Professional Documents
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VIZ
2007
User Reference
Volume III
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tocContents
Lightscape Preparation File General Panel ............. 193 Anchor VRML97 Helper......................................... 240
Lightscape Preparation File Lights Panel ................ 195 ProxSensor VRML97 Helper .................................. 241
Lightscape Preparation File Animation Panel ........ 197 NavInfo VRML97 Helper........................................ 242
Lightscape Preparation File Daylight Panel ............ 198 Fog VRML97 Helper ............................................... 243
Lightscape Preparation File Windows Panel .......... 199 Sound VRML97 Helper .......................................... 243
Lightscape Preparation File Views Panel ................ 200 LOD VRML97 Helper ............................................. 245
Export Lightscape View File Dialog .................... 201 TouchSensor VRML97 Helper ................................ 246
Export Lightscape View File Dialog........................ 201 TimeSensor VRML97 Helper.................................. 247
Lightscape View File General Panel ........................ 202 Background VRML97 Helper ................................. 248
Lightscape View File Views Panel ........................... 202 AudioClip VRML97 Helper .................................... 249
Export Lightscape Block File Dialog ................... 203 Billboard VRML97 Helper...................................... 250
Export Lightscape Block File Dialog....................... 203 Inline VRML97 Helper ........................................... 251
Lightscape Block File General Panel ....................... 204 Image File Formats ............................................... 251
Lightscape Block File Lights Panel .......................... 206 Image File Formats .................................................. 251
Export Lightscape Material File Dialog .................. 208 AVI Files................................................................... 252
Export Lightscape Layer File Dialog ....................... 208 BMP Files................................................................. 253
Export Lightscape Parameter File Dialog ............... 209 CIN (Kodak Cineon) Files ...................................... 253
Importing Lightscape Files .................................. 210 CWS (Combustion Workspace) Files ..................... 254
Importing Lightscape Files...................................... 210 DDS Files ................................................................. 254
Importing Lightscape View Files ............................ 211 EPS and PS (Encapsulated PostScript) Files........... 254
Importing Lightscape Preparation Files ................. 211 FLC Files .................................................................. 255
Importing Lightscape Solution Files ................... 211 GIF Files................................................................... 255
Importing Lightscape Solution Files....................... 211 HDRI Files............................................................... 256
Lightscape Mesh Objects......................................... 214 IFL File Format ...................................................... 259
Using Illumination Maps ........................................ 215 IFL Files ................................................................... 259
Helpful Hints and Troubleshooting ........................ 218 Image File List Control Dialog ................................ 261
Lightscape Materials Utility .................................... 219 IFL Manager Utility................................................. 261
Lightscape Import Dialogs .................................. 220 IMSQ Files ............................................................... 262
Import Lightscape Preparation Dialog ................... 220 JPEG Files ................................................................ 263
Import Lightscape Solution Dialog......................... 221 MOV (QuickTime Movie) Files .............................. 263
Error Dialog (Lightscape Import) .......................... 224 MPEG Files.............................................................. 264
Shockwave Files (W3D) ........................................ 225 OpenEXR Files ....................................................... 264
Exporting to Shockwave 3D.................................... 225 OpenEXR Files ........................................................ 264
Shockwave 3D Scene Export Options Dialog......... 226 Saving OpenEXR Files ............................................ 265
Shockwave 3D Export Preview ............................... 230 Opening OpenEXR Files......................................... 268
Shockwave 3D File Analysis Window ..................... 230 PIC Files................................................................... 270
Stereolithography (STL) Files .............................. 231 PNG Files................................................................. 271
Importing STL Files ................................................ 231 PSD Files.................................................................. 271
Exporting to STL ..................................................... 233 RLA Files ................................................................. 273
VRML Files ............................................................. 233 RPF Files.................................................................. 274
Importing VRML Files............................................ 233 RGB (SGI Image) Files ............................................ 276
Exporting to VRML97 ............................................ 234 TGA (Targa) Files .................................................... 276
VRML97 Export ..................................................... 237 TIFF Files................................................................. 277
VRML97 Export...................................................... 237 YUV Files ................................................................ 278
VRML97 Tips .......................................................... 237 RAM Player ............................................................ 278
Using the Polygon Counter Utility.......................... 239 RAM Player ............................................................. 278
VRML97 Specification ............................................ 239 RAM Player Configuration Dialog ......................... 280
VRML97 Helper Objects ....................................... 240 External References (XRefs) to Objects and
VRML97 Helper Objects......................................... 240 Scenes ................................................................. 280
vi Contents
Referencing Objects, Materials, and Scenes............ 280 Working with AutoCAD, Architectural
XRef Objects............................................................ 281 Desktop and Revit Files ..................................... 339
XRef Objects Dialog ................................................ 284 Working with AutoCAD, Architectural
XRef Files List Right-Click Menu............................ 289 Desktop, and Revit Files ....................................... 339
XRef Entities List Right-Click Menu....................... 290 AutoCAD Geometry in Autodesk VIZ .................. 340
Merge XRef File Dialog ........................................... 291 AutoCAD Geometry in Autodesk VIZ ................... 340
XRef Merge Dialog .................................................. 292 AutoCAD Entities and Blocks in Autodesk VIZ..... 340
XRef Scene............................................................... 292 Resetting Transforms on Linked AutoCAD
XRef Scenes Dialog.................................................. 296 Objects .................................................................. 341
XRef Object Rollout ................................................ 298 Restrictions on Editing AutoCAD Geometry......... 341
Proxy Object Rollout ............................................... 299 Architectural Desktop Files in Autodesk VIZ...... 342
Missing XRef Paths Dialog ...................................... 300 Architectural Desktop Files..................................... 342
Schematic View..................................................... 300 Architectural Desktop Objects in Autodesk VIZ ... 343
Schematic View Window ........................................ 300 Materials and Linked Architectural Desktop
Using Schematic View ............................................. 302 Objects................................................................ 344
Schematic View Menus ........................................... 304 Materials and Linked Architectural Desktop
Schematic View List Views...................................... 306 Objects .................................................................. 344
Schematic View Preferences Dialog ........................ 307 Assigning Materials to Linked Architectural
Schematic View Toolbars ........................................ 311 Desktop Objects ................................................... 344
Schematic View Display Floater.............................. 313 Making Changes to Architectural Desktop
Schematic View Commands................................. 314 Materials ............................................................... 345
New Schematic View ............................................... 314 UVW Mapping in Architectural Desktop Objects.. 345
Delete Schematic View ............................................ 314 Drawings Exported from Revit in
Delete Schematic View Dialog ................................ 314 Autodesk VIZ...................................................... 346
Saved Schematic Views............................................ 314 Drawings Exported from Revit ............................... 346
Schematic View Selection Right-Click Menu ......... 314 Revit Elements in Autodesk VIZ............................. 346
Using File Link with AutoCAD, Architectural Suggested Settings and Workflow...................... 349
Desktop and Revit Files ..................................... 316 Suggested Settings for Revit Projects ...................... 349
File Link Basics ...................................................... 316 Suggested Workflow for Revit to Autodesk VIZ
Working with Drawing Files ................................... 316 Projects ................................................................. 351
File Link Basics ........................................................ 318 Materials and Linked Revit Objects .................... 352
File Link Tips........................................................... 319 Material Translation and Linked Revit Objects ...... 352
Interpreting Layer Data from AutoCAD, Applying Materials to Linked Revit Objects........... 353
Architectural Desktop, or Revit ........................... 322 Editing Revit Materials in Autodesk VIZ................ 353
Scale Synchronization ............................................. 323 UVW Mapping on Revit Elements ......................... 354
File Link Manager ................................................. 323 Using Revit Materials on Autodesk VIZ
File Link Manager Utility ........................................ 323 Geometry.............................................................. 355
File Link Settings Dialog ......................................... 327 Propagate Materials to Instances............................. 355
Basic File Link Settings............................................ 327 Instanced Objects, Elements, Blocks, and
Advanced File Link Settings.................................... 330 Styles .................................................................. 355
Spline Rendering File Link Settings ........................ 333 Instanced Objects, Elements, Blocks and Styles ..... 355
New Settings Preset Dialog ..................................... 335 Instanced Objects.................................................... 356
Rename Settings Preset Dialog ............................... 336 Family Elements ...................................................... 356
Preset Editing .......................................................... 336 Blocks ...................................................................... 357
Differences Between Layers and Blocks in Styles........................................................................ 360
AutoCAD and Autodesk VIZ ............................... 336 Layers .................................................................... 362
Select Layers Dialog................................................. 337 Using Layers to Organize a Scene ........................... 362
Resolve External Reference File Dialog................... 337 Layer Manager ........................................................ 364
Select Linked Objects Dialog .................................. 338 Layer Properties Dialog........................................... 369
Contents vii
Interface
Effects Panel and Rollout (page 3–3) Rendering Effects and 32–bit
Floating-Point Output
Environment Panel (page 3–53)
Most rendering effects in Autodesk VIZ are not
compatible with 32-bit floating-point output,
such as that provided optionally by the mental
ray renderer (see Frame Buffer Type). If you
Rendering Effects render using one or more unsupported effects, the
following dialog appears:
scene objects. You can also adjust and view the Delete—Removes a highlighted effect from the
effects interactively. window and from the scene.
Active—Specifies whether the selected effect
is active in the scene. On by default; you can
Effects Panel and Rollout deactivate an effect without actually removing it by
Rendering menu > Effects > Environment and Effects selecting it in the window and turning off Active.
dialog > Effects panel
Move Up—Moves the highlighted effect up in the
You can use the Effects panel to: window list.
• Assign a Render Effects plug-in. Move Down—Moves the highlighted effect down
in the window list.
• Adjust and view effects interactively.
• Animate parameters and references to scene Merge—Merges rendering effects from scene
objects. (.max) files. Clicking Merge displays a file dialog
from which you can choose a .max file. A dialog
Interface then appears listing all rendering effects in that
scene.
Preview group
Effects—When All is chosen, all of the active
effects are applied to the preview. When Current
is chosen, only the highlighted effects are applied
to the preview.
Interactive—When on, changes occur interactively
in the rendered frame window (page 2–1318)
as you adjust the parameters of an effect. When
Interactive is not activated, you can click one of
the update buttons to preview the effect.
Show Original/Show Effects toggle—Click Show
Original to display the original rendered image
without any of the effects applied. Click Show
The Effects panel has one main rollout, Effects,
Effects to display the rendered image with the
with the following options:
effects.
Effects—Displays a list of selected effects.
Update Scene—Updates the rendered frame
Name—Displays the name of the selected effect. window with all changes made in Rendering
Edit this field to rename the effect. Effects as well as any changes made to the scene
itself.
Add—Displays a dialog listing all available
rendering effects. Select the effect you want added Update Effect—Manually updates the preview
to the window list, and then click OK. rendered frame window when Interactive is
not on. What is shown in the rendered frame
window is only an update of any changes made in
4 Chapter 15: Effects and Environments
Rendering Effects. Any changes made to the scene • Merge—Results in two effects in the scene
itself will not be rendered. with the same name.
• Delete Old—Removes the existing effect in
the scene.
Merging Effects
• Apply To All Duplicates—Performs the same
Rendering menu > Effects > Environment and Effects action on all subsequent matching effects.
dialog > Effects panel > Merge
Procedures
To merge an atmospheric effect:
1. Choose Rendering menu > Effects to display
the Effects panel.
2. On the Effects rollout, click Merge.
A Merge Effect dialog appears for file selection.
3. Select a .max scene.
A Merge Atmospheric Effects dialog lists the
effects in the specified file.
4. Select one or more of the effects, and then click
Lens flares added as lens effects
OK to merge them into the scene.
Only atmospheric effects appear in the merge Lens Effects is a system used to create real-life
list, but when an effect is merged, any lights or effects commonly associated with a camera. These
gizmos bound to the effect are merged as well. effects include Glow (page 3–7), Ring (page 3–11),
Ray (page 3–15), Auto Secondary (page 3–19),
To resolve conflicts when merged effects have the Manual Secondary (page 3–23), Star (page 3–27),
same name: and Streak (page 3–31).
• If an effect of the same type and name already
exists in the scene, an alert appears. Choose
Procedures
from among these options: To add an effect:
• Name field—Allows you to rename the 1. Select the desired effect from the list on the left
incoming effect. side of the Lens Effects Parameters rollout.
Lens Effects Rendering Effects 5
2. Click the (>) arrow button to move it into the previous configuration of Lens Effects. This allows
column on the right. you to load and use Lens Effects that have been
saved from previous sessions of the software.
To delete an applied effect:
Save—Displays the Save Lens Effects file dialog
1. Select the effect from the list on the right side of that enables you to save an LZV file. The LZV file
the Lens Effects Parameters rollout. format contains information saved from a previous
2. Click the (<) arrow button to remove it from configuration of Lens Effects. This allows you to
the list. save several types of Lens Effects and use them in
multiple Autodesk VIZ scenes.
Interface Note: Saving an effect as an LZV file will only save
Lens Effects Parameters rollout the attributes of the effect on the frame that it is
saved at. The LZV file format doesn’t save the
animation keys of an animated parameter.
Size—Affects the size of the overall Lens Effect.
This value is a percentage of the size of the
rendered frame.
Intensity—Controls the overall brightness and
opacity of the Lens Effect. Higher values produce
The Lens Effects system allows you to apply effects a bright, more opaque effect, and lower values
to your rendered image by choosing a particular produces a dim, transparent effect.
effect from the list on the left and adding it to the
list on the right. Each effect has its own rollout Seed—Gives the random number generator in
of parameters, but all effects share two panels of Lens Effects a different starting point, which
global parameters. creates a slightly different Lens Effect without
changing any settings. Using Seed guarantees a
Lens Effects Globals rollout, Parameters panel different Lens Effect, even if the differences are
very small. For example, if you set up a Ray effect,
you will get slightly different rays in the lens flare if
you adjust the seed value.
Angle—Affects the amount that the Lens Effect
rotates from its default position, as the position of
the effect changes relative to the camera.
Squeeze—Squeezes the size of the overall
Lens Effect, either horizontally or vertically to
compensate for different frame aspect ratios.
Positive values stretch the effect horizontally, and
negative values stretch it vertically. The value is
a percentage of the size of the flare. Range=100
Load—Displays the Load Lens Effects file dialog to -100.
that enables you to open an LZV file. The LZV
file format contains information saved from a
6 Chapter 15: Effects and Environments
Occlusion group
Occlusion is used to determine when a Lens Effect
will be affected by an object that comes between
the effect and the camera. By using two spinners
to determine occlusion you can have scene objects
realistically affect the look of your effect. The outer
radius will determine when another scene object
will begin to occlude and the inner radius will
determine when the scene object will cause the
effect to reach maximum occlusion.
Affect Alpha—Specifies whether or not the Lens Inner Radius—Sets the inner radius around the
Effect affects the alpha channel of an image when effect that another scene object must intersect in
the image is rendered in a 32-bit file format. The order to completely occlude the effect.
alpha channel is an extra 8 bits of color (256 Outer Radius—Sets the outer radius around the
colors) that indicate transparency in an image. effect that another scene object must intersect in
Alpha channels are used to composite one image order to begin to occlude the effect.
seamlessly over the top of another. If you want to
composite a Lens Effect, or an image that contains Size—Decreases the size of the effect when being
a Lens Effect, over the top of another image, enable occluded.
this option. If you are not rendering to a 32-bit file, Intensity—Decreases the intensity of the effect
do not enable this option. when being occluded.
Affect Z Buffer—Stores an object’s distance from Affected by Atmosphere—Allows Atmospheric
the camera. The Z-Buffer is useful for optical Effects to occlude Lens Effects.
effects. When this option is enabled, the linear
distance of the Lens Effect is recorded, and can
be used in special effects that make use of the
Z-Buffer.
Glow Lens Effect 7
Interface
Glow Lens Effect Glow Element rollout, Parameters panel
Rendering menu > Effects > Environment and Effects
dialog > Effects panel > Add > Add Effect dialog > Lens
Effects > Choose Glow, and click the (>) arrow button.
Occlusion—Determines how much the Lens only use values set in Radial Color while setting the
Effects Scene Occlusion parameters will affect the spinner at 100 will only use values set in Circular
particular effect. The value entered determines Color. Any value between 0 and 100 will mix
what percentage of occlusion set in the Lens Effects between the two values.
Globals panel will be applied.
Falloff Curve—Displays the Circular Falloff dialog
Squeeze—Determines whether the effect will (page 3–35) in which you can set weights for the
be squeezed. When activated the effect will be colors used in Circular Color. By manipulating the
squeezed according to Lens Effects Globals under Falloff Curve you can make the effect use more of
the Parameters panel in the Squeeze spinner. one color or map than another. You can also use a
map to determine the falloff when a light is used
Use Source Color—Mixes the source color of the
as a Lens Effects source.
light or object you are applying the effect to and
the color or mapping set in the Radial Color or
Radial Size group
Circular Color parameters. A value of 0 uses only
the values set in the Radial Color and Circular Determines the radial size around the particular
Color parameters while a value of 100 uses only the Lens Effect. Clicking the Size Curve button
light or objects source color. Any value between 0 displays the Radial Size dialog (page 3–40). Using
and 100 will render a mix between the source color the Radial Size dialog you can create points on
and the effect’s color parameters. a line and move those points along a graph to
determine where the effect should be placed
Radial Color group around the light or object. You can also use a map
to determine where the effect should be placed. A
The Radial Color settings affect the inner and
check box is used to activate the map.
outer colors of the effect. You can set the color
swatches to set the inner and outer colors of the
Lens Effect. You can also use bitmaps such as
Gradient or Cellular to determine the radial color.
Falloff Curve—Displays the Radial Falloff dialog
(page 3–38) in which you can set weights for the
colors used in Radial Color. By manipulating the
Falloff Curve you can make the effect use more of
one color or map than the other. You can also use
a map to determine the falloff when a light is used
as a Lens Effects source.
Glow Element rollout, Options panel channel (page 2–1073) assigned to it. Assign the
Material ID channel in the Material Editor, using
the Material ID channel flyout (page 2–1074).
The Lens Effect will be applied only to areas of
the geometry where that particular ID channel is
present.
Tip: In some cases you might want to apply different
Lens Effects settings to different pieces of geometry
or IDs. To accomplish this, add additional Lens
Effects entries to the Lens Effects Parameters list.
Then set each different Lens Effect entry to affect a
different Material ID or Object ID and proceed.
Unclamp—An unclamped color is brighter than
pure white (255,255,255). The software keeps
track of these "hot" areas which tend to show
up when your scene contains bright metallic
highlights or explosions. This spinner lets you
determine the lowest pixel value that the Lens
Effect is applied to. Pure white has a pixel value of
1. When this spinner is set to 1, any pixels with
Apply Element To group a value above 255 will be glowed. You can invert
Lights—Applies the effect to lights picked in Lens this value by clicking the I button to the right of
Effects Globals under the Parameters tab in the the spinner.
Lights group box. Surf Norm—Applies the Lens Effect to part of
Image—Applies the effect to the rendered image an object, based on the angle of the surface
using parameters set in Image Sources. normal to the camera. A value of 0 is coplanar, or
parallel to the screen. A value of 90 is normal, or
Image Centers—Applies to the center of an object perpendicular to the screen. If you set Surf Norm
or to portions of an object as determined by the to 45, only surfaces with normal angles greater
Image Filters. than 45 degrees will be glowed. You can invert this
value by clicking the I button to the right of the
Image Sources group spinner. This parameter can be animated.
Object ID—Applies the Lens Effect to particular
Whole—Applies the Lens Effect to the whole scene,
objects in your scene that have a corresponding not just a particular piece of geometry. This, in
G-Buffer (page 3–681) (or Object) ID. The effect, makes each pixel in the scene a potential
G-Buffer is a geometry buffer and can be defined Lens Effect source. The areas of the scene that have
when you right-click any object and select the Lens Effect applied to them are determined by
Properties from the menu. Then, set the Object the settings in the Image Filters group box.
Channel ID under the G-Buffer ID controls.
Alpha—Applies the Lens Effect to the alpha
Material ID—Applies the Lens Effect to an object
channel of an image. The transparency of an alpha
or part of an object with a specific Material ID
10 Chapter 15: Effects and Environments
channel is interpreted opposite that of the Mask might need to use the Perimeter option at times
channel. Range=0 to 255. when the alpha channel is unavailable.
Z Hi/Z Lo—Highlights objects based on their Bright—Filters the source objects based on their
distance (Z-Buffer distance) from the camera. The brightness values. The effect is only applied to
Hi value is the maximum distance and the Lo value objects with a brightness above the spinner setting
is the minimum. Any objects between these two This option can be inverted by clicking the I
Z-Buffer distances will be highlighted. button next to the spinner
Hue—Filters the source objects by their hue. Select
Image Filters group
the hue by clicking the color swatch next to the
Filters the Image Sources selections to let you spinner. You can choose hue values from 0 to 255.
control how the Lens Effect is applied. For The spinner beside the Hue color swatch lets you
example, you can have ten spheres in your scene, enter a variance level so that the glow can find
each with the same Object ID, but different colors. several different hues in the same range as the
If you set the Image Source as the Object ID of the chosen color
spheres, which selects all of the spheres, these will
be the only objects in the scene that Lens Effects Additional Effects group
will apply an effect to.
Additional Effects allows you to apply maps such
However, now that Lens Effects knows where the as Noise to your Lens Effect. You can display the
pixels are that effects can be applied, it needs to Material/Map browser by clicking the long button
know which ones to actually apply the effect to. next to the Apply check box.
Lens Effects uses the filter controls to find out
Apply—Applies the selected map when activated.
which source pixels to apply the effect to.
Radial Density—Determines where and how much
All—Selects all source pixels in the scene and
you would like the additional effects applied.
applies the Lens Effect to them.
Clicking the Radial Density button displays the
Edge—Selects all source pixels along a boundary Radial Density dialog (page 3–37). Using the
edge and applies the Lens Effect to them. Applying Radial Density dialog you can create points on
a Lens Effect along the edges of objects produces a line and move those points along a graph to
a soft halo that exists on both inside and outside determine where the additional effect should be
edges of your object. placed around the light. You can also use a map
to determine where the additional effect should
Perim(eter) Alpha—Applies the Lens Effect only
be placed.
to the perimeter of an object based on its alpha
channel. Selecting this option applies the effect
only on the outside of an object without any
spill on the interior. Whereas filtering by Edge
produces a spill onto the object, Perimeter Alpha
keeps all of the edges clean because it relies on the
scene alpha channel to derive its effect.
Perim(eter)—Applies the Lens Effect only to the
perimeter of an object based on Edge interference.
Although not as precise as Perimeter Alpha, you
Ring Lens Effect 11
Interface
Ring Lens Effect Ring Element rollout, Parameters panel
Rendering menu > Effects > Environment and Effects
dialog > Effects panel > Add > Add Effect dialog > Lens
Effects > Choose Ring, and click the (>) arrow button.
Squeeze—Determines whether the effect will Falloff Curve—Displays the Radial Falloff dialog
be squeezed. When activated the effect will be (page 3–38) in which you can set weights for the
squeezed according to Lens Effects Globals under colors used in Radial Color. By manipulating the
the Parameters panel in the Squeeze spinner. Falloff Curve you can make the effect use more of
one color or map than the other. You can also use
Use Source Color—Mixes the source color of the
a map to determine the falloff.
light or object you are applying the effect to with
the color or mapping set in the Radial Color or Circular Color group
Circular Color parameters. A value of 0 uses only
the values set in the Radial Color and Circular Circular Color determines the color of the effect
Color parameters while a value of 100 uses only the by using four different color swatches that are
light or objects source color. Any value between 0 matched to the four quadrants of the effect. A map
and 100 will render a mix between the source color can also be used to determine circular color.
and the effect’s color parameters.
Mix—Mixes colors set in Radial Color and colors Ring Element rollout, Options panel
set in Circular Color. Setting the spinner at 0 will
only use values set in Radial Color while setting the
spinner at 100 will only use values set in Circular
Color. Any value between 0 and 100 will mix
between the two values.
channel (page 2–1073) assigned to it. Assign the channel is interpreted opposite that of the Mask
Material ID channel in the Material Editor, using channel. Range=0 to 255.
the Material ID channel flyout (page 2–1074).
Z Hi/Z Lo—Highlights objects based on their
The Lens Effect will be applied only to areas of
distance (Z-Buffer distance) from the camera. The
the geometry where that particular ID channel is
Hi value is the maximum distance and the Lo value
present.
is the minimum. Any objects between these two
Tip: In some cases you might want to apply different Z-Buffer distances will be highlighted.
