.e. in all directions

Rraytracing A rendering technique producing photo-realistic images resulting from the calculation

of the path of light reaching the product from various angles. Each pixel is created by calculating the behavior of a number of rays from these different points over the area covered by that pixel

reflection A light wave returned from a surface

reflectivity The ability to reflect light

refraction The degree of light passing obliquely through an object

rendering A photo-realistic drawing of three-dimensional objects

Sscene A reusable configuration enabling to put models on stage using cameras, light

sources, environments, turntables

shooting A set of parameters used to define a rendering


specular lighting The dullness of an object

spot light A light source emitting the light isotropically inside a cone of influence determined by the privileged direction of illumination (forming the axis of revolution) and the angle that the edge of the cone forms with this axis.

surfacic light source

A source of light similar to ordinary light sources and designed to create a soft, and thus more realistic, lighting. Compare light source

Ttexture An image that can be mapped onto a geometry

transparency The degree of transparency of an object. The object transparency defines its property of transmitting light so that elements lying beyond are seen


Index

Numerics2D textures

bump mapping 3D textures

Alternate Vein

Chessboard

common capabilities

mapping type

Marble

noise parameters

Rock

Vein

AAlternate Vein

3D textures

Apply Material command

Bbump bump mapping

2D textures

Ccartoon effect


caustics Chessboard

3D textures command

Apply Material

Create Camera

Create Shooting

Create Spot Light

Properties

Quick Render

Render Shooting

confusion radius

Create Camera command

Create Shooting command

Create Spot Light command

Ddeformation

Depth of Field distributed rendering

defining satellites

installating and uninstalling satellites on UNIX

installating and uninstalling satellites on Windows

Fflare

diffusion

intensity


Gglobal illumination

glow

Iinstallating and uninstalling satellites on UNIX

distributed rendering installating and uninstalling satellites on Windows

distributed rendering

Llighting

parameters

properties

Mmapping type

3D textures Marble

3D textures material

properties

material ambient

Nnoise parameters

3D textures


Pparameters

lighting

Photo Studio workbench properties

lighting

material

Properties command

QQuick Render command

Rradial line size

Render Shooting command Rock

3D textures

Ssatellite

installing and Uninstalling (on Windows)

installing and uninstalling on UNIX

star effect

T


transformation

VVein

3D textures

Wworkbench

Photo Studio


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