Lens Effects settings to different pieces of geometry
or IDs. To accomplish this, add additional Lens Image Filters group
Effects entries to the Lens Effects Parameters list.
Filters the Image Sources selections to let you
Then set each different Lens Effect entry to affect a
control how the Lens Effect is applied. For
different Material ID or Object ID and proceed.
example, you can have ten spheres in your scene,
Unclamp—An unclamped color is brighter than each with the same Object ID, but different colors.
pure white (255,255,255). The software keeps If you set the Image Source as the Object ID of the
track of these "hot" areas which tend to show spheres, which selects all of the spheres, these will
up when your scene contains bright metallic be the only objects in the scene that Lens Effects
highlights or explosions. This spinner lets you will apply an effect to.
determine the lowest pixel value that the Lens
However, now that Lens Effects knows where the
Effect is applied to. Pure white has a pixel value of
pixels are that effects can be applied, it needs to
1. When this spinner is set to 1, any pixels with
know which ones to actually apply the effect to.
a value above 255 will be glowed. You can invert
Lens Effects uses the filter controls to find out
this value by clicking the I button to the right of
which source pixels to apply the effect to.
the spinner.
All—Selects all source pixels in the scene and
Surf Norm—Applies the Lens Effect to part of
applies the Lens Effect to them.
an object, based on the angle of the surface
normal to the camera. A value of 0 is coplanar, or Edge—Selects all source pixels along a boundary
parallel to the screen. A value of 90 is normal, or edge and applies the Lens Effect to them. Applying
perpendicular to the screen. If you set Surf Norm a Lens Effect along the edges of objects produces
to 45, only surfaces with normal angles greater a soft halo that exists on both inside and outside
than 45 degrees will be glowed. You can invert this edges of your object.
value by clicking the I button to the right of the
Perim(eter) Alpha—Applies the Lens Effect only
spinner.
to the perimeter of an object based on its alpha
Whole—Applies the Lens Effect to the whole scene, channel. Selecting this option applies the effect
not just a particular piece of geometry. This, in only on the outside of an object without any
effect, makes each pixel in the scene a potential spill on the interior. Whereas filtering by Edge
Lens Effect source. The areas of the scene that have produces a spill onto the object, Perimeter Alpha
the Lens Effect applied to them are determined by keeps all of the edges clean because it relies on the
the settings in the Image Filters group box. scene alpha channel to derive its effect.
Alpha—Applies the Lens Effect to the alpha Perim(eter)—Applies the Lens Effect only to the
channel of an image. The transparency of an alpha perimeter of an object based on Edge interference.
Although not as precise as Perimeter Alpha, you
Ray Lens Effect 15
Falloff Curve—Displays the Radial Falloff dialog Ray Element rollout, Options panel
(page 3–38) in which you can set weights for the
colors used in Radial Color. By manipulating the
Falloff Curve you can make the effect use more of
one color or map than the other. You can also use
a map to determine the falloff when a light is used
as a Lens Effects source.
channel (page 2–1073) assigned to it. Assign the channel is interpreted opposite that of the Mask
Material ID channel in the Material Editor, using channel. Range=0 to 255.
the Material ID channel flyout (page 2–1074).
Z Hi/Z Lo—Highlights objects based on their
The Lens Effect will be applied only to areas of
distance (Z-Buffer distance) from the camera. The
the geometry where that particular ID channel is
Hi value is the maximum distance and the Lo value
present.
is the minimum. Any objects between these two
Tip: In some cases you might want to apply different Z-Buffer distances will be highlighted.
Lens Effects settings to different pieces of geometry
or IDs. To accomplish this, add additional Lens Image Filters group
Effects entries to the Lens Effects Parameters list.
Filters the Image Sources selections to let you
Then set each different Lens Effect entry to affect a
control how the Lens Effect is applied. For
different Material ID or Object ID and proceed.
example, you can have ten spheres in your scene,
Unclamp—An unclamped color is brighter than each with the same Object ID, but different colors.
pure white (255,255,255). The software keeps If you set the Image Source as the Object ID of the
track of these "hot" areas which tend to show spheres, which selects all of the spheres, these will
up when your scene contains bright metallic be the only objects in the scene that Lens Effects
highlights or explosions. This spinner lets you will apply an effect to.
determine the lowest pixel value that the Lens
However, now that Lens Effects knows where the
Effect is applied to. Pure white has a pixel value of
pixels are that effects can be applied, it needs to
1. When this spinner is set to 1, any pixels with
know which ones to actually apply the effect to.
a value above 255 will be glowed. You can invert
Lens Effects uses the filter controls to find out
this value by clicking the I button to the right of
which source pixels to apply the effect to.
the spinner.
All—Selects all source pixels in the scene and
Surf Norm—Applies the Lens Effect to part of
applies the Lens Effect to them.
an object, based on the angle of the surface
normal to the camera. A value of 0 is coplanar, or Edge—Selects all source pixels along a boundary
parallel to the screen. A value of 90 is normal, or edge and applies the Lens Effect to them. Applying
perpendicular to the screen. If you set Surf Norm a Lens Effect along the edges of objects produces
to 45, only surfaces with normal angles greater a soft halo that exists on both inside and outside
than 45 degrees will be glowed. You can invert this edges of your object.
value by clicking the I button to the right of the
spinner.
Whole—Applies the Lens Effect to the whole scene,
not just a particular piece of geometry. This, in
effect, makes each pixel in the scene a potential
Lens Effect source. The areas of the scene that have
the Lens Effect applied to them are determined by
the settings in the Image Filters group.
Alpha—Applies the Lens Effect to the alpha
channel of an image. The transparency of an alpha
Auto Secondary Lens Effect 19
camera position changes relative to the source Max—Controls the maximum size of secondary
object, the secondary flares move. flares in the current set. This number is defined as
a percentage of the overall image.
Interface
Axis—Defines the overall length of the axis the
Auto Secondary Element rollout, Parameters automatic secondary flares will be distributed
panel along. Increasing the value creates more space
between the flares, while decreasing the value
creates less space between the flares. You can set
the axis from 0 to 10 degrees.
Intensity—Controls the overall brightness and
opacity of the individual effect. Higher values
produce a bright, more opaque effect, and lower
values produces a dim, transparent effect.
Qty—Controls the number of secondary flares that
appear in the current set of flares.
Use Source Color—Mixes the source color of the
light or object you are applying the effect to with
the color or mapping set in the Radial Color or
Circular Color parameters. A value of 0 uses only
the values set in the Radial Color and Circular
Color parameters while a value of 100 uses only the
light or objects source color. Any value between 0
and 100 will render a mix between the source color
and the effect’s color parameters.
Sides—Controls the shape of the secondary flares
for the current set. The default is circular, but you
can choose from 3- to 8-sided secondary flares.
Occlusion—Determines how much the Lens
Name—Displays the name of the effect. With
Effects Scene Occlusion parameters will affect the
Lens Effects you can have many different effects
particular effect. The value entered determines
under one instance of Lens Effects. To keep them
what percentage of occlusion set in the Lens Effects
in order, it is necessary to name them to make
Globals panel will be applied.
sure that when you change parameters you are
changing the parameters to the correct effect. Presets (drop-down list)—Displays a list of preset
values that can be selected and applied to the
On—Applies the effect to the rendered image when
rendered scene.
activated. Default = on.
Squeeze—Determines whether the effect will
Min—Controls the minimum size of secondary
be squeezed. When activated, the effect will be
flares in the current set. This number is defined as
squeezed according to Lens Effects Globals under
a percentage of the overall image.
the Parameters panel in the Squeeze spinner.
Auto Secondary Lens Effect 21
Radial Color group displays the Radial Size dialog (page 3–40). Using
the Radial Size dialog you can create points on
The Radial Color settings affect the inner and
a line and move those points along a graph to
outer colors of the effect. You can set the color
determine where the effect should be placed
swatches to set the inner and outer colors of the
around the light or object. You can also use a map
Lens Effect. Each color swatch has a percentage
to determine where the effect should be placed. A
spinner that determines at what point that color
check box is used to activate the map.
should stop and the next should start. You can
also use bitmaps such as gradient or cellular to
Auto Secondary Element rollout, Options panel
determine the radial color.
Falloff Curve—Displays the Radial Falloff dialog
(page 3–38) in which you can set weights for the
colors used in Radial Color. By manipulating the
Falloff Curve you can make the effect use more of
one color or map than the other. You can also use
a map to determine the falloff when a light is used
as a Lens Effects source.
when you right-click any object and select the Lens Effect applied to them are determined by
Properties from the menu. Then, set the Object the settings in the Image Filters group box.
Channel ID under the G-Buffer ID controls.
Alpha—Applies the Lens Effect to the alpha
Material ID—Applies the Lens Effect to an object channel of an image. The transparency of an alpha
or part of an object with a specific Material ID channel is interpreted opposite that of the Mask
channel (page 2–1073) assigned to it. Assign the channel. Range=0 to 255.
Material ID channel in the Material Editor, using
Z Hi/Z Lo—Highlights objects based on their
the Material ID channel flyout (page 2–1074).
distance (Z-Buffer distance) from the camera. The
The Lens Effect will be applied only to areas of
Hi value is the maximum distance and the Lo value
the geometry where that particular ID channel is
is the minimum. Any objects between these two
present.
Z-Buffer distances will be highlighted.
Tip: In some cases you might want to apply different
Lens Effects settings to different pieces of geometry Image Filters group
or IDs. To accomplish this, add additional Lens
Filters the Image Sources selections to let you
Effects entries to the Lens Effects Parameters list.
control how the Lens Effect is applied. For
Then set each different Lens Effect entry to affect a
example, you can have ten spheres in your scene,
different Material ID or Object ID and proceed.
each with the same Object ID, but different colors.
Unclamp—An unclamped color is brighter than If you set the Image Source as the Object ID of the
pure white (255,255,255). The software keeps spheres, which selects all of the spheres, these will
track of these "hot" areas which tend to show be the only objects in the scene that Lens Effects
up when your scene contains bright metallic will apply an effect to.
highlights or explosions. This spinner lets you
However, now that Lens Effects knows where the
determine the lowest pixel value that the Lens
pixels are that effects can be applied, it needs to
Effect is applied to. Pure white has a pixel value of
know which ones to actually apply the effect to.
1. When this spinner is set to 1, any pixels with
Lens Effects uses the filter controls to find out
a value above 255 will be glowed. You can invert
which source pixels to apply the effect to.
this value by clicking the I button to the right of
the spinner. All—Selects all source pixels in the scene and
applies the Lens Effect to them.
Surf Norm—Applies the Lens Effect to part of
an object, based on the angle of the surface Edge—Selects all source pixels along a boundary
normal to the camera. A value of 0 is coplanar, or edge and applies the Lens Effect to them. Applying
parallel to the screen. A value of 90 is normal, or a Lens Effect along the edges of objects produces
perpendicular to the screen. If you set Surf Norm a soft halo that exists on both inside and outside
to 45, only surfaces with normal angles greater edges of your object.
than 45 degrees will be glowed. You can invert this
Perim(eter) Alpha—Applies the Lens Effect only
value by clicking the I button to the right of the
to the perimeter of an object based on its alpha
spinner.
channel. Selecting this option applies the effect
Whole—Applies the Lens Effect to the whole scene, only on the outside of an object without any
not just a particular piece of geometry. This, in spill on the interior. Whereas filtering by Edge
effect, makes each pixel in the scene a potential produces a spill onto the object, Perimeter Alpha
Lens Effect source. The areas of the scene that have
Manual Secondary Lens Effect 23
Lens Effect. You can also use bitmaps such as Manual Secondary Element rollout, Options
gradient or cellular to determine the radial color. panel
Material ID—Applies the Lens Effect to an object Alpha—Applies the Lens Effect to the alpha
or part of an object with a specific Material ID channel of an image. The transparency of an alpha
channel (page 2–1073) assigned to it. Assign the channel is interpreted opposite that of the Mask
Material ID channel in the Material Editor, using channel. Range=0 to 255.
the Material ID channel flyout (page 2–1074).
Z Hi/Z Lo—Highlights objects based on their
The Lens Effect will be applied only to areas of
distance (Z-Buffer distance) from the camera. The
the geometry where that particular ID channel is
Hi value is the maximum distance and the Lo value
present.
is the minimum. Any objects between these two
Tip: In some cases you might want to apply different Z-Buffer distances will be highlighted.
Lens Effects settings to different pieces of geometry
or IDs. To accomplish this, add additional Lens Image Filters group
Effects entries to the Lens Effects Parameters list.
Filters the Image Sources selections to let you
Then set each different Lens Effect entry to affect a
control how the Lens Effect is applied. For
different Material ID or Object ID and proceed.
example, you can have ten spheres in your scene,
Unclamp—An unclamped color is brighter than each with the same Object ID, but different colors.
pure white (255,255,255). The software keeps If you set the Image Source as the Object ID of the
track of these "hot" areas which tend to show spheres, which selects all of the spheres, these will
up when your scene contains bright metallic be the only objects in the scene that Lens Effects
highlights or explosions. This spinner lets you will apply an effect to.
determine the lowest pixel value that the Lens
However, now that Lens Effects knows where the
Effect is applied to. Pure white has a pixel value of
pixels are that effects can be applied, it needs to
1. When this spinner is set to 1, any pixels with
know which ones to actually apply the effect to.
a value above 255 will be glowed. You can invert
Lens Effects uses the filter controls to find out
this value by clicking the I button to the right of
which source pixels to apply the effect to.
the spinner.
All—Selects all source pixels in the scene and
Surf Norm—Applies the Lens Effect to part of
applies the Lens Effect to them.
an object, based on the angle of the surface
normal to the camera. A value of 0 is coplanar, or Edge—Selects all source pixels along a boundary
parallel to the screen. A value of 90 is normal, or edge and applies the Lens Effect to them. Applying
perpendicular to the screen. If you set Surf Norm a Lens Effect along the edges of objects produces
to 45, only surfaces with normal angles greater a soft halo that exists on both inside and outside
than 45 degrees will be glowed. You can invert this edges of your object.
value by clicking the I button to the right of the
Perim(eter) Alpha—Applies the Lens Effect only
spinner.
to the perimeter of an object based on its alpha
Whole—Applies the Lens Effect to the whole scene, channel. Selecting this option applies the effect
not just a particular piece of geometry. This, in only on the outside of an object without any
effect, makes each pixel in the scene a potential spill on the interior. Whereas filtering by Edge
Lens Effect source. The areas of the scene that have produces a spill onto the object, Perimeter Alpha
the Lens Effect applied to them are determined by keeps all of the edges clean because it relies on the
the settings in the Image Filters group box. scene alpha channel to derive its effect.
Star Lens Effect 27
Additional Effects group A Star is larger than a Ray effect (page 3–15) and is
Additional Effects allows you to apply maps such composed of 0 to 30 spokes, instead of hundreds
as Noise to your Lens Effect. You can display the like a ray.
Material/Map browser by clicking the long button
next to the Apply check box.
Apply—Applies the selected map when activated.
Radial Color group around the light or object. You can also use a map
to determine where the effect should be placed. A
The Radial Color settings affect the inner and
check box is used to activate the map.
outer colors of the effect. You can set the color
swatches to set the inner and outer colors of the
Star Element rollout, Options panel
Lens Effect. You can also use bitmaps such as
gradient or cellular to determine the radial color.
Falloff Curve—Displays the Radial Falloff dialog
(page 3–38) in which you can set weights for the
colors used in Radial Color. By manipulating the
Falloff Curve you can make the effect use more of
one color or map than the other. You can also use
a map to determine the falloff when a light is used
as a Lens Effects source.
Properties from the menu. Then, set the Object the Lens Effect applied to them are determined by
Channel ID under the G-Buffer ID controls. the settings in the Image Filters group box.
Material ID—Applies the Lens Effect to an object Alpha—Applies the Lens Effect to the alpha
or part of an object with a specific Material ID channel of an image. The transparency of an alpha
channel (page 2–1073) assigned to it. Assign the channel is interpreted opposite that of the Mask
Material ID channel in the Material Editor, using channel. Range=0 to 255.
the Material ID channel flyout (page 2–1074).
Z Hi/Z Lo—Highlights objects based on their
The Lens Effect will be applied only to areas of
distance (Z-Buffer distance) from the camera. The
the geometry where that particular ID channel is
Hi value is the maximum distance and the Lo value
present.
is the minimum. Any objects between these two
Tip: In some cases you might want to apply different Z-Buffer distances will be highlighted.
Lens Effects settings to different pieces of geometry
or IDs. To accomplish this, add additional Lens Image Filters group
Effects entries to the Lens Effects Parameters list.
Filters the Image Sources selections to let you
Then set each different Lens Effect entry to affect a
control how the Lens Effect is applied. For
different Material ID or Object ID and proceed.
example, you can have ten spheres in your scene,
Unclamp—An unclamped color is brighter than each with the same Object ID, but different colors.
pure white (255,255,255). The software keeps If you set the Image Source as the Object ID of the
track of these "hot" areas which tend to show spheres, which selects all of the spheres, these will
up when your scene contains bright metallic be the only objects in the scene that Lens Effects
highlights or explosions. This spinner lets you will apply an effect to.
determine the lowest pixel value that the Lens
However, now that Lens Effects knows where the
Effect is applied to. Pure white has a pixel value of
pixels are that effects can be applied, it needs to
1. When this spinner is set to 1, any pixels with
know which ones to actually apply the effect to.
a value above 255 will be glowed. You can invert
Lens Effects uses the filter controls to find out
this value by clicking the I button to the right of
which source pixels to apply the effect to.
the spinner.
All—Selects all source pixels in the scene and
Surf Norm—Applies the Lens Effect to part of
applies the Lens Effect to them.
an object, based on the angle of the surface
normal to the camera. A value of 0 is coplanar, or Edge—Selects all source pixels along a boundary
parallel to the screen. A value of 90 is normal, or edge and applies the Lens Effect to them. Applying
perpendicular to the screen. If you set Surf Norm a Lens Effect along the edges of objects produces
to 45, only surfaces with normal angles greater a soft halo that exists on both inside and outside
than 45 degrees will be glowed. You can invert this edges of your object.
value by clicking the I button to the right of the
Perim(eter) Alpha—Applies the Lens Effect only
spinner.
to the perimeter of an object based on its alpha
Whole—Applies the Lens Effect to the whole scene, channel. Selecting this option applies the effect
not just a particular piece of geometry. This, in only on the outside of an object without any
effect, makes each pixel in the scene a potential spill on the interior. Whereas filtering by Edge
Lens Effect source. The areas of the scene that have produces a spill onto the object, Perimeter Alpha
Streak Lens Effect 31
colors used in Radial Color. By manipulating the Streak Element rollout, Options panel
Falloff Curve you can make the effect use more of
one color or map than the other. You can also use
a map to determine the falloff when a light is used
as a Lens Effects source.
channel (page 2–1073) assigned to it. Assign the channel is interpreted opposite that of the Mask
Material ID channel in the Material Editor, using channel. Range=0 to 255.
the Material ID channel flyout (page 2–1074).
Z Hi/Z Lo—Highlights objects based on their
The Lens Effect will be applied only to areas of
distance (Z-Buffer distance) from the camera. The
the geometry where that particular ID channel is
Hi value is the maximum distance and the Lo value
present.
is the minimum. Any objects between these two
Tip: In some cases you might want to apply different Z-Buffer distances will be highlighted.
Lens Effects settings to different pieces of geometry
or IDs. To accomplish this, add additional Lens Image Filters group
Effects entries to the Lens Effects Parameters list.
Filters the Image Sources selections to let you
Then set each different Lens Effect entry to affect a
control how the Lens Effect is applied. For
different Material ID or Object ID and proceed.
example, you can have ten spheres in your scene,
Unclamp—An unclamped color is brighter than each with the same Object ID, but different colors.
pure white (255,255,255). The software keeps If you set the Image Source as the Object ID of the
track of these "hot" areas which tend to show spheres, which selects all of the spheres, these will
up when your scene contains bright metallic be the only objects in the scene that Lens Effects
highlights or explosions. This spinner lets you will apply an effect to.
determine the lowest pixel value that the Lens
However, now that Lens Effects knows where the
Effect is applied to. Pure white has a pixel value of
pixels are that effects can be applied, it needs to
1. When this spinner is set to 1, any pixels with
know which ones to actually apply the effect to.
a value above 255 will be glowed. You can invert
Lens Effects uses the filter controls to find out
this value by clicking the I button to the right of
which source pixels to apply the effect to.
the spinner.
All—Selects all source pixels in the scene and
Surf Norm—Applies the Lens Effect to part of
applies the Lens Effect to them.
an object, based on the angle of the surface
normal to the camera. A value of 0 is coplanar, or Edge—Selects all source pixels along a boundary
parallel to the screen. A value of 90 is normal, or edge and applies the Lens Effect to them. Applying
perpendicular to the screen. If you set Surf Norm a Lens Effect along the edges of objects produces
to 45, only surfaces with normal angles greater a soft halo that exists on both inside and outside
than 45 degrees will be glowed. You can invert this edges of your object.
value by clicking the I button to the right of the
Perim(eter) Alpha—Applies the Lens Effect only
spinner.
to the perimeter of an object based on its alpha
Whole—Applies the Lens Effect to the whole scene, channel. Selecting this option applies the effect
not just a particular piece of geometry. This, in only on the outside of an object without any
effect, makes each pixel in the scene a potential spill on the interior. Whereas filtering by Edge
Lens Effect source. The areas of the scene that have produces a spill onto the object, Perimeter Alpha
the Lens Effect applied to them are determined by keeps all of the edges clean because it relies on the
the settings in the Image Filters group box. scene alpha channel to derive its effect.
Alpha—Applies the Lens Effect to the alpha Perim(eter)—Applies the Lens Effect only to the
channel of an image. The transparency of an alpha perimeter of an object based on Edge interference.
Although not as precise as Perimeter Alpha, you
Circular Falloff Graph (Lens Effects) 35
Interface
Move—Moves selected points in any direction.
Click and hold the Move button to display the
flyout where you can select a button to move in any
direction, move only in the horizontal direction,
or move only in the vertical direction. The Move
function remains active until you click another
button. The button is yellow while it is active.
Scale Point—Scales a point vertically. Click once
to enable Scale Point. The Scale Point function
remains active until you click another button. The
button is yellow while it is active.
Add Point—Allows you to add points anywhere
along the Circular Falloff curve. Click and hold
Rings with different Circular Falloff settings the Add Point button to display the flyout from
which you can choose a button to add either a
The Circular Falloff graph has controls at the top Corner Point or a Bezier-Smooth Point. Click
for creating and moving points on a curve on once to enable Add Point. The Add Point function
the graph below. The curve represents the range remains active until you click another button. The
of colors you have selected in the Circular Color button is yellow while it is active.
group box to apply to the current Lens Effect.
When you open the graph you will notice that there Delete Point—Deletes selected points.
is already a line with a point on each end which Horizontal Position—Allows you to manually enter
represents the linear transition from one color to a horizontal position value for a selected point.
the next. By placing points along the curve, you
can drag these points to increase or decrease a Vertical Position—Allows you to manually enter a
colors intensity or to eliminate it altogether. vertical position value for a selected point.
Buttons are available at the bottom of the graph Pan—Allows you to click and drag the Circular
that allow you to change the display of the graph. Falloff graph window to move it left and right or
You can also manually enter a horizontal or up and down. Click once to enable panning. Pan
vertical position by entering a value into the two remains active until you click another button. The
entry boxes. button is yellow while it is active.
Radial Density Dialog (Lens Effects) 37
direction, move only in the horizontal direction, Zoom Vertically—Scales the length of the Radial
or move only in the vertical direction. The Move Density dialog window.
function remains active until you click another
Zoom—Zooms in and out of the entire Radial
button. The button is yellow while it is active.
Density dialog window.
Scale Point—Vertically scales a point up or down.
Zoom Region—Allows you to drag a region in
Click once to enable Scale Point. The Scale Point
the Radial Density dialog window and scale that
function remains active until you click another
region to fill the window.
button. The button is yellow while it is active.
Add Point—Allows you to add points anywhere
along the Radial Density curve. Click and hold the Radial Falloff Dialog (Lens Effects)
Add Point button to display the flyout where you
Rendering menu > Effects > Environment and Effects
can select a button to add either a Corner Point dialog > Effects panel > Add > Add Effect dialog > Lens
or a Bezier Point. Click once to enable Add Point. Effects > Choose any effect, and click the (>) arrow
button. > Parameters tab of the rollout for that effect >
The Add Point function remains active until you Falloff Curve (under the Radial Color group)
click another button. The button is yellow while
it is active. The Radial Falloff dialog allows you to add weight
Delete Point—Deletes selected points. to a particular color applied to your Lens Effect.
By weighting the colors that you apply you can
Horizontal Position—Allows you to manually enter choose to display more of one color than another.
a horizontal position value for a selected point. You can also make the transition of colors gradual
Vertical Position—Allows you to manually enter a from one color to the next or you can create a
vertical position value for a selected point. sharp edge to the transition.
Interface
Move—Moves selected points in any direction.
Click and hold the Move button to display the
flyout where you can select a button to move in any
direction, move only in the horizontal direction,
or move only in the vertical direction. The Move
function remains active until you click another
button. The button is yellow while it is active.
Scale Point—Vertically scales a point up or down.
Click once to enable Scale Point. The Scale Point
function remains active until you click another
button. The button is yellow while it is active.
Rings with different Radial Falloff settings
Add Point—Allows you to add points anywhere
The Radial Falloff graph has controls at the top
along the Circular Falloff curve. Click and hold the
for creating and moving Points on a curve on the
Add Point button to display the flyout where you
graph below. The curve represents the range of
can select a button to add either a Corner Point
colors you have selected in the Radial Color group
or a Bezier Point. Click once to enable Add Point.
box to apply to the current Lens Effect. When you
The Add Point function remains active until you
open the dialog you will notice that there is already
click another button. The button is yellow while
a line with a Point on each end which represents the
it is active.
linear transition from one color to the next. The
default falloff is a fade from one color at a value of Delete Point—Deletes selected points.
one to the other color which ends at a value of zero.
Horizontal Position—Allows you to manually enter
This produces an effect with more intensity on
a horizontal position value for a selected point.
the first color and a considerable fading out of the
second color. By placing Points along the curve, Vertical Position—Allows you to manually enter a
you can drag these points to increase or decrease a vertical position value for a selected point.
colors intensity or to eliminate it altogether.
Pan—Allows you to click and drag the Radial
Buttons are available at the bottom of the dialog Falloff graph to move it left and right or up and
that allow you to change the display of the dialog. down. Click once to enable panning. Pan remains
40 Chapter 15: Effects and Environments
Affect Alpha—Applies the Uniform Blur effect to Radial—Applies the Blur effect radially. Using
the alpha channel when turned on. the Radial parameters you can define a point
within your rendered image to use as the center
of the Radial Blur. You can use an object as the
Blur Rendering Effect 43
center or an arbitrary location set by the X and Blur Parameters rollout, Pixel Selections panel
Y Origin spinners. The Blur effect will apply the
least amount of blur to the center origin of the
effect and gradually increase the blur to the pixels
further away from the center. This can be used to
simulate motion blur caused by camera zoom.
Pixel Radius—Determines the intensity of the
Radius Blur effect. Increasing the value increases
the number of surrounding pixels that each pixel
will use to compute its blur. The more pixels used
means a greater blur for the image.
Trail—Adds “direction” to your blur by weighting
more or less blur toward the center of the Blur
effect. This adds a streaking effect and creates
the illusion that your objects or your camera are
rapidly moving in a particular direction.
X/Y Origin—Specifies the center of the blur, in
pixels, with respect to the dimensions of the
rendered output.
None—Lets you specify an object whose center
serves as the center of the blur effect. Click this,
select an object, and then turn on Use Object
Center. The object name appears on the button.
Clear—Removes the object name from the button
above.
Use Object Center—When on, the object specified
by the None button (tooltip: Pick an object to
center on.) serves as the center of the blur effect. If
no object is specified and Use Object Center is on,
Whole Image—Affects the entire rendered image
no blur is added to the rendered image.
when chosen. This is useful when the Blur effect
Affect Alpha—Applies the Radial Blur effect to the dims your rendered image. By using Brighten and
Alpha channel when turned on. Blend you can maintain the original colors of the
scene.
Brighten—Brightens the entire image.
Non-Background—Affects everything but the Map Mask—Applies the Blur effect according to the
background image or animation when chosen. channel selected and mask applied through the
This is useful when the Blur effect has dimmed Material/Map Browser. After selecting a mask you
your scene objects but not the background. By must select a channel from the Channel list. Blur
Using Brighten, Blend, and Feather Radius, you then examines the mask and channel according
can maintain the original colors of the scene. to the values set in the Minimum and Maximum
spinners. Any pixels in the mask that are of the
Brighten—Brightens the rendered image except for
selected channel and between the Min and Max
the background image or animation.
values will have the Blur effect applied. This is
Blend—Blends the Blur effect and the useful for blurring selected portions of a scene
Non-Background parameters with the original such as a winter morning as seen through a frost
rendered image. covered window.
Feather Radius—Feathers the Blur effect applied Channel—Selects a channel that the Blur effect will
to the Non-Background elements of your scene. be applied to. After selecting a particular channel,
When using Non-Background as a Pixel Selection use the minimum and maximum spinners to
you will notice that the scene objects have a hard determine the value a mask pixel must have in
edge to their blur since the objects are being order to have the effect applied to it.
blurred but the background is not. Use the spinner
Brighten—Brightens the portions of the image that
to feather the blur and eliminate the hard edge of
the Blur effect is applied to.
the effect.
Blend—Blends the Map Mask Blur effect with the
Luminance—Affects any pixels that have luminance
original rendered image.
values that fall between it’s Min and Max spinners.
Min—The minimum value (RGB, Alpha, or
Brighten—Brightens pixels that fall between the
Luminance) a pixel must have in order to have the
Minimum and Maximum luminance values.
Blur effect applied to it.
Blend—Blends the Blur effect and the Luminance
Max—The maximum value (RGB, Alpha, or
parameters with the original rendered image.
Luminance) a pixel can have for the Blur effect to
Min—Sets the minimum luminance value be applied to it.
necessary for each pixel in order for the Blur effect
Feather Radius—Feathers the Blur effect applied
to be applied to the pixel.
to pixels that fall between the Minimum and
Max—Sets the maximum luminance value a pixel Maximum channel values. When using map mask
can have in order for the Blur effect to be applied as a Pixel Selection, the Blur effect can create a
to the pixel. hard edge on the effect. Use the spinner to feather
the blur and eliminate the hard edge of the effect.
Feather Radius—Feathers the Blur effect applied
to pixels that fall between the Minimum and Object ID—Applies the Blur effect to an object or
Maximum luminance values. When using part of an object with a specific Object ID (in the
Luminance as a Pixel Selection the Blur effect can G-Buffer (page 3–681)), if the object matches the
create a hard edge on the effect. Use the spinner Filter settings. To add or replace an Object ID, use
to feather the blur and eliminate the hard edge of the spinners or enter a value in the ID text box and
the effect. press the appropriate button.
Blur Rendering Effect 45
Min Lum—The minimum luminance value a pixel Scale Point—Lets you scale the points on the graph.
must have in order to have the Blur effect applied This also moves the points, but in relationship to
to it. each other. Click the points you want to scale, or
draw a selection rectangle around them to select
Max Lum—The maximum luminance value a pixel them. Then turn on Scale Point, and press any
can have for the Blur effect to be applied to it. point in the selection to scale them all.
Brighten—Brightens the portion of the image that Add Point—Lets you create additional points on
the Blur effect is applied to. the falloff curve. This button is a flyout, providing
Blend—Blends the Material Blur effect with the linear points (the default) and Bezier points with
original rendered image. handle.
F. Radius—Feathers the Blur effect applied to pixels Delete Point—Removes points from the graph.
that fall between the Minimum and Maximum Brightening—These radio buttons let you select
luminance values. When using Luminance as a additive or multiplicative brightening. Additive
Pixel Selection, the Blur effect can create a hard brightening is brighter and more distinct than
edge on the effect. Use the spinner to feather the multiplicative brightening. Additive brightening
blur and eliminate the hard edge of the effect. is useful when you use blur in combination with a
Glow effect (page 3–7). Multiplicative brightening
provides a soft highlight to the Blur effect.
46 Chapter 15: Effects and Environments
Brighten Curve—Lets you edit the brightening Brightness—Increases or decreases all color
curve in the Feather Falloff curve graph. components (red, green, and blue). Range=0 to
1.0.
Blend Curve—Lets you edit the blend curve in the
Feather Falloff curve graph. Contrast—Compresses or expands the latitude
between maximum black and maximum white.
Range=0 to 1.0.
Brightness and Contrast Ignore Background—Applies the effect to
Rendering Effect everything in your Autodesk VIZ scene except the
Rendering menu > Effects > Environment and Effects background.
dialog > Effects panel > Add > Add Effect dialog >
Brightness and Contrast
Interface
Interface
Driver group
These buttons are available only when you choose
a device as the image source.
About—Provides information on the source of the
image-handler software used to bring the image
into the software.
Setup—Displays a setup dialog specific to the
Destination group plug-in. Some plug-ins may not use this button.
Cameras group
Pick Cam—Enables you to interactively select from
the viewport which camera you want the Depth
of Field effect applied to.
Remove—Deletes the camera currently selected in
the drop-down list.
Before and after applying Depth of Field effect to scene. Camera Selection List—Lists all of the cameras to be
used in the effect. You can use this list to highlight
a specific camera and remove it from the list using
the Remove button.
Exposure Controls
One of the limitations of rendering perceptually
accurate images is the limited dynamic range
Environment Panel 53
• Set and animate the background color. 1. Display the Material Editor.
• Use an image in the background of the viewport You adjust the map’s parameters with the
and rendered scene (screen environment) or Material Editor.
use texture maps as spherical, cylindrical, or 2. Choose Rendering > Environment.
shrink-wrap environments.
3. Under Background on the Environment panel,
• Set and animate the tint and ambient light do one of the following:
(page 3–655) globally.
• Click the Environment Map button. The
• Use atmospheric plug-ins, such as volumetric Material/Map Browser appears. Choose a
light, in the scene. map type from the list.
Atmospheres are plug-in components (page • Drag a map to the Environment Map button.
3–716) that create light effects such as fire You can do this from a map displayed in one
(page 3–57), fog (page 3–62), volume fog (page of the Material Editor’s sample slots, or from
3–64), and volume light (page 3–68). any map button that has been assigned,
• Apply exposure controls (page 3–73) to either in the Material Editor or from a
renderings. projection light, and so on.
54 Chapter 15: Effects and Environments
Drag a bitmap from the Material Editor’s To change the color of ambient light:
map preview to the Environment Map Tip: You don’t need to adjust ambient light if you
button. are using radiosity (page 2–1350).
On the Environment panel, the name of the 1. Choose Rendering > Environment.
Environment Map button changes to show the
2. Click the color swatch labeled Ambient.
type of map you chose, and Use Map turns on.
A Color Selector (page 1–132) appears.
After you have set up the map, you can later turn
3. Use the color selector to set the ambient color.
off Use Map to test rendering the scene without
the mapped background. Shaded viewports update to show ambient
color changes.
You have set up the environment map, but to
assign a bitmap or adjust map parameters, you Autodesk VIZ also uses the new ambient color
need to use the Material Editor. when you render the scene.
You can also create a standalone map in the The color of ambient light tints the scene. For
Material Editor first, and then choose it with the most renderings, the color of ambient light
Material/Map Browser. should be black.
4. Close the Environment dialog.
To put the map in the Material Editor:
To change the intensity of ambient light:
• Drag the Environment Map button to a sample
slot. Tip: You don’t need to adjust ambient light if you
The map is now in the Material Editor where are using radiosity (page 2–1350).
you can adjust it by changing its parameters. 1. Choose Rendering > Environment.
2. Click the color swatch labeled Ambient Light.
To change the color and tint of global lighting:
A Color Selector (page 1–132) appears.
1. Choose Rendering > Environment.
3. Change the Value setting (the V component
2. Click the color swatch labeled Tint.
of the ambient light’s HSV description) to
A Color Selector (page 1–132) appears. increase or decrease intensity.
3. Use the color selector to set the tint applied to Shaded viewports update to show changes in
all lighting except ambient light. the ambient light intensity.
4. Use the Level spinner to multiply the overall 4. Close the Color Selector.
lighting of the scene.
The intensity of ambient light affects contrast
Shaded viewports update to show global as well as overall illumination (the higher
lighting changes. the intensity of ambient light, the lower the
5. Close the Environment dialog. contrast). This is because ambient light is
completely diffuse, so the angle of incidence is
Autodesk VIZ uses the global lighting
equal for all faces. Ambient light alone cannot
parameters when you render the scene.
show depth.
Note: Autodesk VIZ has a default ambient light
setting. You can change the default by using
Environment Panel 55
the Rendering panel of the Preference Settings To assign an environment map, click the button
dialog. and use the Material/Map Browser to choose a
map, or drag a map from a sample slot or map
To add an atmospheric effect: button in the Material Editor (or anywhere else in
1. Choose Rendering > Environment. the software; for example, a Projector Map button)
and drop the map on the Environment Map
The Environment and Effects dialog is
button. A dialog asks if you want the environment
displayed, with the Environment panel visible.
map to be a copy (independent) or an instance of
2. Under Atmosphere on the Environment panel, the source map.
click Add.
To adjust the environment map’s parameters,
The Add Atmospheric Effect dialog appears. for example to assign a bitmap or change the
3. Choose the kind of effect you want to use, and coordinate settings, open the Material Editor, drag
then click OK. the Environment Map button, and drop it over an
The effect has now been added. Use the unused sample window.
Atmosphere rollout to adjust parameters. Use Map—Uses a map for the background rather
than the background color.
Interface
Common Parameters rollout Global Lighting group
Tint—Tints all lights in the scene (except for
ambient light) if this color is anything other than
white. Click the color swatch to display the Color
Selector, on which you can choose the tint color.
You can animate the tint color by changing it at a
nonzero frame with the Auto Key button on.
Level—Multiplies all lights in the scene. A Level of
1.0 preserves the original, individual light settings.
Increasing the Level raises the lighting for the
Background group overall scene, and decreasing the Level lowers the
Color—Sets the color for the scene background. overall lighting. This parameter is animatable.
Click the color swatch, then select the color you Default=1.0.
want in the Color Selector. You can animate the Ambient—Sets the color for the ambient light.
color effect by changing the background color at a Click the color swatch, and choose the color you
nonzero frame with the Auto Key button on. want in the Color Selector. You can animate the
Environment Map—The button for Environment light effect by changing the ambient light color at a
Map (page 3–672) displays the name of the map, nonzero frame with the Auto Key button on.
or “None” if none has been assigned. The map
must use Environmental mapping coordinates
(page 3–696) (spherical, cylindrical, shrink wrap,
and screen).
56 Chapter 15: Effects and Environments
Alpha is turned on, the alpha of the resulting image near the bottom of the list are layered in front of
is a combination of the scene and background effects near the top of the list.
image’s alpha. Also, when writing TGA files with
Each effect has its own parameters. When you
Pre-Multiplied Alpha set to off, turning on Use
select a fire effect in the Effects list, its parameters
Environment Alpha prevents incorrect results.
appear in the Environment dialog.
Note that only background images with alpha
channels or black backgrounds are supported Fire renders only in Camera or Perspective views.
when compositing in other programs such as Orthographic or User views don’t render Fire
Photoshop®. effects.
Note: To control whether or not a background Tip: Fire doesn’t support completely transparent
image is affected by the renderer’s antialiasing objects. Set the transparency of Fire objects
filter, choose Customize > Preferences > accordingly. Use visibility rather than transparency
Rendering and then turn on Filter Background in to make Fire objects disappear.
the Background Antialiasing group. Default=off. Note: The Fire effect does not cast any light or
shadows in the scene. To simulate illumination,
you must also create lights. To cast shadows, you
Fire Environment Effect need to go to the Shadows Parameters rollout (page
Rendering menu > Environment > Environment and 2–967) of your lights, and turn on Atmosphere
Effects dialog > Environment panel > Atmosphere rollout Shadows.
> Add > Fire Effect
Procedures
To create fire effects:
1. Create one or more atmospheric apparatus
objects to locate the fire effect in your scene.
2. Define one or more fire atmospheric effects on
the Environment panel.
3. Assign atmospheric apparatus objects to the
fire effects.
There are three kinds of apparatus: BoxGizmo You can assign single apparatus to multiple fire
(page 3–84), SphereGizmo (page 3–87), and effects. For example, one apparatus can display
CylGizmo. (page 3–85). both a fireball and a tendril flame effect.
You can move, rotate, and scale the apparatus, but You can choose multiple gizmos. Click Pick Gizmo
you cannot apply modifiers. and press H. This displays a Pick Object dialog on
which you choose multiple objects from the list.
Using non-uniform scale is a good way to change
the shape of the apparatus for effects. (You will see Remove Gizmo—Removes the gizmo selected in
a warning when you use this transform. Because the gizmo list. The gizmo remains in your scene
you don’t modify atmospheric apparatus, you can but it no longer displays the fire effect.
safely ignore the warning.)
Gizmo List—Lists apparatus objects assigned to the
fire effect.
Fire Parameters rollout
You must assign an atmospheric apparatus to a fire Colors group
effect before you can render the effect. Use buttons
You can set three color properties for a fire effect
in the Gizmos area to manage the list of apparatus
using the color swatches under Colors. Click
objects.
a color swatch to display the software’s Color
Selector (page 1–132).
Gizmos group
Inner Color—Sets the color of the densest part of
the effect. For a typical fire, this color represents
the hottest part of the flame.
Outer Color—Sets the color of the sparsest part of
the effect. For a typical fire, this color represents
the cooler, dissipating edge of the flame.
The fire effect is colored using a gradient between
the inner and outer colors. The dense areas of the
effect use the inner color and gradually blend to
the outer color near the edges of the effect.
Shape group
Gizmo for the fire in the scene shown at the beginning of
this topic You control the shape, scale, and pattern of flames
Pick Gizmo—Click to enter Pick mode and click an
within the fire effect using controls under Shape.
atmospheric apparatus in the scene. The apparatus Two options set the direction and general shape
displays the fire effect when you render. The name of flames.
of the apparatus is added to the apparatus list.
Tendril—Creates directional pointed flames with
Multiple apparatus objects can display the same veins along their center. The flames orient along
fire effect. For example, torches on a wall can all the local Z axis of the fire apparatus. Tendril
use the same effect. Assign a different seed to each creates campfire-like flames.
apparatus to vary the effect.
Fireball—Creates round puffy flames.
60 Chapter 15: Effects and Environments
Comparing Tendril to Fireball A value of 0.0 produces a very irregular effect that
Above=Tendril, Below=Fireball might occasionally reach the boundary of the
apparatus, but usually gets trimmed back and is
Stretch—Scales flames along the Z axis of the
smaller.
apparatus. Stretch works best with Tendril flames,
but you can use it to give Fireballs an oval shape.
Values less than 1.0 compress flames, making them
shorter and thicker.
Values greater than 1.0 stretch flames, making
them long and skinny.
You can combine Stretch with non-uniform
Effect of changing Regularity
scaling of the apparatus. Use non-uniform scale
Value=0.2, 0.5, 1.0
to change the boundary of the effect and scale the
shape of the flames.
Characteristics group
Use the Stretch parameter to scale only the
You set the size and appearance of flames using
flames inside the apparatus. You can also use
parameters under Characteristics. All of these
Stretch values to reverse the effect that scaling the
parameters depend on the apparatus size and
apparatus had on the flames.
are interdependent on each other. Changing one
parameter affects the behavior of the other three.
Flame Size—Sets the size of individual flames
inside the apparatus. The size of the apparatus
affects the flame size. A larger apparatus requires
Effect of changing Stretch
a larger flame size. Use a range from 15.0 to 30.0
Value=0.5, 1.0, 3.0
for the best results.
Fire Environment Effect 61
Large values work best for Fireballs. gradually replacing the inner color with white.
The higher the value, the more white the center
Small values work best for Tendrils.
of the effect is.
If the flame size is very small, you might need to
increase Samples to see individual flames.
For the best fire effects, drift should be a multiple As a general guideline, set Far Range just
of the height of the fire apparatus. beyond the objects, and Near Range to intersect
the object geometry closest to the camera.
4. Choose Rendering > Environment.
Fog Environment Effect
5. Under Atmosphere on the Environment panel,
Rendering menu > Environment > Environment and click Add.
Effects dialog > Environment panel > Atmosphere rollout
> Add > Fog The Add Atmospheric Effect dialog is displayed.
6. Choose Fog, and then click OK.
7. Make sure you choose Standard as the type of
fog.
This command provides fog and smoke 1. Create a Camera or Perspective view of your
atmospheric effects. This plug-in (page 3–716) scene.
provides effects such as fog which causes objects to 2. Choose Rendering > Environment.
appear to fade as they increase in distance from the
camera (standard fog), or layered fog that envelops 3. Under Atmosphere on the Environment panel,
all or parts of objects in a blanket of mist. click Add.
The Add Atmospheric Effect dialog is displayed.
Fog renders only in Camera or Perspective views.
Orthographic or User views don’t render Fog 4. Choose Fog, and then click OK.
effects. 5. Choose Layered as the fog type.
6. Set the parameters for layered fog.
Procedures
You can have multiple fog layers in the scene
To use standard fog:
by adding multiple Fog entries to the list and
1. Create a Camera view of your scene. choosing Layered.
2. In the camera’s creation parameters, turn on
Show in the Environment Ranges group.
Standard fog is based on the camera’s
environment range values.
3. Set Adjust Near Range and Far Range to include
the objects you want to fog in your rendering.
Fog Environment Effect 63
Color—Sets the color for the fog. Click the color Layered—Enables the Layered group.
swatch, and then select the color you want in the
Color Selector (page 1–132). Standard group
Environment Color Map—Derives the fog color Thins and thickens the fog based on the distance
from a map. You can map the background and the from the camera.
fog color and you can opacity-map the fog. Exponential—Increases density exponentially with
The large button displays the name of the color distance. When turned off, density increases
map, or None if no map is assigned. The map linearly with distance. Activate this check box only
must use Environmental mapping coordinates when you want to render transparent objects in
(page 3–696) (spherical, cylindrical, shrinkwrap, volume fog.
and screen). Tip: If you turn on Exponential, this increases the
Step Size value to avoid banding.
To assign the map you can drag a map from a
Sample slot or Map button in the Material Editor Near %—Sets the density of the fog at the Near
(or anywhere else in the software; for example, Range (Camera Environment Range parameter).
64 Chapter 15: Effects and Environments
with no objects and Fog Background turned 4. Select Volume Fog from the Add Atmospheres
on, volume fog obscures the background. dialog and click OK.
5. Highlight Volume Fog from the Atmospheres
To create a volume fog gizmo:
list and click setup to adjust the Volume Fog
parameters.
3. Drag the mouse in the viewport to create the This action doesn’t delete the gizmo from the
gizmo. scene, but simply unbinds it from the fog effect.
Phase—Controls the churn of the wind. A simplified example where the light cone is clearly visible
on the right.
Wind Strength—Controls how the smoke is
Volume Light renders only in Camera or
rendered away from the wind direction, relative
Perspective views. Orthographic or User views
to phase.
don’t render Volume Light effects.
Wind from the—Defines the direction the wind is
coming from. Procedures
To use volume light:
1. Create a scene with lights.
Volume Light Environment Effect
2. Create a Camera or Perspective view of your
Rendering menu > Environment > Environment and scene.
Effects dialog > Environment panel > Atmosphere rollout
> Add > Volume Light
Avoid making the view axis parallel to the
cone of a spotlight. This tends to create only
a washed-out scene, possibly with rendering
artifacts.
3. Choose Rendering > Environment.
4. Under Atmosphere on the Environment panel,
click Add.
The Add Atmospheric Effect dialog is displayed.
5. Choose Volume Light, and then click OK.
Volumetric light used in a complex environment with 6. Click Pick Light, and then click a light in a
shadows and noise.
viewport to add the light to the list of volume
Volume Light provides light effects based on the lights.
interaction of lights with atmosphere (fog, smoke, You can also use a Select By Name dialog to
and so on). select multiple lights. Click Pick Light, and then
This plug-in (page 3–716) provides effects such as press H to display the dialog.
radial glows for omni lights (page 3–708), conical 7. Set the parameters for volume light.
glows for spotlights, and parallel beams of fog for
directional lights. Objects within the light volume
Volume Light Environment Effect 69
Lights group
Pick Light—Click the light that you want to enable
for volume light in any viewport.
You can pick multiple lights. Click Pick Light and
then press H. This displays a Pick Object dialog
that lets you choose multiple lights from the list.
Remove Light—Deletes a light from the list.
70 Chapter 15: Effects and Environments
Volume group
Fog Color—Sets the color for the fog that makes up
the volume of the light. Click the color swatch,
and then choose the color you want in the Color
Selector (page 1–132).
Unlike the other fog effects, this fog color combines
with the color of the light. Possibly the best effect
is to use white fog and then color it with a colored
Left: Original scene
light.
Right: Increasing the density
Attenuation Color—Attenuates volume light over
Max Light%—Represents the maximum glow effect
distance. The volume light ramps from the Fog
that you can achieve (defaults to 90 percent). By
Color to the Attenuation color over the light’s Near
turning this down, you can limit the brightness of
and Far attenuation distances. Clicking the color
the glow so that it doesn’t get denser and denser as
swatch displays a color selector so you can change
it gets farther away from the light and "whites out."
the attenuation color.
Note: When your scene includes transparent
Attenuation Color interacts with Fog Color. objects inside a volume light, set Max Light to 100
For example, if your fog color is red and your percent.
attenuation color is green, in the rendering your
fog will shade to purple. Typically the attenuation Min Light%—Similar to an ambient light (page
color should be very dark and neutral—black is 3–655) setting. If Min Light% is greater than 0,
a good choice. areas outside the light volume will glow also. Note
that this means areas of open space (where the
Use Attenuation Color—Makes attenuation color light ray can travel forever) will end up the same as
active. the fog color (just as with normal fog).
Exponential—Increases density exponentially with Without objects behind the fog, the scene will
distance. When turned off, density increases always be as bright as the fog color if the Min
linearly with distance. Activate this check box only Light% is greater than 0 (no matter what the actual
when you want to render transparent objects in value is). This is because the fog goes to infinity
volume fog. and is accumulated infinitely. If you’re going to use
Density—Sets the density of the fog. The denser min light% values greater than 0, you should make
the fog, the more the light reflects off it inside the sure that you enclose your scene by geometry.
volume. Densities of 2 to 6 percent probably make Atten. Mult. (Attenuation Multiplier)—Adjusts the
the most realistic fog volumes. effect of the attenuation color.
Filter Shadows—Allows you to get better quality
volume-light rendering by increasing the sampling
rate (at the cost of some increased rendering time).
These are the options:
Volume Light Environment Effect 71
Because the parameter ranges up to 100 there’s End %—Sets the end attenuation of the lighting
still room to set it higher. Increasing the Sample effect, relative to the actual light parameter’s
Volume % parameter definitely slows things down, attenuation. By setting this lower than 100 percent,
but in some cases you may want to increase it (for you can have a glowing attenuating light that
extremely high sample quality). casts light much farther than it actually glows.
Default=100.
72 Chapter 15: Effects and Environments
Wind Strength—Controls how the smoke is values. Linear Exposure Control is best for
rendered away from the wind direction, relative scenes with a fairly low dynamic range.
to phase. • Logarithmic Exposure Control (page 3–77)
Wind from the—Defines the direction the wind is uses brightness, contrast, and whether the
coming from. scene is outdoors in daylight to map physical
values to RGB values. Logarithmic Exposure
Control is better for scenes with a very high
dynamic range.
• Pseudo Color Exposure Control (page 3–79)
Exposure Controls is actually a lighting analysis tool. It maps
luminances to pseudo colors that show the
Rendering menu > Environment > Environment and
Effects dialog > Environment panel > Exposure Control brightness of the values being converted.
rollout
Important: The mental ray renderer (page 2–1377)
supports only the Logarithmic and Pseudo Color
Exposure Controls are plug-in components that
exposure controls.
adjust the output levels and color range of a
rendering, as if you were adjusting film exposure.
Exposure Controls are especially useful for
renderings that use radiosity (page 2–1350).
Exposure control compensates for the limited
dynamic range of monitors. Monitors have a
dynamic range of about two orders of magnitude.
The brightest color that appears on a display is
about 100 times brighter than the dimmest. The
eye, by comparison, can perceive a dynamic range
of about 16 orders of magnitude. The brightest Left: Linear exposure control maps intensity evenly.
color we can perceive is about 10 million-billion Right: Logarithmic exposure control maps most intensities
to low and mid tones.
times brighter than the dimmest. Exposure control
adjusts colors so they better simulate the eye’s
great dynamic range, while still fitting within the
Tips:
color range that can be rendered. • If the primary lighting from your scene comes
• Automatic Exposure Control (page 3–74) from standard lights (rather than photometric
samples the rendered image and builds a lights), use the Logarithmic Exposure Control
histogram to give good color separation across and turn on Affect Indirect Only.
the entire dynamic range of the rendering. It • Use Automatic Exposure Control for rendering
can enhance some lighting effects that would still images. Automatic Exposure Control is
otherwise be too dim to see. also good for first-draft renderings.
• Linear Exposure Control (page 3–76) samples • Use Logarithmic Exposure Control for
the rendering and uses the average brightness animations with a moving camera. (Automatic
of the scene to map physical values to RGB and Linear Exposure Control with a moving
camera can cause excessive flickering.)
74 Chapter 15: Effects and Environments
• For outdoor scenes that use the Daylight been rendered, it updates interactively when you
system, turn on the Exterior toggle to prevent changed exposure control settings.
overexposure.
Render Preview—Click to render the preview
thumbnail.
Exposure and Attenuation for Standard
Lights
When you use standard lights that are not Automatic Exposure Control
attenuated, renderings tend to have a low dynamic
range, because light intensities don’t vary greatly Rendering menu > Environment > Environment and
Effects dialog > Environment panel > Exposure Control
across the scene. In this situation, adjusting light rollout > Choose Automatic Exposure Control from the
list. > Automatic Exposure Control rollout
values might be all you need to do to get a good
rendering.
When lights are attenuated, on the other hand, the
light might be too bright on near surfaces or too
dim on far surfaces. In this situation, Automatic
Exposure Control can help, because it adjusts the
larger dynamic range of the (simulated) physical
scene, into the smaller dynamic range of the
display.
Interface Auto exposure can affect the lighting of the whole image.
(lumens per square foot). When the illuminance This parameter is animatable.
is less than 0.00562 footcandles, the scene is
Exposure Value—Adjusts the overall brightness of
completely gray.
the rendering. Range= -5.0 to 5.0. Negative values
Note: 1 footcandle (fc) equals 10.76 lux (lumens make the image darker, and positive values make
per square meter). it brighter. Default=0.0.
The exposure value can be thought of as an
Linear Exposure Control exposure compensation setting in cameras with
automatic exposure control.
Rendering menu > Environment > Environment and
Effects dialog > Environment panel > Exposure Control This parameter is animatable.
rollout > Choose Linear Exposure Control from the list. >
Linear Exposure Control rollout Physical Scale—Sets a physical scale for exposure
control to use with lights that are not physically
Linear Exposure Control samples the rendered based. The result is an adjustment of the rendering
image and uses the average brightness of the scene that approximates the eye’s response to the scene.
to map physical values to RGB values. Linear
Each standard light’s Multiplier (page 3–702) is
Exposure Control is best used for scenes with a
multiplied by the Physical Scale value to give a
fairly low dynamic range.
light intensity value in candelas. For example,
Note: Linear Exposure Control should not be used with the default Physical Scale of 1500, a standard
in animations, because every frame will have a omni light is treated by the renderer and radiosity
different histogram, causing your animation to as a photometric isotropic light of 1500 candelas.
flicker. Physical Scale is also factored into reflections,
Important: The mental ray renderer (page 2–1377) does refractions, and self-illumination.
not support the Linear exposure control. Tip: You need to set the Physical Scale when you use
ray-tracing with self illumination. Set this value
See also to the equivalent of the brightest light source in
Environment Panel (page 3–53) the scene. This will set the appropriate conversion
scale for reflections, self-illumination, and all
Interface other non-physically based elements a material
offers. In some cases, an object might reflect or
emit more light than the brightest light object in
the scene; in this case, use the object’s Luminance
value as the Physical Scale.
Range=0.0 to 200,000.0 candelas. Default=1500.0.
A single candle is approximately 1 candela (the
Brightness—Adjusts the brightness of the unit can also be called a "candle"). A 100-Watt
converted colors. Range=0 to 200. Default=50. (W) incandescent light bulb is approximately
This parameter is animatable. 139 candelas (cd). A 60W bulb emitting in all
directions is about 70 cd, while the same bulb with
Contrast—Adjusts the contrast of the converted a reflector is about 4500 cd because the light flux is
colors. Range=0 to 100. Default=50. concentrated into a narrow angle.
Logarithmic Exposure Control 77
Adjusting the value of mid tones Clicking the color swatch displays a Color Selector
(page 1–132) so you can choose the color to adapt
Physical Scale—Sets a physical scale for exposure to.
control to use with lights that are not physically
based. The result is an adjustment of the rendering You can use this control to simulate how the
that approximates the eye’s response to the scene. eye adjusts to lighting. For example, even when
the light in a room has a yellow hue from an
Pseudo Color Exposure Control 79
incandescent light bulb, we will continue to Turn on this toggle when the primary lighting for
perceive objects that we know to be white, such as your scene comes from standard lights rather than
printed pages, as white. photometric lights. When you use standard lights
Tip: For the best results, use a very pale color and turn on Affect Indirect Only, radiosity and
correction color, such as a pale blue or pale yellow. exposure control yield results similar to the default
scanline renderer. When you use standard lights
but leave Affect Indirect Only off, radiosity and
exposure control yield results that can be quite
different from the default scanline renderer.
In general, you don’t need to turn on Affect
Indirect Only when the primary lighting for your
scene comes from photometric lights.
Exterior daylight—When on, converts colors for an
outdoor scene. Default=off.
The Lighting Data Exporter does not render the Height—Sets the output height, in pixels.
files unless you have applied an exposure control Default=480.
(page 3–73) to the scene.
You can render to either the TIFF file (page
3–277) format. If you export to a TIFF file, the Export—Click to render luminance and
utility renders a single image file that has separate illuminance data.
channels for luminance and illuminance (the file is Warning: Unlike the renderer, if you click Export more
of the 32-bit SGI LogLUV image type). than once, this overwrites previously rendered files.
You can also render to the PIC file (page 3–270)
format. If you export to a PIC file, the utility
renders two images: one containing luminance
data, and the other containing illuminance data
(see the description of the File Name button, Atmospheric Apparatus
below). Helper Objects
Interface
Atmospheric Apparatus
Create panel > Helpers > Atmospheric Apparatus (from
drop-down list)
File Name—Click the button to specify a file name SphereGizmo Helper (page 3–87)
for the rendering.
See also
When you export to the PIC format, the Lighting
Data Exporter renders two files. It appends the Fire Environment Effect (page 3–57)
string “_Illuminance” to the name of one file, and Fog Environment Effect (page 3–62)
“_Luminance” to the other. For example, if you
Volume Light Environment Effect (page 3–68)
type house as the file name, the exporter renders to
house_illuminance.pic and house_luminance.pic.
These radio buttons choose between new or 1. Drag in a viewport to define the initial length
existing atmospheres. and width, then release the mouse and drag
vertically to set the initial height.
New—Lists only new atmospheres.
2. Click to end BoxGizmo creation.
Existing—Lists only atmospheres that have been
already assigned to other apparatuses in the scene. To add a new atmosphere:
Adding an existing atmosphere creates a new 1. Select the apparatus gizmo.
atmosphere whose settings are initially identical to 2. In the Modify panel, on the Atmospheres &
the previous one. Effects rollout, click Add. This displays the Add
Atmosphere dialog (page 3–84).
3. Choose an atmosphere from the list.
4. Click OK.
This associates a new atmosphere with the
apparatus.
CylGizmo Helper 85
CylGizmo Helper
Create panel > Helpers > Atmospheric Apparatus (from
drop-down list) > CylGizmo
Interface
Name and Color rollout
The Name and Color rollout (page 3–479) lets you
rename objects and change their wireframe color.
Procedures
To create the CylGizmo:
1. Drag in a viewport to define the initial radius,
then release the mouse and drag vertically to set
the initial height.
2. Click to end CylGizmo creation.
Radius and Height—Set the dimensions of the
To add a new atmosphere: cylinder gizmo.
1. Select the apparatus gizmo. Seed—Sets a base value used to generate the
2. In the Modify panel on the Atmospheres & atmospheric effect. Each apparatus in the scene
Effects rollout, click Add. This displays the Add should have a different seed. If more than
Atmosphere dialog (page 3–84). one apparatus uses the same seed and same
3. Choose an atmosphere from the list.
atmospheric effect, they will produce nearly
identical results.
4. Click OK.
New Seed—Click to generate a random number
This associates a new atmosphere with the
automatically and place it in the seed field.
apparatus.
Create panel > Helpers > Atmospheric Apparatus (from 4. Click OK.
drop-down list) > SphereGizmo
This associates a new atmosphere with the
Create menu > Helpers > Atmospherics > Sphere Gizmo apparatus.
the atmosphere you chose. You can adjust them Atmospheres & Effects rollout
using Setup.
Interface
Name and Color rollout
The Name and Color rollout (page 3–479) lets you
rename objects and change their wireframe color.
Save As (page 3–95) New clears the contents of the current scene
Save Copy As (page 3–96) without changing system settings (viewport
Reset 91
Procedure
If you have made changes since the last Save
operation, a dialog prompts you whether you want
to save your changes.
Note: If the current scene has any file links, 2. When asked if you really want to reset, click Yes.
Autodesk VIZ performs a Bind operation on all Clicking No on this dialog cancels the Reset
linked files. operation.
Keep Objects—Keeps the objects in the scene,
but removes any links between them and any
animation keys.
Open
Warning: This option should not be used when working File menu > Open
with a scene containing linked or imported objects. Keyboard > CTRL+O
New All (Default)—Clears the contents of the
current scene. Open loads a scene file (MAX file) or VIZ Render
file (DRF File (page 3–136)) from an Open File
92 Chapter 16: Managing Scenes and Projects
dialog. You can also choose a previously opened set to 1 unit = 1 foot, a sphere with a radius of
file and use command-line options (page 3–383). 100 feet remains 100 feet.
The MAX file type is a complete scene file. • If you rescale the file objects, the objects are
scaled as if they had been created using the
A DRF file is a scene file from VIZ Render, current scene unit scale.
a rendering tool included with Autodesk
Architectural Desktop 2005. The DRF file type is For example, if the current system unit scale
very similar to MAX files from previous versions is set to 1 unit = 1 inch, and the incoming file
of Autodesk VIZ. was set to 1 unit = 1 foot, a sphere with a radius
of 100 feet becomes 1200 inches in radius
If the file you’re loading was created using plug-ins (assuming the unit display is set to generic
that are not installed, a dialog lists them. You units).
can still load the file, but any entities in the scene
that were created by the missing plug-ins are If Respect System Units In Files is off (which is
replaced with stand-ins; non-rendering boxes or not recommended), Autodesk VIZ disregards the
placeholder modifiers. You can safely delete these units chosen in the loaded scene file.
from the scene, unless you are sharing the scene For example, a 100-unit radius sphere that was
with a user who has the plug-ins installed. created in a 1 unit = 1 foot scene becomes a
If the file you are loading contains bitmaps that 100-inch sphere in a 1 unit = 1 inch scene.
cannot be located, a Missing External Files dialog
(page 3–116) appears. This dialog lets you browse Procedures
for the missing maps, or continue opening the file To reopen a previously opened file:
without loading them. • From the bottom of the File menu, choose the
file name.
Automatic Unit Conversion
You set the number of files listed by changing
When Respect System Units In Files is turned on the Recent Files In File Menu (page 3–548)
in the System Unit Scale group of the System Unit field on the Files panel of the Customize >
Setup dialog (page 3–581), loaded files that have a Preferences dialog.
different scene unit scale display a File Load: Units
Mismatch dialog (page 3–584). This dialog lets To start Autodesk VIZ and open a specific file:
you rescale the loaded scene to the current scene • In a command prompt window, specify the file
unit scale, or change the current scene unit scale to name after the executable name. For example:
match the one in the loaded file. No conversion is
done when loading files created in Autodesk VIZ c:\Program Files\Autodesk VIZ
1.x. 2006\3dsviz.exe myproject.max
• If you choose to match the units in the loaded To start Autodesk VIZ and open the last file you
file, the System Unit Scale setting in the System worked on:
Unit Setup dialog is changed to the setting in
• In a command prompt window, type -L after
the scene file.
the executable name:
For example, if the current system unit scale is
c:\Program Files\Autodesk VIZ
set to 1 unit = 1 inch, and the incoming file was
2006\3dsviz.exe l
Open from Vault 93
Opening an Obsolete File Note: Open From Vault appears on the File menu
only if you installed the Vault client, an optional
When opening a scene created in an earlier version part of the Autodesk VIZ software installation.
of Autodesk VIZ, you will see an Obsolete File
dialog. See also
Asset Tracking Dialog (page 3–102)
Procedure
To use Open From Vault:
1. Open the File menu and choose Open From
Vault.
2. If you’re not logged in to a provider, you’re
asked to log in via the Vault Log In dialog. Fill
If you resave the scene, you will overwrite the file.
out the form and then click OK.
You can still edit it using Autodesk VIZ 2006,
3. Use the Open File From Vault dialog to browse
the vault and choose a MAX file to open.
94 Chapter 16: Managing Scenes and Projects
See also
Save (page 3–94)
Save Copy As (page 3–96)
Procedure
To save a file to a different name:
1. Choose File > Save As.
Choose Yes to go ahead and overwrite the original
file, No to stop the Save. If you choose No, you can 2. Do one of the following:
use Save As (page 3–95) to save the file under a • Enter a name in the File Name field.
different name. • Click the Increment button.
If you save to the original file name, you can still
edit it using the current version of the software, Interface
but you will no longer be able to edit it in earlier
versions of Autodesk VIZ.
Interface
When you save a scene, you also save the program
settings. When you open the file again, it opens
with the same viewport configuration, view and
zoom levels, snap and grid settings, and so on.
You can incrementally number saved files, and The Save File As dialog has standard Windows file
make automatic backup files at specified time save controls. At the right, the Thumbnail area
intervals. These options, Increment On Save and shows a preview of the scene whose file name is
Backup On Save, are on the Files panel (page highlighted in the list on the left.
3–548) of the Preference Settings dialog. Tip: You can resize the dialog by dragging an edge
or a corner.
Interface all items indented below the selected one are also
selected.
In the standard file selector dialog, select the scene
file to merge. To see more than one file type at a Case Sensitive—Distinguishes between uppercase
time, choose the All Files file type. and lowercase for item names.
Sort group
Options allow you to sort the list on the left. If the
Display Subtree check box is on, these options are
not available.
Alphabetical—Sorts from A at the top to Z at the
bottom.
By Type—Sorts by category, using the same order
as the check boxes in List Types.
By Color—Sorts by object wireframe color.
Replace 99
Replace lets you substitute the geometry of one or To select objects to replace, do one of the following:
more objects in a scene by merging objects with
• Enter the name of an item, or use wildcard
duplicate names. Use Replace when you want to
characters to specify multiple items that share a
work with less complex geometry to set up your
set of characters in their names.
scene and animation, and then replace it with
more detailed geometry before rendering. • Click to select single objects.
• When you replace an object in your scene, you • Press CTRL and click to add and remove single
replace its geometry, including its modifiers, objects from the selection.
but not its transforms, hierarchy, or materials. • Press SHIFT and click to select all objects
• To replace the object with all its characteristics, between the previously selected object and the
use Merge (page 3–97). current object.
• If the object that you’re replacing has instances • Click All or None to select or deselect the entire
in the scene, all of the instances are replaced list.
with the new object.
Interface
• All objects in the scene with the same name as
the incoming object are replaced by that object. When you choose replace, a standard file selector
If you have more than one object in the scene dialog is displayed. Use the file selector to choose
with the same name as the incoming object, all the scene file with the replacement objects. After
of those objects are replaced. you click Open, the Replace dialog is displayed.
Tip: In the file selector, you can see more than one
Procedures file type at a time by choosing the All Files file type.
To replace items:
1. Choose File > Replace to display the Replace
File dialog.
To see more than one file type at a time, choose
the All Files file type.
100 Chapter 16: Managing Scenes and Projects
Import
File menu > Import
Procedure Interface
To coordinate local files with Vault files:
For optimal coordination between your local files
and those in the Vault, maintain a one-to-one
correspondence between the folder structure
in the database and the structure on your local
drive (the working folder and its subdirectories),
and keep all files that you’ll be checking in and
out in the local version of the structure. Create a
local folder structure for Vault files and then use Menu bar
Options to map the top of the local structure to the The menu bar provides access to most Asset
top of the Vault structure (i.e., Vault($)). Tracking functions. Most of the menu functions
1. Create a working folder on a local drive to are also available from the right-click menu
contain all files to be coordinated with other available in the dialog window.
users via the Vault. For example, you could call Note: If you highlight and then CTRL+right-click
the working folder My_Vault. one or more assets all of which reside in the same
2. Open the Asset Tracking dialog and log in to directory, a version of the Windows Explorer
the tracking database if necessary. context menu opens. This lets you perform such
3. On the Asset Tracking dialog, choose Server
functions as cutting or copying the file, or sending
menu > Options. it to the desktop as a shortcut for easy access.
turn on “Use these settings next session.” This also specify whether to replace the local copies with the
turns on Options > “Log in using saved settings.” checked-out version, and enter a comment.
The login settings are stored in the file If you enter a comment, it’s copied to the Working
3dsmax8\plugcfg\ATSVaultLogin.ini. Comment dialog.
Log out—Logs you out of the database. Tip: Always be sure to check out an asset before
modifying it, even if you have a writable version
Options—Opens the Vault Options dialog, where
on a local drive. This prevents other users from
you can view the working folder and specify a new modifying the file at the same time, and lets you
one (click the Change button). Available only maintain strict version control over the asset.
when logged in.
Checkin—Lets you check in the highlighted assets
in the Asset Tracking dialog list of assets. This
opens a dialog that lets you confirm the checkin,
specify whether to keep the assets checked out,
and enter a comment. Also, if the assets have been
edited but not saved locally, you’re prompted to
save first.
Checking in an asset increments the current
version number of the asset as stored in the
database, and saves the current Comment text
Important: The working folder is a folder on your local along with the asset.
drive that mirrors the top-level folder of the provider Undo Checkout—Reverses a checkout, setting the
database structure. For further information, see this highlighted assets’ status to checked in, without
procedure (page 3–103). saving any changes.
You can log in automatically in future sessions, Add Files—Lets you add files in the scene, such
bypassing the Vault Log In dialog, if you turn on as bitmaps used in materials, to the provider
“Log in using saved settings.” This also turns on database. To add a file, load it (such as a scene file)
Vault Log In > “Use these settings next session.” or add it to the scene (such as a bitmap used in a
Launch Provider—Opens the database client material), highlight it in the Asset Tracking dialog,
program. This is the same as running the program and then use Add Files.
from the Start menu. It doesn’t necessarily open to You can add multiple files at the same time.
the same database you’re using in Autodesk VIZ.
Note: You cannot add a file that doesn’t exist on a
File menu local drive, such as an unsaved scene file. Also, you
cannot add a file that’s not in the working folder,
Most of the File menu commands are available as specified via Options. For best results, before
only when you’re logged in. adding a file, make sure it exists in a local folder
Checkout—Lets you check out the highlighted within a structure that mirrors the one in the Vault.
assets in the Asset Tracking dialog list of assets, For details, see this procedure (page 3–103).
if the assets are available for checking out. This Get Latest—Downloads the most recent
opens a dialog that lets you confirm the checkout, (highest-numbered) version of the highlighted
Asset Tracking Dialog 105
asset from the database. Use this when a teammate Reveal In Explorer—Opens a Windows Explorer
has updated an asset such as a bitmap. dialog showing the location of the highlighted
asset.
History—Opens a History dialog from which you
can get any version of the highlighted asset. When Custom Dependencies—Opens a dialog that lets
the dialog opens, highlight the version to get by you specify files to be dependents of the current
clicking it and then click Get Version. You can also scene; files that aren’t necessarily present in the
right-click the asset and choose Get Version from current scene but should be associated with
the context menu. it. On the Custom Dependencies dialog, click
the Add button and then use the Add Custom
Properties—Opens a read-only dialog that shows
Dependencies file browser to open dependent files.
information about the highlighted asset such as
vault and local locations, versions, and check-out The Custom Dependencies function lets you
status. associate files that aren’t true scene dependencies.
A true dependent file is required for rendering,
Get From Provider—Lets you copy files from the
animation, exporting, etc. A custom dependency
database to the local working folder. Use the Get
might be reference art work, a text file with scene
Files dialog to navigate to the folder from which
documentation or tasks to accomplish, custom
to get files, highlight any number of files, and
scripts, etc. Basically, any collection of files that
then click Open. The highlighted files and any
should “travel along” with the scene.
dependent files, such as bitmaps and XRefs, are
copied to the local folder, using the same folder One potential use for a custom dependency is as
hierarchy as that of the database. a way to perform simple project management.
For example, you could add a file called
Working Comment—Opens a dialog that containing
GameTitle-A.txt as a custom dependency to any
a common text buffer for the current session.
scene file associated with GameTitle-A. You could
When you check out a file, any comment you then instruct the provider client, such as Vault
enter in the Asset Tracking dialog is copied to Explorer, to display all files that are dependent on
the Working Comment dialog. You can edit this GameTitle-A.txt, which would give you a list of
text at any point during the session. When you files associated with that project.
check a file back in, all Working Comment text
Refresh—Reloads the asset listing from the local
appears in the Asset Tracking dialog; you can edit
scene and updates the window contents.
it as necessary without affecting the original text
before completing the check in. The checked-in
Paths menu
comments remain with that version of the file in
the Vault. The tools on this menu help you resolve
file-path issues such as missing files. They
Browse—Lets you browse the local directories for
include functionality also available in the
missing files such as bitmaps. Use the Browse Bitmap/Photometric Path Editor Utility (page
dialog to find the file, and then click Open. 3–123), but their integration into the Asset
View Image File—Opens a window showing the Tracking dialog helps speed the workflow of
highlighted image file. The file must be present managing scene assets.
in a local directory.
106 Chapter 16: Managing Scenes and Projects
Highlight Editable Assets—Highlights all assets To revert to a previous path, choose it from the
whose paths can be affected by the remaining drop-down list.
commands on this menu. To change the file name, edit the File field or
For example, if your scene materials use bitmaps choose a name from the drop-down history
from a number of different folders, you could copy list. Note that this changes only the name of the
all the bitmaps to a common directory within your asset file as pointed to in the scene; it doesn’t
working folder, use Highlight Editable Assets to change the actual asset file name. Use this
highlight all the bitmap assets, and then use Set to update the scene if the asset file name has
Path (see following) to designate the common changed.
directory. • If multiple assets are highlighted, you can
Set Path—Opens a dialog for editing the scene’s change the path but not file names. The
record of the highlighted asset’s or assets’ path and, following dialog appears.
in the case of a single asset, the file name. Both
versions of the dialog include drop-down history
lists for reverting to a previous path or file name.
The primary function for this command is to
change the path pointed to by Autodesk VIZ for
existing assets whose locations have changed. The dialog shows the portion of the current
However, for output files such as rendered images path that the highlighted assets and lets you
and render elements, you can also use Set Path specify a new one, either by editing the Specify
to create and use new output directories. If you Path field contents or by clicking the ellipsis [...]
change an output path to one that doesn’t exist, button and browsing to a different path.
you’re prompted to confirm that you want to create For example, if two assets are highlighted,
the folder(s). if you confirm, the output paths are and one asset’s path is c:\max_files\maps1\
changed in all appropriate locations, such as the while the other’s is c:\max_files\maps2\, the
Render Scene dialog. Specify Path field will show c:\max_files\.
The version of the dialog that appears depends on Changing this changes the complete path for all
the number of highlighted assets: highlighted assets. Of course, they must all be
present there for the program to find them.
• If a single asset is highlighted, you can change
the path and the file name. The following To revert to a previous path, choose it from the
dialog appears. drop-down list.
To change only the portion of the path that
all highlighted assets have in common, use
Retarget Common Root (see following).
Retarget Common Root—Lets you change only the
part of the path that all highlighted assets have in
To change the path, edit the Path field or use the common. This command opens a version of the
ellipsis [...] button to browse for a new path. Specify Assets path dialog that shows the common
This changes the path only. path prefix for the highlighted assets and lets you
specify a new one, either by editing the Specify
Asset Tracking Dialog 107
New Common Path Prefix field contents or by present on a mapped drive use Universal Naming
clicking the ellipsis [...] button and browsing to Convention (UNC) format (page 3–743). When
a different path. Use Retarget Common Root off, each path starts with the mapped drive letter
for repathing multiple files, particularly those in (e.g., w:\).
different directories within the common root.
This switch is linked to the Convert file paths to
UNC switch on the Preferences dialog > Files
panel. Toggling either one toggles both.
Note: This switch affects only newly added paths.
Toggling it has no effect on existing paths. For
example, if you add an asset from a mapped drive
with the switch on, turning it off does not change
For example, if all maps were originally in the path to the mapped version.
various subdirectories within c:\maps\ and the
entire subdirectory structure was moved to Options menu
d:\resources\maps\, you could repath all files
Disable Asset Tracking—Turns off asset-tracking
simultaneously using Retarget Common Root.
functionality. Choosing this command logs you
To revert to a previous path, choose it from the out of the database and makes most asset-tracking
drop-down list. functions unavailable. To restore asset tracking,
turn off Disable Asset Tracking and then log back
If you change the common root for output files
in.
to a path that doesn’t exist, you’re prompted to
confirm that you want to create the folder(s). if Prompts—Opens the Prompts dialog (page 3–109),
you confirm, the output paths are changed in all which lets you toggle two different options for each
appropriate locations, such as the Render Scene of various actions in the Asset Tracking dialog:
dialog. actions and prompts.
Strip Path—Strips all path information from the Auto Login—Logs you in to the Vault, if necessary,
highlighted assets, leaving only the file names. whenever you cause a MAX scene file to be present
in memory; for example when you load or save
Stripped path information is saved in the Set Paths
a scene. You can bypass the Vault Log In dialog
dialog drop-down list. To restore stripped paths,
If you’ve turned on Options dialog > “Log in
highlight the assets, choose Paths menu > Set
using saved settings” or Vault Log In > “Use these
Paths, and then choose the desired path to restore
settings next session.”
from the drop-down list.
Display Excluded Files—Displays files that are set to
Resolve Path to UNC Location—Resolves highlighted
Excluded status. When off, these files aren’t shown
paths that point to mapped drives to Universal
in the dialog window. For information about
Naming Convention (UNC) format (page 3–743).
excluding files, see Filtering Files (page 3–108).
Configure User Paths—Opens the Configure User You can also set output files to Excluded status;
Paths dialog (page 3–529), which you can use to see following.
resolve locations for support files such as bitmaps.
Exclude Output Files—Sets output files such as
Convert file paths to UNC—When on, paths shown rendered images to Excluded status; you can
in the Asset Tracking dialog for any added assets
108 Chapter 16: Managing Scenes and Projects
prevent the dialog from displaying such files by The Asset Tracking dialog window lists all assets in
turning off Display Excluded Files (see preceding). the current scene in a tree or table view, depending
on the current setting. Listed assets include
Tree View—Displays a simplified, hierarchical
the scene file, any images used by the scene in
listing of the assets in the current scene. You
materials, etc., XRefs, and photometric files. By
can expand and collapse hierarchy branches by
default, output files such as rendered images also
clicking the + and - icons to the left of the branch
appear in the window listing; you can turn off
names.
display of these if you wish.
Table View—Displays listing of the assets in the
Also shown are icons for each assets showing
current scene in tabular format along with the full
the type of asset (Autodesk VIZ scene file, map
path and for the local version of each asset. The
branch, etc.) and status, as appropriate. Most
branches are hierarchical, but cannot be expanded
status icons are documented in the Vault Explorer
or collapsed.
Help > Autodesk Vault Explorer Icon Reference
topic. For a reference to the most common icons,
Toolbar
see Asset Tracking Dialog Icons (page 3–109).
Refresh—Reloads the asset listing from the local
Note: No status icons appear if you don’t have any
scene and updates the window contents.
version-control provider installed.
Status Log—Opens a read-only window showing
In general, status errors can be resolved by being
all status messages received from the Vault during
careful to coordinate the local folder/file structure
the current session.
with that of the Vault, as described in the above
Tree View—Displays a simplified, hierarchical procedure.
listing of the assets in the current scene without
You can access most dialog commands by
path or status information. You can expand and
right-clicking an asset in the window; the
collapse hierarchy branches by clicking the + and -
commands applicable to the asset are available in
icons to the left of the branch names.
the context menu. These commands are the same
Table View—Displays listing of the assets in the as those documented above.
current scene in tabular format along with the
full path and status for the local version of each Filtering Files
asset. The branches are hierarchical, but cannot be
You can configure individual asset-tracking-
expanded or collapsed.
system providers via the provider configuration
file, ATSProviders.xml, which resides in
[window]
3dsmax8\plugcfg. Autodesk VIZ reads this file,
but doesn’t write to it.
The primary configuration function is filtering.
Filters define criteria the software uses to
determine whether a file should be excluded
Left: Asset Tracking dialog window in Tree View
from a provider’s control. If a file is determined
Rightt: Asset Tracking dialog window in Table View
to be excluded from a provider, the file is never
sent to the provider for status check or any other
action. This feature is useful when using multiple
Prompts Dialog 109
File menu > Asset Tracking > Asset Tracking dialog >
The changed settings are saved with the
Options menu > Prompts program.
Icon Meaning
If no icon is displayed, the file is under version
Archive
control, but you do not have a local copy of the
File menu > Archive
file on your computer.
File is under version control and available to be
checked out. The version in your working folder
Archive creates a compressed archive file or a text
is the same as in the provider. Also referred to file listing the scene bitmaps and their path names.
as the Latest Version.
Autodesk VIZ automatically finds the files
File is under version control and available to be
checked out, but the local version is newer than referenced in the scene and creates the archive file
the latest version. This typically means that in the executables folder. During the archiving
your local file was changed without checking process, a log window is displayed.
it out.
File is under version control and available to be Compressed archive files are created using an
checked out, but the local copy is out of date. external program. You specify the name and
location of the archive program (page 3–548)
File is checked out to you and the local version you want to use in the Files tab of the Preferences
is the latest.
dialog.
Procedures
To set up an external archive program:
1. Choose Customize > Preferences.
File is checked out to you and the local copy
is newer than the latest version. This typically 2. Click the Files tab to display the Files panel.
means that you made changes to the file since
it was checked out but have not checked it 3. In the Archive System group, enter the full
back in.
path and executable file name, and any
File is checked out by someone else, and the command-line option you want for your
local copy is the same as on the provider. Also
referred to as the Latest Version.
external archive program in the Program field.
File is checked out to someone else, but the To archive a file:
local copy is newer than the latest version.
1. Choose File > Archive > Archive.
File is checked out to someone else, but the 2. Enter a name for the archive in the File Name
local copy is older than the latest version.
field.
Status for the file could not be obtained. This Include the appropriate file extension (for
typically means you are not logged into the example .zip).
provider.
3. Choose a file type: Autodesk VIZ Archive or
The file is not under version control.
List Of Files.
• To create an archive file, choose
You are not logged in to the provider.
Autodesk VIZ Archive in the Save As Type
list. The archive file contains the scene plus
You are logged in to the provider. all bitmaps used for the scene.
Resource Collector 111
Resource Collector
File menu > Archive > Resource Collector
File Properties
File menu > File Properties
Print Viewport
File menu > Print Viewport
Procedure
To print a document:
1. Choose File > Print Viewport.
2. Choose a printer assigned to your system from
the Name box.
If you need to change the document properties
for the selected printer, click the Properties
button and change the Page Setup and the
Advanced tab settings.
Paper group 3. Set the Print range to print All pages.
Size—To select the paper size for a document, 4. Select the number of copies you want to print.
choose the paper size from the size menu.
Source—To select the paper source, choose the
paper source from the source table.
View Image File
File menu > View Image File
Orientation group
Portrait—Positions the scene in a vertical position, Select and view still images, numbered image
and displays an image at the top of the dialog. sequences, images in an .ifl file, or animation files
using options in the View File dialog. Selected still
Landscape—Positions the scene in a horizontal images and numbered image sequences appear in
position, and displays an image at the top of the the rendered frame window (page 2–1318).
dialog.
If you select an .ifl file in the file dialog, the Info
Margins (inches) group button displays the ASCII .ifl file in Windows
Notepad.
Left—Specifies the distance from the left edge of
the page to the left edge of the scene. You can zoom in and out and pan the image, even
while a scene is rendering. If you have a Microsoft
Right—Specifies the distance from the right edge
IntelliMouse, you can use its third-button/wheel
of the page to the right edge of the scene.
to zoom and pan. See the following procedures.
Top—Specifies the distance from the top edge of
the page to the top edge of the scene.
View Image File 115
Procedures
To view a file:
1. Choose File > View Image File.
2. Choose a file type from the Files of Type list.
3. Select a file to view.
Note: The View File dialog uses the last location
where a file was chosen, rather than the default
Images path defined on the Configure Paths
dialog.
2. To pan, while zoomed in, press the wheel and Files of type—Selects the type of files to list in the
drag. (You can use any third-button device to directory window.
pan the image.) Devices—Lets you choose the hardware output
Note: You must select the Pan/Zoom option device, for example, a digital video recorder. To
(page 3–548) in the Preferences dialog > use the output device, the device, along with its
Viewports page > Mouse Control group in driver, and its plug-in must all be installed on your
order to use the third button for panning and system.
zooming.
Setup—This is unavailable in View Image File.
Background Image dialog, the arguments for Note: You can also click the Close button (the X)
creating an .ifl file. in the upper-right corner of the Autodesk VIZ
window to exit.
Info—Displays image information.
Override—Specify gamma for the image. Bitmap / Photometric Path Editor Dialog (page
3–132)
Status group
Interface
Displays file statistics and the file’s full directory
path. Two slightly different versions of the dialog exist:
One appears when you load a scene that references
missing files, and the other appears when you
Exit attempt to render such a scene.
Procedure
To exit the program:
1. Choose File > Exit.
2. Click the Yes, No, or Cancel button.
If you click Yes the scene is saved, if you click
No the scene is not saved, if you click Cancel
the Exit operation is canceled.
Asset Browser Utility 117
File-Handling Utilities
(such as when a bitmap is tagged as a button with you drag a bitmap onto an object, the program
hypertext links). creates a new standard material with the bitmap as
the diffuse map and assigns the material to that
Important: Downloaded content might be subject
object.
to use restrictions or license of site owner. User is
responsible for obtaining all content license rights. Scene Drag and Drop: You can drag the
thumbnails representing .max scene files directly
Volo View Express over an active viewport to merge the scene with
the current scene. When you drag the thumbnail
Volo View Express is a plug-in that allows you to
over the active viewport and release the mouse, the
access geometry design data on local and shared
objects in the file appear attached to the mouse.
disks and on the World Wide Web.
Place them where you want them, and then click
Volo View Express is installed on your system the mouse. Choose from the menu whether you
when you install the program. Volo View Express want to open the file, merge the file to the current
requires Microsoft Internet Explorer. Other scene, or XRef the file. To cancel, you can select
browsers are not supported when you perform from the menu, or right-click. If you hold down
an operation with the Asset Browser that uses the the CTRL key, and drag the thumbnail over the
Volo View Express plug-in. active viewport, when you release the mouse
button the objects in the dragged file will snap into
Drag and Drop their old location in their original file.
You can assign files represented by the thumbnail Tip: When you drop scene files into your current
images by dragging the thumbnails over various scene, you can use AutoGrid (page 2–623) to
parts of the Asset Browser or the Autodesk VIZ position the geometry file on an object.
user interface. There are three basic methods of
using drag in the Asset Browser : Procedures
Local Drag and Drop: You can drag thumbnails To drag scene files from the World Wide Web:
to the directory tree, and you can copy or move 1. In the Address bar, enter the URL of the scene
files from one directory to another. As the files on the World Wide Web.
default, when you drag to a folder within the same
2. Select the thumbnail of the scene file with your
partition or device, you perform a move. If you
mouse and drag it over the active viewport.
drag beyond the current partition or device (to
another drive, for example), you perform a copy. The Internet Download dialog (page 3–130)
If you hold down the CTRL key, you perform a appears.
copy regardless of the destination. If you hold 3. If you want objects placed in the viewport
down the SHIFT key, you perform a move. You automatically, then in the Options group, turn
can manipulate bitmap, Autodesk VIZ scene, and off Place Objects When Download Completes.
DWG thumbnails in this way.
4. If you skipped step 3 (that is, if Place Objects
Bitmap Drag and Drop: You can drag the When Download Completes is still on), then
thumbnails that represent bitmap files to any when you release the mouse, the objects in
bitmap or map slot in the interface or onto any the file appear attached to the mouse. Place
object in a viewport. You can also drag the them where you want them, and then click
thumbnails into the viewport background. When the mouse. Choose from the menu whether
Asset Browser Utility 119
Note: You can’t change the home page for the Asset Filter menu
Browser.
Filters the display of thumbnails according to the
Each subsequent time that you start the Asset category or file type you select.
Browser, it displays what was displayed last in the
All images—Displays thumbnails of all supported
previous Asset Browser session.
bitmap files, such as BMP, JPG, GIF, TIF, and TGA.
The Asset Browser window contains:
All geometry—Displays thumbnails of all
• A menu bar (page 3–120). supported geometry files, such as DWG and MAX.
• A toolbar (page 3–122). All in cache—Displays thumbnails of all images
• An address bar. stored in your cache directory. When turned on,
the left pane displaying the directory tree goes
• A pane on the left displaying your computer
away, and the thumbnails you see might be in
system’s directory hierarchy.
various directories. Because the thumbnails point
• A pane on the right displaying a Web page, to the correct directories, you can still use them to
thumbnails, or an Explorer view of file names. access the files and display or drag them to areas in
At the bottom of the window, there is also a tabbed the Autodesk VIZ user interface.
favorites bar (page 3–123) (by default, it first Important: If a file has been subsequently renamed,
contains a Startup button) and a status bar. deleted, or moved from the directory it was in when
its thumbnail was first created, then the thumbnail
Asset Browser menu bar represents only the thumbnail bitmap itself. If you
Contains the menus for the Asset Browser. assign that image to a map slot in the software, you’ll be
assigning the thumbnail bitmap rather than the original
File menu image.
Contains commands for managing files. All files (*.*)—Displays thumbnails for all files.
Preferences—Displays the Preferences dialog (page See the following topics for information on the file
3–130), with which you can manage the cache types listed on the Filter menu:
directory and control drag-and-drop operations.
AutoCAD DWG Files (page 3–670)
Properties—Displays information about the file of
the selected thumbnail.
IGES Files (page 3–687)
JPEG File (page 3–263) • The right pane, which can display files as
thumbnails (a Thumbnail pane), or Web pages
PNG Image File (page 3–271)
(a Web pane).
Adobe PSD File Reader (page 3–271) • The Favorites and status bars located at the
MOV QuickTime File (page 3–263) bottom of the Asset Browser window.
MPEG Files (page 3–264) • Any available manufacturer data in the Product
Information dialog that appears over the right
SGI’s Image File Format (page 3–276) pane.
RLA Image File (page 3–273) Directory Tree—Turns the directory tree in the
RPF Image File (page 3–274) left pane on or off. The directory tree displays
the available directories on your system. You can
Targa Image File (page 3–276) navigate and select the directories where you want
TIF Image File (page 3–277) to view images. When you select and enter a
directory containing valid bitmaps, the Browser
YUV Image File (page 3–278) displays their thumbnails in the Thumbnail pane
to the right. Right-clicking in the directory tree
Thumbnails menu
pane displays a menu allowing you to change
Sorts and sets the size of the displayed thumbnails. directories, delete directories, and add a directory
to your Favorites list.
Create Thumbnails—Creates thumbnails for bitmap
and geometry files. Tip: To refresh the contents of the directory tree,
press SHIFT+F5.
Sort by Name—Sorts by file names.
Favorites Bar—Turns the Favorites bar on or off.
Sort by Type—Sorts by file extensions.
The Favorites bar is located at the bottom of the
Sort by Size—Sorts by file size. Asset Browser window.
Sort by Date—Sorts by file creation date. Status Bar—Turns the status bar on or off. The
status bar is located at the bottom of the Asset
Large (200X200)—Sets the size to large (200 by 200
Browser window.
pixels).
Thumbnail Pane—Displays valid bitmaps and
Medium (100X100)—Sets the size to medium (100
geometry files of a selected directory as thumbnails
by 100 pixels).
in the right pane.
Small (50X50)—Sets the size to small (50 by 50
Thumbnail bitmaps for MAXScript files (.ms,
pixels).
.mcr, and .mse), dropScript files (.ds), and zipped
script files (.mzp) display in the Thumbnail pane.
Display menu
By right-clicking the thumbnail, you can view
Controls the display of: the file, look at its properties, run the script, or
• The left pane, where the directory tree displays open it in the Web Pane. By double-clicking the
your computer system’s folders. thumbnails for .ms, .mcr, and .ds files, you can
open them in the MAXScript editor window.
Double-clicking .mzp files will open them in the
associated zip utility.
122 Chapter 16: Managing Scenes and Projects
Explorer Pane—Displays valid bitmaps and Forward—For a Web pane, displays a Web page
geometry files of a selected directory as file name you viewed before clicking the Back button.
icons in the right pane. This is similar to how
Back—Returns to the last Web page viewed in the
Windows displays file name icons in the Explorer.
Web pane.
Web Pane—If there’s a file named vizindex.htm in
Home—Returns to the local copy of the home page
the selected directory, the program displays it as a
that is installed on your computer system. This
Web page in the right pane. You can use the .htm
is the page that displays when you first start the
file to display selected bitmaps as a Web page. Also
Asset Browser.
if you enter a URL in the address bar, the program
displays the page in this pane. Stop—Stops loading a Web page. Use this button
when a page you’re trying to view takes too long
Manufacturer Data—Displays a manufacturer’s
to load.
product information in a dialog over the right
pane. Manufacturer Data is enabled when you’re
Toolbar
in a directory containing a manufacturer’s data
file (MFR file). If the manufacturer has included The buttons on the toolbar provide some of the
a URL in the MFR file, you can get to that site by same functions as the menu items on the menu bar.
clicking the logo button at the top of the Product
Information dialog. The site’s page displays in the Back to previous page—Returns to the last
Web pane. The manufacturer might also provide Web page viewed in the Web pane.
text information in the pane below the logo button
of the Product Information dialog. Forward to next page—Displays a Web page
you viewed before clicking Back to previous page.
Favorites menu
Adds and deletes Web sites and path names to the Stop—Stops loading a Web page. Use this
Favorites menu and the Favorites bar. button when a page you’re trying to view takes too
long to load.
Add to Favorites—Displays the Favorite Location
dialog (page 3–131).
Refresh content—For a Thumbnail pane,
Delete All Favorites—Removes all Web site and rereads the directory and redraws the thumbnails.
path name shortcuts from the Favorites menu and For a Web pane, rereads the URL and redisplays
the Favorites bar. the Web page.
Browse menu
Homepage—Returns to local copy of the
Allows you to refresh thumbnails and Web pages, Browser home page that is installed on your
to move forward and backward between recently computer system. This is the page that displays
viewed Web pages, to return to your home page, when you first start the Asset Browser.
and to stop loading a Web page.
Refresh—For a Thumbnail pane, rereads the Add to Favorites Bar—Displays the Favorite
directory and redraws the thumbnails. For a Web Location dialog that allows you to add Web sites
pane, rereads the URL and redisplays the Web and path names to the Favorites menu and the
page. Favorites bar. When you want to open that page
Bitmap/Photometric Path Editor Utility 123
or view the files from a path name, you can click used in the scene. It also lets you see which objects
the appropriate shortcut button from the Favorites use a resource in question.
bar, or click the appropriate menu item from the
By default, Autodesk VIZ stores a path with the
Favorites menu
name of the files it references. This can be a
Address—Displays the current path name or URL. problem when you share scenes among different
Clicking the history arrow at the right end of the users. Another user might have the same scene
address bar displays a list of recently viewed sites. and resources, in the same directory structure, but
You can select one of these to return to that site. on a different disk drive; this will cause the scene
to "lose" the resources.
Favorites Bar
Removing paths from resource references
The Favorites bar is at the bottom of the Asset eliminates this problem. When paths are not saved
Browser window. It displays tabbed buttons for the with the resource file, they are searched for in these
startup page and for any shortcuts to directories directories:
and Web pages that you added to your favorites
1. The directory of the current scene.
list. Right-clicking over a favorites tab that you’ve
added displays a menu that you can use to modify 2. The paths listed in the External Files panel
(page 3–131) or delete the favorites. (page 3–532), starting at the top of the list.
Startup—Returns to the directory or Web page Removing paths from bitmap and photometric
where the Asset Browser started in the current references can be useful for network rendering
session. (page 2–1465) as well.
Interface
MAX File Finder Utility
Utilities panel > Utilities rollout > More button > Utilities
dialog >MAX File Finder
Interface
Menu bar > Tools > Asset Browser > Favorites menu >
Add to Favorites
Interface
Add to favorites pull down menu—When you turn 4. Click Set Path.
this on, Web site or path-name shortcuts are 5. Enter the correct path in the New Path field, or
added to the Favorites menu. When this box is not click the "..." button to browse to the correct
selected, the Web site or path-name shortcuts are path in a Windows file dialog.
added only to the Favorites bar.
The Bitmap/Photometric Path Editor updates
the selected maps’ path to use the new path.
Interface
Bitmap Path Editor
Subdialogs
This dialog is the main part of the interface to the List of maps and photometric files—Shows all
Bitmap / Photometric Path Editor utility (page bitmaps and photometric files (IES (page 2–958),
3–123). CIBSE (page 3–663), LTLI (page 3–693)) used in
the scene, along with their current path.
See also When no file is selected in the list, the only controls
Asset Browser Utility (page 3–117) available in the dialog are Close, Select Missing
Maps, and Strip All Paths.
Missing External Files Dialog (page 3–116)
Close—Click to close the dialog.
Resource Collector Utility (page 3–127)
Info—Click to display a Resource Information
Procedure dialog (page 3–133).
To correct the path name for a missing map: This button is available only when a single file is
You must first locate the missing bitmap or selected in the list.
photometric files. The Windows Search program Double-clicking a name in the list is another way
can help you with this. to display the Resource Information dialog.
1. On the Bitmap / Photometric Path Editor Copy Files—Copies the selected files to a directory
dialog, click Select Missing Files. you choose. This button displays a Windows
2. Click to select a single missing file in the list. file dialog that lets you choose the destination
If a group of missing files are in the same directory.
directory, you can leave all of them selected. Select Missing Files—Highlights the names of
3. Click Strip Selected Paths. missing files in the list.
Resource Information Dialog 133
www.formica.com, can yield flooring, countertop, drag-and-drop operation. The content can be any
or other samples in bitmap form. Provided a type of file (such as a geometry or a raster file) that
site encourages such use of its content (and the content producer has made available and that
most do), these thumbnails can be dragged into the application will accept.
Autodesk VIZ with a single mouse movement and
For example, imagine that you are a lighting
dropped onto objects in a scene for instantaneous
designer and require a specific fixture to embed
"what if " visualizations of different textures and
within your Autodesk VIZ scene. Now imagine
treatments. They can also be saved for later use.
that a lighting company such as ERCO has a Web
2D and 3D geometry can also be captured off the site containing a library of their fixtures online.
Internet and put to immediate use in Autodesk VIZ You can browse this library, then drag and drop
scenes. You can also use the Asset Browser with the appropriate fixture into your scene. You don’t
topographical maps, detailed aerial and satellite need to download the file and then insert it. Now
photos, and any design data in MAX or STL form. you can drag any MAX file from an i-drop-enabled
In this way, you are assured instant access to the web site and drop its geometry directly into your
latest design content, free from leading vendors Autodesk product.
around the world, without leaving your desktop.
In addition to geometry, you can drag and drop
photometric data, cost information, materials, and
For Web Content Providers
so on.
Any Web page that uses standard HTML source
An i-drop object in a Web page is an open gateway
code can easily be enhanced so that Autodesk VIZ
between the content provider’s server and the
users can access it for content. Making bitmap
Autodesk software user’s desktop. Web pages that
textures (.BMP, .JPG, .GIF, .TIF, etc.) available
contain i-drop objects can be designed to look
for downloading requires no special HTML
and behave exactly like standard Web pages in a
coding, but there are guidelines you should
standard Web browser. You simply drag the i-drop
follow for optimum utility to Autodesk VIZ
object from the provider’s Web page and drop it
users. Making geometry files (.max) available
onto a desktop or into an application.
to a an Autodesk VIZ user requires some simple
modifications to your HTML source code. The desktop or application is the i-drop target.
The i-drop target requests the data in one or more
See also specific clipboard formats and receives the content.
i-drop Indicator (page 3–134) This is called being "i-drop aware." i-drop can also
deliver data in any of the system default clipboard
formats. What the application gets depends on
i-drop Indicator what clipboard format it requires. For example, if
the user drags to the desktop, the desktop takes a
In order to support the World Wide Web as a file. If the user drags to a text editor, the text editor
primary source of product information, Autodesk takes textual data. What the desktop or application
has introduced the i-drop™ Indicator. This enables takes is independent of i-drop.
manufacturers and design professionals to publish
and acquire design data using standard Web pages. For more information, see http://
idrop.autodesk.com.
The i-drop Indicator is used to transfer content
from the World Wide Web by means of a
Geometry File Formats 135
Render Presets
The Render Presets in Autodesk VIZ are very
different from the presets in VIZ Render. For more
information on using them, see Preset Rendering
Options (page 2–1330).
Render Presets
The Render Presets in Autodesk VIZ are very
different from the presets in VIZ Render. For more
information on using them, see Preset Rendering
Options (page 2–1330).
Lights Interface
• You cannot export scene lighting.
Cameras and Animation
• Named camera views are not exported. If the
scene is set in a Camera viewport at the time
of the export, it will display in the viewer as
shown, however, the camera view will not be
listed.
• Animations are not supported, however, the
frame at the time of the export is published.
Procedure
To export a 3D DWF file:
1. Set up the scene in the active viewport as you
want it displayed in the Autodesk DWF Viewer.
If you want to publish particular objects or
layers, make a selection set of those objects.
Hide those objects or layers you do not want
published.
Note: You can also isolate objects in the viewer Grouping Options group
you want to hide or make transparent. Group by Object—When turned on, objects are
Tip: If you have a camera in the scene and want listed in the Model tree pane in the Autodesk DWF
that view exported, make sure the Camera Viewer by their object name or group name.
viewport is active when you publish the DWF Group by Layer—When turned on, objects are
file. grouped in the Model tree pane in the Autodesk
2. Choose File menu > Export. DWF Viewer by their respective layers.
3. Choose Publish to DWF (*.DWF) from the
Publishing Options group
Save as type list in the file selector dialog.
4. Specify a file name to export. Publish Object Properties—When turned on, object
property data is exported and displayed in the
5. Click Save.
viewer and reported in the log file if Save Log File
6. In the DWF Publish Options dialog, selected is enabled. Object Properties displayed are: object
the desired options. Click OK. name, layer name, face count, vertex count, and
7. If Save to Log file is enabled, enter a new name whether the object is frozen or hidden.
or specify a different folder if you do not want Publish Materials—Displays objects with their
the existing log file to be overwritten. assigned materials in the viewer. When turned off,
objects are displayed in the highlight color set in
the Options dialog in the viewer. Material names
are not exported.
Importing 3DS Files 141
Publish Selected Objects Only—Exports only those Note: When exporting a scene with all the lighting
objects that have been selected prior to exporting. baked into the texture maps after using Render to
All other objects are not exported when this is Texture, if Use Default DWF Lights is turned on
turned on. the scene may actually appear darker in the DWF
Viewer, and the built-in DWF lights will cause the
Publish Hidden Objects—Hidden objects are
scene lighting to change as you orbit around the
exported and displayed in the viewer. When
objects in the scene. With it turned off, the lighting
turned off, objects that are hidden or on layers that
will be constant as you move through the scene.
are hidden are not displayed. Hidden objects are
listed in the log file if Save Log File is enabled. Save Log File— When enabled, Autodesk VIZ
Note: Frozen objects and frozen layers are exported. creates a text file with an .log file extension that
lists objects, their layers, face and vertex counts
General group that are exported as well as the time and date of the
export. Objects that were not selected or hidden
Show DWF in a V iewer—When turned on, the
are also listed as not as not being exported. The log
exported DWF file is automatically opened in the file is overwritten each time a DWF file is created
Autodesk DWF Viewer. When turned off, the unless the log file name or file location is changed.
viewer must be opened outside of Autodesk VIZ. Default=on.
Rescale Bitmaps—When turned on, bitmap
textures are automatically rescaled in the DWF file
to the size set for pixels for Maximum Resolution.
Turn this on if the scene contains large texture files
in order to reduce the DWF file size. 3D Studio Mesh (3DS, PRJ)
Note: This setting has no effect when Publish Files
Materials is turned off.
Maximum Resolution (pixels)— Sets the maximum
length, in pixels, of the longest edge of all the
Importing 3DS Files
bitmap images that are used as textures. File menu > Import > Select File To Import dialog > Files
Of Type > 3D Studio (*.3DS)
Note: All bitmap images exported to the DWF file
are compressed to JPG (page 3–263) format in
3DS is the 3D Studio® (DOS) mesh-file format.
order to create small DWF files.
You can import 3DS files into Autodesk VIZ.
Use Default DWF Lights—Lets you control whether
When you import a 3DS file, you can merge the
the DWF Viewer adds its own default lighting.
imported objects with the current scene or replace
When turned off, the scene is displayed without
the current scene completely. If you choose to
lights in the viewer, which can result in the scene
merge the objects with the current scene, you
objects being flat shaded making them appear
are asked whether you want to reset the length
two dimensional. Turn Use Default DWF Lights
of the animation in the scene to the length of
off if the scene contains lights that are already
the imported file (if the imported file contains
baked into textures with Render to Texture (page
animation).
2–1437), otherwise it is recommended that DWF
lights are used. Default=on. When you import a 3DS file, the following
information is imported:
142 Chapter 16: Managing Scenes and Projects
• Backgrounds (solid, gradient, and bitmap). • Decal transparency using the RGB color of the
• Fog, Layered Fog, and Distance Cue. upper-left pixel of the map.
When importing PRJ files, the software converts • Auto-cubics and Mirrors.
polygons to shape objects. You choose an option • Target cameras, target spotlights and omni
in the Shape Import dialog to set how the shape lights.
objects are created: • Most "static" parameters for cameras and lights,
Import Shapes—Turn on this option if you don’t and animation tracks for Roll, Falloff, Hotspot,
want to import shapes from a .prj file. and FOV.
Single Object—All polygons in the .prj file are When you export a 3DS file, the following
converted to Bezier splines and placed inside a information is not exported:
single composite shape object. • Composite and procedural maps.
Multiple Objects—Each polygon in the .prj file is • Grouped object transformations. There’s no
converted to a Bezier spline and placed inside an concept of group hierarchy in the 3D Editor.
independent shape object. Groups export to the Keyframer because the
Keyframer understands hierarchies.
• Global shadow parameters.
When you export a 3DS file, the following occur:
• All non-mesh geometry, such as procedural
primitives and patches, is collapsed to meshes
before export.
144 Chapter 16: Managing Scenes and Projects
• Objects are exported as they exist on the frame When importing an SHP file that contains multiple
Autodesk VIZ displays at export time. shapes, the software gives you the option to either
• Meshes are saved with edge display information merge them all into one object or make multiple
and smoothing groups. incoming objects.
• Autodesk VIZ instances are saved as Keyframe The shape importer looks at the vectors on
instances. incoming splines, and if they’re collinear within a
couple of percentage points, it changes the angle to
• Modifier animation is frozen at the current
a smoothed Bezier (otherwise, it’s a Bezier corner).
frame, collapsed, and exported as a simple
mesh.
Interface
Interface When you import an SHP file, you first see a 3DS
Import dialog (page 3–141). This is identical to the
dialog you see when you import a 3DS file. When
you have set the options and clicked OK in the 3DS
Import dialog, you then see a Shape Import dialog.
Procedure
Importing Adobe Illustrator 88 To export a file to Adobe Illustrator:
Files 1. Select one or more shape objects.
File menu > Import > Select File To Import dialog > Files 2. Choose File menu > Export.
Of Type > Adobe Illustrator (*.AI)
3. Select Adobe Illustrator (*.AI) as the file format.
You can import Adobe Illustrator (AI88) files into 4. Enter a file name, and click Save.
Autodesk VIZ.
Interface
Exporting to ASCII
File menu > Export > ASCII Scene Export (*.ASE)
Frames per Sample group mechanical models to Autodesk VIZ. You can also
explode the mechanical models and then import
Controllers—Specifies the frequency, in frames,
the resulting file, but some data will not appear in
with which to sample controller values for export.
the AutoCAD drawing file.
Animated Objects—Specifies the frequency, in
Important: AutoCAD and its vertical applications, such
frames, with which to output animation settings
as Architectural Desktop (ADT), have custom objects
and mesh definitions.
that are unique to the product. In order to view them
in Autodesk VIZ, you need the appropriate Object
Enabler (OE). Object Enablers let you access, display, and
manipulate these objects in AutoCAD, as well as the
other vertical applications, including Autodesk VIZ. For a
AutoCAD Drawing Files list of downloadable OEs, see the Autodesk Web site
After you select a drawing file to import, the 1. Choose File menu > Import.
AutoCAD DWG/DXF Import Options dialog is 2. Choose AutoCAD Drawing (*.DWG, *.DXF)
displayed. After an import, you are presented in the Files of Type list.
with editable meshes, editable splines, and
3. Specify the file to import and click Open.
PRS controllers. Nested blocks maintain their
parent-child hierarchy and will be imported as 4. Set options in the AutoCAD DWG/DXF Import
“Block/Style Parent”. In addition, if a single Options dialog.
drawing object creates both mesh and spline 5. Click OK to perform the import.
geometry, you will find objects referred to as
“Linked Geometry” in the scene. Block/Style
Parent or Linked Geometry objects appear in the
modifier stack on the Modify panel.
Note: If you import multiple drawings, the
importer merges the drawings together.
If you are using AutoSurf or AutoCAD Designer,
use the AutoCAD command 3DSOUT to export
148 Chapter 16: Managing Scenes and Projects
in blocks are combined into a single Editable One benefit of this option is that you can
Mesh or Editable Spline object when imported apply instanced animation controllers (page
into Autodesk VIZ. The name of each imported 2–685) to block subcomponents and thus, by
object is based on the AutoCAD object’s layer. transforming a single member, transform all
The imported object name has a “Layer:” members at once. For example, in a scene
prefix and is followed by the layer name. For containing a conference table with six chairs
example, all AutoCAD objects residing on the around it, you could move all of the chairs
layer Walls become part of the Editable Mesh simultaneously by moving a single chair.
named Layer:Walls after they are imported to Another advantage is that all geometry is
Autodesk VIZ. instanced, so edited UVs and normals and
Each block is imported separately as a hierarchy, other modifications need be done only once.
with the block itself as the parent object and Note: This derivation method setting might
its constituent parts as child objects. The child cause unreliable material propagation when
objects of the block are combined by layer. importing drawings containing dynamic
• Layer, Blocks as Node Hierarchy, Split by blocks. Materials may propagate to some block
Material—This works the same as the Layer, instances and not to others.
Blocks as Node Hierarchy option, with
Warning: This option has the potential to create an
the following additional functionality:
enormous number of objects in your scene.
Combination of non-block objects takes place
first by layer, and then by material. • Layer—Imported objects are combined in
Autodesk VIZ according to their layer. Objects
For example, take an AutoCAD file with six
in each of the associated application’s layers are
objects in layer A: three have a Brick material
combined into one object, with the exception
and three have a Stone material. Using this
of blocks, each of which is represented as an
option, this file would be imported in the form
individual VIZBlock (not a hierarchy). Multiple
of two objects, or nodes, one containing the
inserts of the same block are represented using
Brick material and the other with the Stone
instances in the scene. Material assignments are
material.
lost but material IDs are preserved.
Each block is imported separately as a hierarchy,
• Color—Imported AutoCAD objects are
with the block itself as the parent object and
combined in Autodesk VIZ according to
its constituent parts as child objects. The child
their color. All objects of the same color are
objects of the block are combined by layer.
combined into one object, with the exception
• Entity, Blocks as Node Hierarchy—Every of blocks, each of which is represented as an
imported object not in a block is represented as individual VIZBlock (not a hierarchy). Multiple
a separate object in the Autodesk VIZ scene, inserts of the same block are represented using
without regard to layers. The nodes are then instances in the scene. Material assignments are
placed on scene layers that correspond to lost but material IDs are preserved.
the drawing layers. Each block is imported
Note: Blocks can contain objects with different
separately as a hierarchy, with the block itself
colors. However, when sorting, Autodesk VIZ
as the parent object and its constituent parts
considers only the color of the block itself.
as child objects. The child objects of the block
Also, Autodesk VIZ objects can only display
are combined by layer.
one color, unless a material is applied.
150 Chapter 16: Managing Scenes and Projects
• Entity—Provides a one-to-one correspondence and placed on the Scene Unused palette (page
between AutoCAD objects and Autodesk VIZ 3–407).
objects. For each imported object or block • If you want to assign materials to these objects,
in the imported file, the importer creates an use Multi/Sub-Object materials. The assigned
independent object or VIZBlock, respectively, material IDs match the color indices specified
in the scene. Material assignments are lost but in ADT (red=1, white=7, etc.).
material IDs are preserved.
• Depending on the Texture Mapping option
Warning: This option has the potential to create an you choose, UVW coordinates are translated
enormous number of objects in your scene. correctly.
Note: When working with drawings exported
Use Scene Material Definitions—When on,
from Revit, it is recommended that you do not
Autodesk VIZ checks the current scene for any
use this setting.
currently used materials with the exact same name
• One Object—All imported objects are combined as a material name in the incoming DWG file. If a
into a single VIZBlock. Material assignments match is found, the importer does not translate the
are lost but material IDs are preserved. drawing’s material, but instead uses the material
defined in the scene.
Use Extrude Modifier to Represent Thickness—When
on, objects with thickness receive an Extrude
Geometry panel: Geometry Options group
modifier to represent the thickness value. You can
then access the parameters of this modifier and Weld—Sets whether coincident vertices of
change the height segments, capping options, and converted objects are welded, according to the
height value. Unavailable with the Layer, Blocks As Weld Threshold setting. Welding smoothes
Node Hierarchy option. across seams and unifies normals of objects with
coincident vertices.
When off, objects with thickness (and closed
capped objects) are converted directly to mesh Weld Threshold—Sets the distance that determines
objects. whether vertices are coincident. If the distance
between two vertices is less than or equal to the
Create One Scene Object For Each ADT
Weld Threshold, the vertices are welded together.
Object—Architectural Desktop (ADT) objects
are imported as a single object instead of being Auto-smooth—Assigns smoothing groups
separated into their constituent components. This according to the Smooth Angle value. Smoothing
means that if you import an ADT door object, the groups determine whether faces on an object
door is represented as one object instead of three render as a smooth surface or display a seam at
(frame, step, door). Turning on this switch makes their edges, creating a faceted appearance.
importing faster and the scene size smaller.
Smooth Angle—Controls whether smoothing
Note: This switch presents several modeling occurs between two adjacent faces. If the angle
concerns that you should be aware of: between the two face normals is less than or equal
• Material assignments from ADT are not to the smooth angle, the faces are smoothed.
translated during the import process. However, Unify Normals—Analyzes the face normals of each
while the objects themselves do not have object and flips normals to make their directions
materials assigned, the materials are imported consistent. If the imported geometry is not
properly welded, or if the software can’t determine
Importing AutoCAD Drawing Files 151
the object’s center, normals might be oriented in texture coordinates for the mesh objects that
the wrong direction. Use the Edit Mesh or Normal are imported.
modifiers to flip normals. When drawings are imported, objects are
When Unify Normals is turned off, normals are added to the scene as Editable Mesh objects
calculated according to the face vertex order in that do not have UVW coordinate assignments.
the drawing file. Face normals for solid objects Before assigning materials to imported objects,
are already unified. Turn off Unify Normals when you’ll need to apply a UVW Map modifier
importing drawings containing solid objects. (page 2–274) to add texture coordinates. When
you then apply the material and the material or
You should also turn off Unify Normals when texture map is set to Show Map in Viewport,
working with Architectural Desktop files. the texture map is displayed if the viewport
AutoCAD solids (formerly ACIS, now ASM) will is set to Smooth + Highlights. If the UVW
never have their normals unified, regardless of the Map modifier is not applied, the object turns
setting of this import toggle. Solids generate faces gray and you’ll see a Missing Map Coordinates
and normals correctly. dialog (page 2–1198) when you render the
scene.
Cap Closed Objects—Applies an Extrude modifier
to all closed objects, and turns on the Cap Start This option gives you faster loading speed, but
and Cap End options of the modifier. The Extrude no UVW coordinate generation.
modifier Amount value for a closed entity with no • Generate Coordinates For All Objects—This
thickness is set to 0. Capping makes closed entities option forces all objects to have UVW
with thickness appear solid and closed entities coordinates generated when the drawing is
without thickness appear flat. When Cap Closed imported.
Objects is turned off, the Extrude modifier Cap This option tells the DWG/DXF Importer to
Start and Cap End options for closed entities with create UVW coordinates, but loading time
thickness are turned off. No modifiers are applied is increased while the coordinate generation
to closed entities without thickness, except for occurs.
Circle, Trace, and Solid.
Curve Steps—Adjusts how smoothly an arc or
Note: If Use Extrude Modifier to Represent
curve appears when the drawing is imported.
Thickness is turned off, an extrude modifier is not
Larger numbers result in smoother curves.
applied to closed objects.
Default=10.
Texture Mapping—The texture mapping settings
Surface Deviation for 3D Solids—Specifies
affect the loading time of models that have many
the maximum allowable distance from the
objects with stored UVW Coordinates for texture
Autodesk VIZ surface mesh to the parametric
mapped materials.
3D solid surface. Small numbers produce more
Note: This setting only applies to geometry that accurate surfaces with a greater number of faces.
is stored as a mesh in the scene. Spline shapes Large numbers produce less accurate surfaces
marked as renderable have separate controls with fewer faces. In most cases, the default value
for UVW coordinate generation on the Spline suffices. Default=1.0.
Rendering panel.
• No Mapping Coordinates—When No Mapping
Coordinates is used, the software not generate
152 Chapter 16: Managing Scenes and Projects
Layers panel
This interface is very similar to the Layer Manager
(page 3–364). Layer names remain the same as
specified in the drawing file.
Use V iewport settings—Lets you set different display when rendered or viewed in the viewport
rendering parameters, and displays the mesh when Enable in Viewport is turned on.
generated by the Viewport settings. Available only
Radial—Displays the 3D mesh as a cylindrical
when Enable in Viewport is turned on.
object.
Generate Mapping Coords—Turn this on to apply
Thickness—Specifies the diameter of the viewport
mapping coordinates. Default=off.
or rendered spline mesh. Default=1.0. Range=0.0
Autodesk VIZ generates the mapping coordinates to 100,000,000.0.
in the U and V dimensions. The U coordinate
wraps once around the spline; the V coordinate is
mapped once along its length. Tiling is achieved
using the Tiling parameters in the applied material.
For more information, see Mapping Coordinates
(page 2–1036).
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in Splines rendered at thickness of 1.0 and 5.0, respectively
the applied material’s Coordinates rollout (page
Sides—Sets the number of sides (or facets) for
2–1199). Default=on.
the spline mesh n the viewport or renderer. For
Auto Smooth—If Auto Smooth is turned on, example, a value of 4 results in a square cross
the spline is automatically smoothed using the section.
threshold specified by the Threshold setting below
Angle—Adjusts the rotational position of the
it. Auto Smooth sets the smoothing based on the
angle between spline segments. Any two adjacent cross-section in the viewport or renderer. For
segments are put in the same smoothing group if example, if the spline mesh has a square cross
the angle between them is less than the threshold section you can use Angle to position a "flat" side
angle. down.
Rectangular—Displays the spline’s mesh shape as
Threshold—Specifies the threshold angle for
smoothing, in degrees. Any two adjacent spline a rectangle.
segments are put in the same smoothing group if Length—Specifies the size of the cross–section
the angle between them is less than the threshold along the local Y axis.
angle.
Width—Specifies the size of the cross–section
Viewport—Choose this to specify Radial or along the local X axis.
Rectangular parameters for the shape as it will
Angle—Adjusts the rotational position of the
display in the viewport. Available only when
Enable in Viewport and Use Viewport Settings are cross-section in the viewport or renderer. For
on. example, if you have a square cross-section you
can use Angle to position a "flat" side down.
Renderer—Choose this to specify Radial or
Aspect—Sets the aspect ratio for rectangular
Rectangular parameters for the shape as it will
cross-sections. The Lock check box lets you lock
Legacy AutoCAD Import 155
the aspect ratio. When Lock is turned on, Width is Differences Between New and Legacy
locked to Length that results in a constant ratio of DWG Import
Width to Length. Features Unique to the new DWG Import System
hatch patterns can overload your Autodesk VIZ the software can’t determine the object’s center,
scene. normals might be oriented in the wrong direction.
Note: Hatch patterns are stored in drawings as Use the Edit Mesh or Normal modifiers to flip
anonymous blocks. Skip Hatches And Points normals.
skips any other anonymous blocks in the drawing When Unify Normals is turned off, normals are
file. Hatch patterns created in AutoCAD R14 are calculated according to the face vertex order in
skipped regardless of this setting. the drawing file. Face normals for 3D Solids are
Group Common Objects—Puts imported objects already unified. Turn off Unify Normals when
into a common group, based on how they are importing 3D Solid models.
derived. In other words, the group would include Cap Closed Entities—Applies an Extrude modifier
all objects on a common layer, or color, and so on. to all closed entities, and turns on the Cap Start
and Cap End options of the modifier. The Extrude
Geometry Options group modifier Amount value for a closed entity with no
Weld—Sets whether coincident vertices of thickness is set to 0. Capping makes closed entities
converted objects are welded according to the with thickness appear solid and closed entities
Weld Threshold setting. Welding smoothes without thickness appear flat. When Cap Closed
across seams and unifies normals of objects with Entities is turned off, the Extrude modifier Cap
coincident vertices. To use the Weld option, Start and Cap End options for closed entities with
first turn on Convert To Single Objects, because thickness are turned off. No modifiers are applied
welding occurs only for vertices that are part of to closed entities without thickness, except for
the same object. Circle, Trace, and Solid.
If you used layers, instances, or colors to organize have the units of a model in Autodesk VIZ set
objects in the scene, that structure is maintained to millimeters, INSUNITS will be set to 4.
when the model is exported. • MEASUREMENT sets the drawing units either
Exported objects with modifiers assigned to them to English or Metric.
are affected by the current state of the modifier.
For instance, if the Taper modifier assigned to See also
a box is turned off, the exported scene shows a Exporting to DXF Files (page 3–165)
non-tapered box.
Note: Layers created in Autodesk VIZ are not Procedure
exported to AutoCAD. To export a DWG file:
Note: Exporting to an AutoCAD R14 drawing file is 1. Choose File menu > Export.
not supported. If you are working with AutoCAD
2. From the Files Of Type drop-down list, choose
R14, export to 3DS or DXF file format.
AutoCAD (*.DWG).
What to Expect When Opening the DWG 3. Specify a file name to export.
File 4. Set options in the Export to AutoCAD File
When you open an exported drawing in AutoCAD, dialog (described below).
you are presented with an isometric (3/4) view
looking toward the positive XY direction instead Interface
of a Front elevation view.
Geometry Options group The DXF file format is the next best method of
Convert Instances To Blocks—Converts instances to getting design data to and from Autodesk VIZ
AutoCAD block insertions. The block definition if using a DWG file is not an option. Most
uses the same name as the first instance converted. commonly, DXF files are used to import and
When turned off, each instance is converted as a export modeling data to and from CAD programs
separate AutoCAD object. References are always that have support for DXF files, but not DWG files.
exported as separate objects.
Importing DXF files uses the same import
Skip Hidden Objects—Toggles export of hidden plug-in that is used for imported DWG files
objects. When on, hidden objects are not (page 3–147). When you import an DXF file, the
exported. software converts a subset of AutoCAD objects to
corresponding Autodesk VIZ objects.
Ignore Extrude Capping—When on, exports shapes
with Extrude modifiers as 2D AutoCAD objects Note: You are no longer asked if you want to
with a thickness property, and ignores the state of Completely Replace Current Scene. If you import
the Cap Start and Cap End parameters. When off, multiple drawings, the importer will merge the
shapes with Extrude modifiers that also have Cap drawings together.
Start or Cap End on are exported as polyface 3D After you select a DXF file to import, the AutoCAD
meshes. Extruded circles, donuts, and rectangle DWG/DXF Import Options dialog is displayed.
objects export as AutoCAD circles, donuts, and Once imported, you are presented with Editable
trace objects with a thickness property. Meshes, Editable Splines and PRS Controllers.
Procedure
To import a DXF file:
1. Choose File menu > Import.
2. Choose AutoCAD (*.DXF) in the Files Of Type
list.
3. Specify a file name to import.
4. Set options in the AutoCAD DWG/DXF Import
Options dialog.
5. Click OK to begin importing the model.
160 Chapter 16: Managing Scenes and Projects
• Material assignments from ADT are not When Unify Normals is turned off, normals are
translated during the import process. However, calculated according to the face vertex order in the
while the objects themselves do not have DXF file. For instance, face normals for AutoCAD
materials assigned, the materials are imported ACIS solids are already unified. Turn off Unify
and placed on the Scene Unused palette (page Normals when importing ACIS solid models from
3–407). AutoCAD.
• If you want to assign materials to these objects, Cap Closed Entities—Applies an extrude modifier
you’ll have to use Multi/Sub-Object materials. to all closed entities, and turns on the Cap Start
• Depending on the Texture Mapping option and Cap End options of the modifier. The Extrude
you choose, UVW coordinates are translated modifier Amount value for a closed entity with no
correctly. thickness is set to 0. Capping makes closed entities
with thickness appear solid and closed entities
Weld—Sets whether coincident vertices of
without thickness appear flat. When Cap Closed
converted objects are welded according the to Entities is turned off, the Extrude modifier Cap
Weld Threshold setting. Welding smoothes Start and Cap End options for closed entities with
across seams and unifies normals of objects with thickness are turned off. No modifiers are applied
coincident vertices. To use the Weld option, to closed entities without thickness, except for
first turn on Convert To Single Objects, because Circle, Trace, and Solid.
welding occurs only for vertices that are part of
the same object. Texture Mapping—The texture mapping settings
affect the loading time of models that have many
Weld Threshold—Sets the distance that determines
objects with stored UVW Coordinates for texture
whether vertices are coincident. If the distance mapped materials.
between two vertices is less than or equal to the
Weld Threshold, the vertices are welded together. Note: This setting only applies to geometry that
is stored as a mesh in the scene. Spline shapes
Auto-smooth—Assigns smoothing groups marked as renderable have separate controls
according to the Smooth Angle value. Smoothing for UVW coordinate generation on the Spline
groups determine whether faces on an object Rendering panel.
render as a smooth surface or display a seam at
• No Mapping Coordinates—When No Mapping
their edges, creating a faceted appearance.
Coordinates is used, the File Link Manager will
Smooth Angle—Controls whether smoothing not generate texture coordinates for the mesh
occurs between two adjacent faces. If the angle objects that are linked.
between the two face normals is less than or equal When DXF files are imported, objects are
to the smooth angle, the faces are smoothed. added to the scene as Editable Mesh objects
Unify Normals—Analyzes the face normals of each that do not have UVW coordinate assignments.
object and flips normals where necessary, so they Before assigning materials to imported objects,
all point out from the center of an object. If the you’ll need to apply a UVW Map modifier
imported geometry is not properly welded, or if (page 2–274) to add texture coordinates. When
the software can’t determine the object’s center, you then apply the material and the material or
normals might be oriented in the wrong direction. texture map is set to Show Map in Viewport,
Use the Edit Mesh or Normal modifiers to flip the texture map is displayed if the viewport
normals. is set to Smooth + Highlights. If the UVW
162 Chapter 16: Managing Scenes and Projects
Map modifier is not applied, the object turns Lights—Imports lights from the DWG file.
gray and you’ll see a Missing Map Coordinates
Views (cameras)—Imports cameras from the DWG
dialog (page 2–1198) when you render the
file, and converts them to Autodesk VIZ cameras.
scene.
UCSs (grids)—Imports user coordinate systems
This option gives you faster loading speed, but
no UVW coordinate generation. (UCS) from the DWG file and converts them to
Autodesk VIZ grid objects.
• Generate Coordinates For All Objects—This
option forces all objects to have UVW Layers panel
coordinates generated when the DXF file is
imported. This interface is very similar to the Layer Manager
(page 3–364). Layer names remain the same as
This option tells the DWG/DXF Importer to specified in the DXF file.
create UVW coordinates, but loading time
is increased while the coordinate generation
occurs.
Curve Steps—Adjusts how smoothly an arc or
curve appears when the drawing is imported.
Larger numbers result in smoother curves.
Default=10.
Surface Deviation For 3D Solids—Specifies
the maximum allowable distance from the
Autodesk VIZ surface mesh to the parametric
ACIS surface. Small numbers produce more
accurate surfaces with a greater number of faces.
Large numbers produce less accurate surfaces with
fewer faces.
Autodesk VIZ without having to copy scripts from closed and Inventor 10 opened, at least once, in
the install CD. order for you to successfully import Inventor
10 files.
The components of models that you import
into Autodesk VIZ retain their object naming
Material Handling
as assigned in Autodesk Inventor and appear as
editable meshes (page 2–350). Once imported, Materials and material assignments made to the
you can edit the model just as you would any original Inventor model are retained and imported
other type of object that you construct. You can along with the geometry. Materials are imported
apply modifiers, alter materials, add lighting and as Architectural materials (page 2–1157) or if a
cameras, create animations, etc. single object has several materials assigned to it,
they are imported as a Multi/Sub-Object material
Requirements and Limitations (page 2–1182).
In order to be able to import models that originate
Procedures
from Autodesk Inventor, Inventor 8, or later, is
required to be installed along with Autodesk VIZ To import an IAM or IPT file:
on the system. 1. Choose File menu > Import.
At this time, there are some limitations to the 2. Choose Autodesk Inventor (*.IPT, *.IAM) in
Inventor Importer. They are as follows: the Files of Type list.
• Camera animation paths are not converted to 3. Specify a file name to import.
Autodesk VIZ cameras so any animation you’ve 4. Set options in the Autodesk Inventor File
set up in Inventor is lost during import. Import dialog.
• Any lighting from brightness and ambience
settings created in the Inventor file are not
imported. You will have to relight the scene
once the import is complete.
• A model that is set up with constraints to
limit the movement of parts will lose those
constraints upon import. You will need to use
inverse kinematics (IK) (page 2–781) to restore
the constraints.
• Dragging and dropping an Inventor file into
Autodesk VIZ uses the settings last set on the
Inventor File Import dialog with the except for
Mesh Resolution, which always resets to 0.
• Autodesk VIZ uses the last version of Inventor
that was opened to set the Import version. For
instance, let’s say you have both Inventor 8 and
Inventor 10 on your system. If the last version
of Inventor you ran was Inventor 8, you cannot
import Inventor 10 files. Inventor 8 must be
Importing Autodesk Inventor Files 167
Matricial Conversion Consequences group Note: If any primitives are missing from the
morph channel when exporting, a dialog
Resampling Rate—Sets the rate at which animation
appears to warn you.
will be sampled in the imported file.
OK—Accepts all changes and closes the dialog. Textures
• All mapping types are exported as a UV Map.
Exporting FBX Files • Only the Diffuse channel of a material is
exported.
File menu > Export > Kaydara FiLMBOX (*.FBX)
Patches
FBX is the Kaydara FiLMBOX file format. Kaydara
Patches are converted to triangle meshes.
FiLMBOX is a system used for the creation,
editing, and blending of keyframe animation. You
Interface
can export Autodesk VIZ files to this format.
Note: Softimage and Maya also export to the FBX
format, making it a bridge between the three
applications.
NURBS
• Exporting NURBS to FBX creates different
NURBS nodes for NURBS components.
Note: NURBS geometry with several
components (trims, caps, and so on) are
exported as a hierarchy of nodes named after
the Autodesk VIZ NURBS node using their
component name as a suffix.
• Export of morphing is supported, but the
NURBS morph primitives must still exist at the Export group
time of export.
Geometries—When on, exports all geometry in
your scene.
172 Chapter 16: Managing Scenes and Projects
Support normal per polygon vertex—When on, Portable Format ( TIFF)—When on, stores bitmaps
normals are exported to your FBX file on a used in materials in a baseline TIFF format, which
per-polygon basis. is highly portable.
Cameras—When on, all cameras in your scene are Reset—Resets all values in the Export dialog to
exported. their defaults.
Lights—When on, all lights in your scene are Ok—Proceeds with FBX export, using the current
exported. settings.
Geometries used as bones, exported as Cancel—Cancels FBX export.
bones—When on, objects that are used as bones
will be exported as bones.
Shape (Morph Modifier)— When on, any morphing
information in your scene is exported. This switch
is not available in Autodesk VIZ. IGES Files
Skins (Skin Modifier and Physique)—When turned
on, any skin or physique information in your Overview of IGES in Autodesk VIZ
scene is exported.This switch is not available in
Autodesk VIZ. The Initial Graphics Exchange Specification
(IGES) is an ANSI standard that defines a
Animation—When turned on, any animation in neutral form for the exchange of information
your scene is exported. among dissimilar computer-aided design (CAD),
computer-aided manufacturing (CAM), and
Misc group computer visualization systems. The software
Resampling Rate—Lets you specify a sampling rate implements the IGES standard for translating files
for controller-based and coordinate-interpolated between Autodesk VIZ and IGES file formats used
animation, as well as the Flip-Book output rates. by the mechanical engineering and entertainment
industries. Using the IGES import/export feature,
Setting the resampling rate lets you trade off you can read in and write out native NURBS (page
between animation fidelity and file size. The 3–705) data between Autodesk VIZ and programs
default values give good results in most cases. such as Mechanical Desktop release 3.0, Maya™,
For the greatest animation precision, use a lower Pro/ENGINEER®, SOFTIMAGE®, CATIA®, and
number (a higher sampling rate). others. For complete details on the IGES standard,
Constant Key Reduction Filtering—When on, any see The Initial Graphics Exchange Specification
position, rotation, or scale keys that do not change (IGES) Version 5.3.
during an animation are removed during the
export process to reduce file size and complexity. What IGES Translates
Show Warnings—When on, you are alerted to any The ideal file translation preserves the appearance
export errors. and functionality of objects (called entities in
IGES) contained in a file. This process has limits.
Embed textures in export file—When on, all You should be aware that some Autodesk VIZ
materials in your scene will be embedded in the objects are not supported or not fully supported by
exported FBX file.
Overview of IGES in Autodesk VIZ 173
Even when the objects you translate don’t have 5. In the Surface Common rollout, click Make
an equivalent in the target system, a one-time Independent.
translation to or from IGES might not pose a Note: Making rigid imported NURBS surfaces
serious problem. However, data loss can become independent can take a long time if there are
a concern if you maintain objects that will be complicated surfaces in the file, or if the file
repeatedly translated in and out of different is large. Avoid selecting all surfaces and then
formats through IGES. By becoming familiar clicking Make Independent. Rather, save your
with the details of the systems and the IGES file immediately after successfully importing it,
translators you use, you can learn to structure files and then use Make Independent with care.
to minimize information loss.
Warning: The conversion of objects during translation
Future Compatibility
is not fully symmetrical. If you import an IGES file that The group that maintains and updates the IGES
you created by exporting to IGES, the resulting objects standard, the IGES/PDES (Product Data Exchange
might not be identical to the original. Standard) consortium, attempts to keep IGES
upwardly compatible. It’s likely that files generated
NURBS by the software will be compatible with future
When you import an IGES file into the software, versions of IGES.
IGES meshes are converted to NURBS (page
2–443) surfaces, rather than to Autodesk VIZ History of IGES
mesh objects. An IGES file with multiple meshes The first version of IGES was developed in 1980
imports as a single NURBS model. Each IGES in response to demands from government and
mesh is a surface sub-object within the model. industry for a neutral file format. In 1981, IGES
Each surface sub-object based on an IGES mesh is was approved as an ANSI standard. Since then,
initially a rigid surface (page 2–454). To edit the many enhancements have been made, including
surface and its CVs (page 3–667), you must first the significant additions listed in the following
make the rigid surface independent. The following table.
procedure explains how to do this. IGES Date Added features
version
1.0 1980 Mechanical 2D and 3D drawings
174 Chapter 16: Managing Scenes and Projects
IGES Date Added features Autodesk VIZ file name, with the extension of .xli
version (input) for import, and .xlo (output) for export.
2.0 1983 Sculptured surfaces, rational B-splines,
finite elements, and electrical drawings The log file provides the following information:
3.0 1986 Manufacturing AEC (architecture, • Name of the file processed.
engineering, and construction), and
piping drawings • Number and severity of errors encountered,
a description of them, and an explanation of
4.0 1988 CSG (constructive solid geometry)
solids what can be done, or what was done to the data
in error. (The software attempts to fix many
5.0 1990 Primarily consolidation and
rationalization of existing formats errors itself.)
to improve the quality and robustness
of existing entities
• Summary of entities processed.
5.1 1991 Boundary-representational (B-rep) • List of the entity types encountered and those
solids created.
5.2 1993 European character set and several
clarifications; published as an ANSI See also
standard
Overview of IGES in Autodesk VIZ (page 3–172)
5.3 1996 Unbounded Lines (110:1 and 110:2),
several new Properties (406), and Autodesk VIZ to IGES Export Table (page 3–177)
further clarifications. Year 2000
compliance Exporting IGES Files (page 3–176)
IGES to Autodesk VIZ Import Table (page 3–175)
See also
Importing IGES Files (page 3–174)
Autodesk VIZ to IGES Export Table (page 3–177)
Exporting IGES Files (page 3–176)
Importing IGES Files
IGES Log Files (page 3–174)
File menu > Import > IGES (*.IGE, *.IGS, *.IGES)
IGES to Autodesk VIZ Import Table (page 3–175)
Importing IGES Files (page 3–174) IGES files are used to import and export NURBS
objects to and from Autodesk VIZ (and other
programs that support this file format). For
IGES Log Files more information, see Overview of IGES in
Autodesk VIZ (page 3–172).
During the translation process, the software creates
log files containing detailed information about In some cases, when you import an IGES file, the
the processing of the model. This information translation doesn’t produce exact replicas. To
includes error messages and entity-mapping understand what happens to each entity when it’s
statistics. You can use this log file to understand translated, review the IGES import table (page
what occurred during the translation. 3–175).
The software places log files in the directory where Autodesk VIZ imports an object containing
the IGES file is either imported from or exported multiple surfaces as a single NURBS object. To
to. The log file name has the prefix name of the work with a single surface of the object, detach it in
IGES to Autodesk VIZ Import Table 175
sub-object NURBS and work with only that object. 4. To review the translation process, read the .xli
This releases the rest of the object from memory. log file with your preferred text editor.
For more information, see NURBS (page 3–173).
Interface
When you import IGES files, Autodesk VIZ creates
a log file containing detailed information about the
processing of the model. The name of the file has
the form of filename.xli. For more information,
see IGES Log files (page 3–174).
Note: Autodesk VIZ creates and uses a few
temporary files during translation. Temporary
files can be large. If there has been a computer
or IGES translation failure and temporary files
remain on your system, they might need to be
removed to free up disk space. For storage of these
temporary files in Windows, Autodesk VIZ uses
IGES Import
the directory specified by the TEMP environment
variable, or the current directory if TEMP is not The IGES Import dialog has the following controls:
set. Merge objects with current scene—Merges
imported data with the current scene.
See also
Completely replace scene—Completely replaces the
Autodesk VIZ to IGES Export Table (page 3–177) current scene with the imported data.
Exporting IGES Files (page 3–176)
IGES Log Files (page 3–174)
IGES to Autodesk VIZ Import Table
IGES to Autodesk VIZ Import Table (page 3–175)
The following table lists IGES entities and the
Importing IGES Files (page 3–174) Autodesk VIZ objects they translate to when you
import them. Any IGES entities not listed here do
Procedure not import.
To import an IGES file:
1. Choose File menu > Import.
IGES entity IGES entity name Autodesk VIZ
2. Specify the IGES file to import from the file number
selector dialog. 100 Circular Arc Arc Shape
You can choose IGES (*.IGE, *.IGS, *.IGES) 102 Composite Curve Spline Shape
from the Files Of Type list to display only IGES 104 Conic Arc Spline Shape
files.
106 Copious Data Spline Shape
3. From the IGES Import dialog, select Merge
Objects With Current Scene or Completely
Replace Scene.
176 Chapter 16: Managing Scenes and Projects
IGES entity IGES entity name Autodesk VIZ IGES import supports name and color mappings
number to Autodesk VIZ names and colors.
108 Plane NURBS Surface
(unbounded When you import IGES files, names are mapped
converts to by using the level name followed by a colon, and
construction then the object name.
plane)
110 Line Spline Shape See also
112 Parametric Spline NURBS Curve
Curve Autodesk VIZ to IGES Export Table (page 3–177)
114 Parametric Spline NURBS Surface Exporting IGES Files (page 3–176)
Surface
IGES Log Files (page 3–174)
116 Point Point Helper
118 Ruled Surface NURBS Surface IGES to Autodesk VIZ Import Table (page 3–175)
120 Surface of NURBS Surface Importing IGES Files (page 3–174)
Revolution
122 Tabulated Surface NURBS Surface
126 Rational B-spline NURBS Curve Exporting IGES Files
Curve
File menu > Export > IGES (*.IGS)
128 Rational B-spline NURBS Surface
Surface
IGES files are used to import and export objects to
130 Offset Curve NURBS Curve
and from Autodesk VIZ (and other programs that
140 Offset Surface NURBS Surface support this file format). For more information,
141 Boundary Curve NURBS Surface see Overview of IGES in Autodesk VIZ (page
142 Curve on
3–172).
NURBS Surface
Parametric
Surface
In some cases, when you export Autodesk VIZ
objects to an IGES file, the translation doesn’t
144 Trimmed NURBS Surface
Parametric
produce exact replicas. To understand what
Surface happens to each object when it’s translated, review
143 Bounded Surface NURBS Surface the IGES export table (page 3–177).
186 Solid NURBS Surface When you export IGES files, Autodesk VIZ creates
308 Subfigure Instance
a log file containing detailed information about the
Definition processing of the model. The name of the file has
402 Group NURBS Object
the form of filename.xlo. For more information,
see IGES Log files (page 3–174).
Note: If there are modifiers applied to surfaces in
your scene, it’s best to collapse the stack before
Notes exporting to IGES. When Autodesk VIZ exports
The Autodesk VIZ objects translated from IGES to an IGES file, it skips any surface that has any
can have surface sub-objects. modifiers applied.
Autodesk VIZ to IGES Export Table 177
Notes
When Autodesk VIZ exports IGES, it supports
name and color mappings to IGES names and
colors.
You can export your Autodesk VIZ scenes Creating Geometry for Lightscape (page 3–179)
to Lightscape. Lightscape is a visualization Creating Materials for Lightscape (page 3–179)
application that uses radiosity and ray tracing to
create accurate lighting for 3D models.
Grouping Geometry for Lightscape (page 3–180)
The Select File To Export Dialog is displayed. groups to reduce the number of faces needed
for smooth surfaces.
• Lightscape calculates radiosity only for the
front side of a face. Check face normals of the
geometry. Lightscape’s Orientation option
offers convenient methods for changing a
surface’s orientation.
• If you plan to use daylight in an interior scene,
create surfaces for areas that will be windows or
openings in Lightscape. In order to allow light
to flow through them they must be placed in an
2. Use the Save As Type list to choose which kind opening in the geometry, not on a continuous
of Lightscape file format you are exporting. surface. These surfaces should fill the opening
3. Use the Save In list to navigate to the appropriate in the geometry. Since the exporter uses
directory. material assignments to mark windows and
openings, these surfaces can be faces within
4. In the File Name field, enter the name of the file
more complex geometry.
that you want to create, and then click Save.
• You should model transparent objects that have
To get version information about the Lightscape a refractive index greater than 1 so that they
exporter: are physically valid. For example, you should
1. Export one of the Lightscape file types.
model a pane of glass as two surfaces separated
by the correct distance.
A dialog with options for that file type is
displayed. • Before exporting, make sure your units are
properly set. If your scene uses photometric
2. Click About. lights, this is probably the case. If your scene
An About dialog is displayed. The dialog shows uses standard lights, realistic units might
the version of the Lightscape exporter. differ from your viewport settings. You can
choose Customize > Units Setup to find what
units your model has. Make this correspond
Creating Geometry for Lightscape to the units in which you will export your
model. Because Lightscape is a physically
These are guidelines for creating geometry that
based lighting renderer, it is essential that you
will export to Lightscape in a way that will generate
export a scene with physically accurate units to
a good radiosity solution:
obtain accurate lighting results. See Exporting
• Avoid overlapping surfaces, and do not use Standard Lights (page 3–180).
double-sided materials.
• Assign mapping coordinates to geometry that
will use a textured material. Creating Materials for Lightscape
• Try to keep polygon count to a minimum. Use These are guidelines for creating materials to
the Optimize modifier and use smoothing export to Lightscape. In general, Lightscape
180 Chapter 16: Managing Scenes and Projects
materials are less complex than materials in • Material files (*.atr) can be exported to
Autodesk VIZ. Lightscape. Selected materials or all the
• Only the diffuse texture gets imported into materials in a scene can be exported this way.
Lightscape, so there is no need to set up other Texture mapping alignment is not saved in
texture maps. Other mapping types can be Material files.
applied after the solution file is imported back
into Autodesk VIZ.
Grouping Geometry for
• The diffuse color corresponds to the reflective
Lightscape
color in Lightscape.
• Glossiness corresponds to the shininess of the These are guidelines for grouping geometry so it
material in Lightscape. will export well to Lightscape:
• Opacity corresponds to the transparency of the • Group or attach geometry you want to come
material in Lightscape. into Lightscape as blocks. When exporting, you
can create blocks for every object and group
• Tiling information is exported, but mirrored in the scene.
and clipped textures are not supported by
OpenGL display in Lightscape. They can be • If a light has a geometric fixture, group the
seen only by using the ray tracer. fixture with the light. This will allow you
to move the light and fixture together in
• The index of refraction is imported into Lightscape.
Lightscape.
• You can export layers by material, group,
• For accurate radiosity processing, it is instance, or for each object in a scene. These
important to set the correct HSV Value of the options are available when exporting a
material. The Value controls the maximum Lightscape Preparation file (*.lp), a Lightscape
reflectance of the surface. If it is set too high, the Block file (*.blk), or a Lightscape Layer file
solution looks washed out and processing time (*.lay).
increases significantly. Refer to the Lightscape
Tip: Exporting layers by instance makes it easier
User’s Guide for more information on how to
set material properties. to import the solution back into Autodesk VIZ.
dialog, with additional controls in the Luminaire There are three ways to convert standard light
Processing group. intensities for Lightscape. Each method is useful
for different types of lighting. These are described
in the sections that follow.
To export daylight:
1. If you have simulated sunlight using a
Autodesk VIZ light, use the Light list to choose
its name. If the light is a directional light,
spotlight, skylight, or IES Sky light, Lightscape
will calculate the daylight parameters that 5. Use the Windows panel to select the materials
match the direction of the sun based on the that are assigned to Windows in the scene. To
direction of the chosen light. work correctly in Lightscape, these materials
Note: If you want to force the sun in Lightscape should not be assigned to other kinds of
to have the same brightness as the selected objects. Use SHIFT+click or CTRL+click to
light in Autodesk VIZ, check Override Solar select multiple materials if needed.
Luminance. This will use the brightness of the 6. Use the Windows panel to select the material
light to override the calculated brightness of the that is assigned to openings in the scene. To
sun. work correctly in Lightscape, this material
2. If no light in the scene simulates sunlight, leave should not be assigned to other kinds of objects.
the Light field blank, and enter the scene’s
184 Chapter 16: Managing Scenes and Projects
Note: If the importer cannot find the 7. Select File > Parameters > Load, and load the
Autodesk VIZ material from which a file you created in step 4.
Lightscape material was created, it will create a 8. Now you can load the blocks or materials from
new Autodesk VIZ material. the exported file.
• To export parameters: (page 3–187) Processing shadows on, and choose Advanced Ray Traced
parameters are saved for the scene. as the shadow type. If the light does not need to
• To override parameters: (page 3–187) Here be ray traced, turn the light off, turn shadows
you use a sample frame to set the processing on, and choose Shadow Map as the shadow
parameters for the radiosity simulation. type. If different instances of a light need
different settings, you will need to make a copy
• To batch-process the LP files: (page 3–188) of the light.
This step merges the non-animated objects, the
animated objects, and the parameter files from Note: When a light is turned off in
the previous steps. The merged file is processed Autodesk VIZ, its illumination is stored in the
and images for each frame are created. Lightscape mesh when radiosity is solved. That
way, if it is imported back into Autodesk VIZ,
• To create the animation: (page 3–188) The the light remains off, and the illumination
images created in the previous step are put comes from the radiosity mesh.
together into an AVI or MPEG animation.
To export animated objects:
Procedures
1. Select the geometry in your scene that is being
To animate daylight: animated. Geometry should be selected if it is
1. To animate daylight, you must animate a light moving or one of its materials is changing.
that follows the path of the sun. Use a Sunlight You don’t need to select nonanimated geometry,
or Daylight system. even if it’s illuminated by an animated light.
2. Set the light color to the color you want for the Tip: Make a named selection set of the objects
sun. you select in this step and the following one.
3. When you export the animated objects you will Then you can invert this selection to export
select the animated light on the Daylight tab. nonanimated objects. See the following
procedure (page 3–187).
To animate views:
2. Select the lights in your scene that are being
• To animate your view, simply make sure that animated. Lights should be selected if they are
the active view is using an animated camera. moving, or any of their parameters, such as
brightness and color, are changing.
To set up lights and daylight:
If you are animating daylight, you need to select
When solving multiple Lightscape solution files the light you are using to simulate daylight.
for animation, the settings of lights and daylight
If you plan to use the Lightscape utility lsray to
are important for good results and performance.
render the output, and you want to ray trace
1. Do a preview of your animation in direct illumination, make sure your lights are
Autodesk VIZ. Lights and daylight that are turned on, and that their shadow type is set to
moving or cast moving shadows need to be ray Advanced Ray Traced.
traced during the rendering of the animation.
3. Access the Export Lightscape Preparation File
Other lights don’t need to be ray traced, and ray
dialog (page 3–192).
tracing them will slow down processing.
4. Choose the Selected Objects radio button.
2. In Autodesk VIZ, select each light. If the light
needs to be ray traced, turn the light on, turn
Exporting Animations 187
5. Set the other parameters in the General panel 2. Access the Lightscape Parameter File Export
as you normally would. dialog (page 3–209). Use the same file name
6. Click the Animation tab. In the Animation you used for the animated objects.
panel (page 3–197), enter the range of frames 3. If you didn’t export all of the objects in your
you want to export. scene, choose the Selected Objects radio button.
7. If you are using daylight, click the Daylight tab, 4. Set the other parameters as you normally
and in the Daylight panel (page 3–198) set the would.
daylight parameters.
Important: Make sure the units are the same as
8. Don’t forget to set up windows and openings in when you exported the animated objects.
the Windows panel (page 3–199), if your scene
5. Click OK. This exports the parameters to be
makes use of these.
used for processing in a Lightscape Parameters
9. Click OK. This will export the animated objects (DF) file.
by creating a Lightscape Preparation file for
each frame in the scene. To override parameters:
1. Start Lightscape.
To export nonanimated objects:
2. Open the Lightscape Preparation file that
1. Retrieve the selection of animated objects, then
contains the nonanimated objects.
choose Edit > Select Invert. This selects all of
the objects that are not animated. 3. Open one of the Lightscape Preparation files
containing the animated objects. On the Open
2. Use CTRL+click to remove objects you don’t
File dialog, turn on the Append check box.
want to export from the selection set.
4. Choose File > Parameters > Load, and load the
3. Access the Export Lightscape Preparation File
parameter file you exported.
dialog (page 3–192). Use the same name you
used for the animated objects. (This won’t 5. Use the Parameter Wizard or adjust the
overwrite the original LP file, because sequence processing parameters manually. Initiate the
numbers will be appended to the file name.) radiosity solution. When asked, do not save
the Lightscape Preparation file. Process the
4. Choose the Selected Objects radio button.
solution.
5. Set the other parameters in the General panel
6. Continue adjusting parameters, resetting, and
as you normally would.
processing until you are satisfied. Try to get 15
Important: Make sure the units are the same as percent of initial energy, or less, still unshot (at
when you exported the animated objects. least 85 percent of the initial energy should be
6. Click OK. This will export the nonanimated distributed).
objects in a Lightscape Preparation file. 7. Choose File > Parameters > Save As, and save
the parameters over the DF file you exported.
To export parameters: You do not need to save the solution file.
1. If you didn’t export all of the objects in 8. Select Process > Statistics, and make a note of
your scene, select all of the animated and the number of iterations Lightscape needed.
nonanimated objects you did export.
188 Chapter 16: Managing Scenes and Projects
To batch-process the LP files: preparation files exist and where solution files
To process the Lightscape Preparation (LP) files, and image files will be created.
you must run a batch file to process all of the 6. You can change IMAGETYPE to change the
frames. The name of this file is lsanim.bat. By file type for the image files. For example
default, it is installed in the \bin subdirectory of IMAGETYPE=tga will output Targa files.
the directory where Lightscape is installed. 7. Create a batch file that calls lsanim for each
Note: If you installed Lightscape after installing frame being processed. The line should look
Autodesk VIZ, you can find lsanim.bat in the same like this:
directory where Autodesk VIZ is installed. Note: See the online User Reference to view this
1. You might want to copy and edit the beginning code.
of lsanim.bat, to set parameters and give the
Important: If a frame number has fewer than four
paths to the batch utilities. The beginning of
digits, pad the number with leading zeros to make
lsanim.bat looks like this:
it four digits long.
Note: See the online User Reference to view this
8. Run the batch file.
code.
2. Open a command shell, and enter lsmerge -h To create the animation:
to run that utility. 1. Create an Image File List (IFL) file (page 3–259)
If you do not see a short help message for to collect the image files into an AVI or FLC
lsmerge, then you will need to add the path animation.
to the lsmerge, lsrad and lsray utilities. The Tip: The Image File List does not need to contain
utilities are located in the \bin subdirectory in path names. You can use the Configure Paths
the directory where Lightscape was installed. dialog > External Files panel (page 3–532) to
For example, you might need to change the indicate the directory where your images have
lsmerge line above to be: been saved.
Note: See the online User Reference to view this 2. In Autodesk VIZ, choose Rendering >
code. Environment.
You can also use the OpenGL renderer by 3. In the Environment dialog, click Environment
changing lsray to lsrender and using options for Map.
lsrender. Look in the Lightscape help file for
4. In the Material/Map Browser, choose Bitmap,
more information on the utilities and options.
and then click OK.
3. Change <ITERATIONS> to the number of
5. In the Select Bitmap Image File dialog, choose
iterations you noted when overriding the
process parameters. the IFL file, and then click OK.
4. If you want to save the solution files, change 6. Click Time Configuration, and use
SAVELS=0 to SAVELS=1. This will require the Time Configuration dialog to make the
extra disk space to hold the solution files. animation length match the number of frames
5. Set PREPFILES, SOLUTIONFILES, and specified in the IFL file.
IMAGEFILES to the directories where the 7. Render a viewport to a movie-format file (AVI,
FLC, or MOV).
How Autodesk VIZ Objects Are Converted to Lightscape 189
inverts the brightness of lights imported from material, it creates a standard material that using
Lightscape solutions. the object’s wireframe color, and exports that
material.
There are two methods for converting spotlight
angles. When the Preserve Spotlight Angles option
is not on, the beam angle for a converted spotlight
is set to the angle where the standard spotlight
illuminates at one-half intensity, which matches
the illumination of a Lightscape spotlight at the LandXML (XML, DEM) Files
beam angle. When the Preserve Spotlight Angles
option is on, the beam angle is set to the standard
light’s hotspot angle. Importing LandXML/DEM Models
If you want Lightscape to illuminate a scene the LandXML/DEM Model Import lets you import
same as Autodesk VIZ, you shouldn’t turn on land development data into Autodesk VIZ. Civil
Preserve Spotlight Angles, because the converted engineering data, from XML, DEM (digital
spotlights will have significantly different intensity elevation model), or DDF files, is used to create
distributions. Turn on Preserve Spotlight Angles a Autodesk VIZ model.
when you want to use Autodesk VIZ to specify the
spotlight angles that Lightscape will use.
Since hidden lights in Autodesk VIZ can illuminate
a scene, they are exported unless they aren’t turned
on.
Converting Materials
Lightscape doesn’t have the same materials
found in Autodesk VIZ, and only a few material
parameters are exported. The following material The LandXML/DEM Model Import dialog (page
components are exported: 3–191) allows for interoperability with Autodesk
• Diffuse color products such as Land Development Desktop 3,
Land Development Desktop 2005, Civil 3D™, and
• Shininess CAiCE Visual PE. Once imported, the models are
• Shininess strength ready for high-quality photorealistic rendering
• Diffuse map, if one is assigned and animations.
which is often the case when using standard lights Tip: If your scene uses object instancing, creating
or generic units, you might have to adjust the blocks can reduce the file size of the exported LP
scene’s scale. file, because the geometry of the object is exported
only once. You can also use groups to group lights
Model Size—Displays the X, Y, and Z extents of the
with the geometry that represents their fixtures.
scene’s geometry using the current Master Units
This will make moving and changing lights easier
and Scale Factor settings. This can help you set up
in Lightscape.
the exported file if you need to change either of
these settings. Model Size does not include lights Layer Creation and Name—These settings allow you
and cameras, which might be outside the extents to select how Lightscape layers are created and
of the renderable geometry. how surfaces and blocks are placed on the layers.
Default=Instance. The five possible settings are:
Entire Scene and Selected Objects—These radio
buttons select whether all objects in the scene are • Instance—A layer is created for each object
exported, or only selected objects. instance in the model, including lights. The
surfaces for each instance are placed on their
Block Creation and Name—These settings allow you
own layer. The name of the layer is the same as
to select how blocks are created in the exported the name of the object instance. This setting is
LP file. Default=Group. The four possible settings very useful if you plan to import the Lightscape
are: solution back into Autodesk VIZ, since the
• Object—A Lightscape block is created for each importer can reconstruct the original objects.
object. The name of each block is taken from • Object—A layer is created for each object. All
the name of the first instance of the object. surfaces in all instances of the object are placed
If different instances of a single object use in the layer for the object. The name of the layer
different materials, a new block is created so the is the same as the name of the first instance of
proper material can be applied to the instance. the object.
The blocks are then created in the LP file.
• Group—A layer is created for each object
• Group—A block is created for each object, as and each group. All surfaces in all instances
with the Object option, and also for each group. belonging to a group are placed in the layer
The blocks are created in the LP file based on for the group. All other surfaces are placed in
the groups in which they are contained. the layer for the object. The name of the layer
• Single—A single block is created for the entire is the same as the name of the first instance of
scene. All of the meshes of all of the objects the object.
reside within this block. One instance of this • Single—A single layer is created and all surfaces
block is created for the LP file. When this are put on that layer. When this setting is
setting is chosen, the Name field is enabled. used, the Name field is enabled. You can
You can enter the block name in this field. enter the name of the single layer in this field.
Default=The name of the exported file (with no Default=The name of the exported file (with no
file name extension). file name extension).
• None—No blocks are created. All of the meshes • Material—A layer is created for each exported
of all of the objects are created directly in the material. Surfaces are assigned to layers based
LP file. on the material assigned to the surface.
Lightscape Preparation File Lights Panel 195
• Cast Shadows —This option will be set also stored, then Lightscape must perform the
according to the Autodesk VIZ light Shadow additional step of removing energy from the
Parameters Cast Shadows setting. mesh before it begins ray-tracing.
• Store Direct Illumination—If the Autodesk VIZ
light is turned on, this option will be disabled.
If the Autodesk VIZ light is turned off, this Lightscape Preparation File
option will be enabled. Animation Panel
See the description of Store Direct Illumination This panel is used to set the animation parameters
below. for the Autodesk VIZ scene. You can export a
• Raytrace Direct Illumination—If Use Ray-Traced Lightscape preparation file for multiple frames in
Shadows is on in Autodesk VIZ, this option will a Autodesk VIZ model. The default behavior will
be enabled. export the current frame into the file you chose in
the Select File To Export dialog.
See the description of Raytrace Direct
Illumination below. If you choose one of the other options, the frame
number is appended to the name you chose in
Override Light Object Settings—Choose this the Select File To Export dialog. If the export will
option to use the following check boxes to set the overwrite any preparation files, a single warning
luminaire processing options. The Autodesk VIZ will be displayed for the first file found.
light object settings will be overridden.
• Cast Shadows—When on, turns on the Interface
Lightscape Cast Shadows processing option for
all luminaires. If you disable this option, light
energy is distributed to each surface as if there
were no other surfaces blocking it.
• Store Direct Illumination—When on, turns on
the Lightscape Store Direct Illumination toggle
for all luminaires. This causes illumination to
be stored in the radiosity mesh. If you disable
this option, only indirect lighting will be
calculated; direct illumination from the lights
will not appear in the radiosity solution.
• Raytrace Direct Illumination—When on, turns
on the Lightscape Raytrace Direct Illumination
toggle for all luminaires. This causes light to be
sampled when Lightscape raytraces the model
for rendering. Ray-traced direct illumination
can improve shadow quality.
Tip: In general, it is a good idea to give Store
Direct Illumination and Raytrace Direct
Illumination opposite values: turn off one when Current Frame—Exports a single file for the current
the other is on. If you ray-trace lights that are frame.
198 Chapter 16: Managing Scenes and Projects
Latitude and Longitude—Enter the latitude and North—Enter the direction of north in degrees
longitude where the model is located. When clockwise from the positive Y axis. If your selected
calculating the daylight parameters, latitude is light places the sun too high in the sky for a
displayed in red if the latitude is too close to the direction that you enter, the direction will be
poles for the chosen light to give the sun direction. indicated in red to warn you that the sun position
These are set automatically when a location is in the preparation file will be overridden. If you
chosen. want to correct the direction, change it toward
the light. You can also move the location to a
Time Zone—The time zone where the model is
place where the sun rises higher in the sky at that
located. This is set automatically when a location is
direction.
chosen. The time zone is used to convert between
sun time and local time. Time—Enter the time of day for the daylight
calculation. This will not cause other parameters
Daylight Savings—Indicates that daylight savings
to be calculated.
is to be used for converting between sun time and
local time. This is not automatically set when dates Recalculate—When on, daylight parameters are
are changed. recalculated as location, date, and north change.
Turn off Recalculate if you want to enter all of the
Exterior—Indicates that the model is an exterior
parameters directly. Turning on Recalculate will
scene, or partially exterior.
cause other parameters to be calculated.
12/22 to 6/22 and 6/22 to 12/22—Usually, when
Override Solar Luminance—When on, allows the
calculating dates, two possible dates can be chosen
brightness of the selected light to override the
between the two solstices. This radio button
calculated brightness of the sun. When off, the
determines which solstice the date falls within.
brightness of the selected light is not exported, but
AM and PM—Usually, when calculating times, two it might be used to calculate sky coverage.
times can be chosen, either in the morning or
Sky—Sets the sky coverage. The sky can be set to
afternoon. This radio button determines which
Clear, Partly Cloudy, or Cloudy. This affects the
time is chosen. AM chooses the time before the
brightness of the sun. If you turn on Use Light,
sun reaches its highest point, and PM the time
the brightness of the selected light will be used
after the highest point. Because of local variations
to calculate the sky coverage by choosing the
between sun time and local time, these times might
coverage that makes the calculated sun’s brightness
not be in the morning or afternoon respectively.
closest to the light.
Month and Day—Enter the month and day for the
date you want daylight. If your selected light places
the sun too high in the sky for a date that you enter, Lightscape Preparation File
the date will be indicated in red to warn you that Windows Panel
the sun position in the preparation file will be
overridden. If you want to correct the date, change This panel is used to mark windows and openings
it to a date where the sun rises higher in the sky. for Lightscape. When daylight is used for an
You can also move the location to a place where interior scene, Lightscape allows daylight to
the sun rises higher in the sky. enter the scene only through two types of special
surfaces: windows and openings. Openings are
just placeholder surfaces that mark openings for
200 Chapter 16: Managing Scenes and Projects
Lightscape. Windows also allow light to enter, but Openings—Select the material you used for your
other material attributes are used for filtering the openings. Faces that use this material will be
light as it passes through the window. marked as openings.
When you create your scene, you need to make
sure that there are surfaces for all of your windows
and openings.
Lightscape Preparation File Views
Panel
The exported LP file uses the a material to mark
whether a surface is a window or opening. Create The active view is always stored in the preparation
a material that you assign only to openings. Make file. This panel allows you to choose additional
sure that materials assigned to windows are only views that are saved in Lightscape view files.
used by surfaces that are windows. Light might Normally, the additional views are saved in the
shine through surfaces that incorrectly have a same directory as the preparation file and are
material used to marked a window or opening. named for their cameras.
This panel is unavailable if no cameras are in the
Interface scene.
Interface
This dialog is displayed when exporting a Allows additional Lightscape views to be output
Lightscape view (VW) file. The active view is for cameras in your scene.
placed in the file given in the Select File To Export About—Displays a dialog that contains the
dialog, but additional views can be exported to copyright and version of the exporter you are
other files. using.
OK—Begins writing the Autodesk VIZ objects into
the view file.
Cancel—Cancels the export operation. No file is
created when you cancel.
Help—Opens help for the active tab in the dialog.
202 Chapter 16: Managing Scenes and Projects
Lightscape View File General Panel Lightscape View File Views Panel
This panel is used to establish the units and The active view is always stored in the view file.
scaling for the exported model. These should This panel allows you to choose additional views
match the original values used when exporting the that are saved in Lightscape view files. Normally,
preparation file. the additional views are saved in the same
directory as the preparation file and are named
Interface for their cameras.
This panel is unavailable if no cameras are in the
scene.
Interface
can enter the name of the single block in this • Single—A single layer is created and all surfaces
field. The default name is the base name of the are put on that layer. When this setting is used,
exported file. Name is enabled. You can enter the name of the
• None—No blocks are created. All of the meshes single layer in this field. The default name is the
of all of the objects are created directly in the base name of the exported file.
model. • Material—A layer is created for each exported
Tip: If you are using object instancing in material. Surfaces are assigned to layers based
Autodesk VIZ, creating blocks can reduce the file on the material assigned to the surface.
size of the exported file, because the geometry
Quadrilaterals group
of the object is only output once in the exported
file. You can also use groups to group lights with This group gives you more control over the
the geometry that represents their fixtures. This geometry exported to Lightscape.
will make moving and changing lights easier in
Length Tolerance—The tolerance between points
Lightscape.
that will be welded together when forming
Layer Creation and Name—These settings allow quadrilaterals. Points closer than this distance are
you to select how layers are created and how welded. The distance is given in the units selected
surfaces and blocks are placed on the layers. in the Master Units drop-down list. This value
Default=Instance. The five possible settings are: becomes the Length Tolerance in Lightscape.
• Instance—A layer is created for each object Triangles—When chosen, no quadrilaterals are
instance in the model, including lights. The formed.
surfaces for each instance are placed on their
Mesh Quads—When chosen, only quadrilaterals
own layer. The name of the layer is the same
as the name of the Autodesk VIZ object that are in the mesh are formed, but only if they fit
instance. This setting is very useful if you the criteria that Lightscape uses for quadrilaterals.
plan to import the Lightscape solution back • Force—Enabled only when Mesh Quads is
into Autodesk VIZ, since the importer can chosen. If it is on, then quadrilaterals in the
reconstruct the original objects. mesh will be formed even if they don’t fit the
• Object—A layer is created for each Lightscape criteria.
Autodesk VIZ object. All surfaces in all Any Quads—When chosen, triangles can be used
instances of the object are placed in the layer for to form quadrilaterals, as long as they are planar,
the object. The name of the layer is the same as convex quadrilaterals that fit the criteria that
the name of the first instance of the object. Lightscape uses for quadrilaterals.
• Group—A layer is created for each Autodesk VIZ Don’t allow Lightscape to change geometry—When
object and each group. All surfaces in all this is on, flags are set to prevent Lightscape from
instances belonging to a group are placed in the modifying the geometry when it is initialized to
layer for the group. All other surfaces are placed start the solution.
in the layer for the object. The name of the layer
Note: This option is available only for recent
is the same as the name of the group, or the first
patches of Lightscape. The most recent patch is
instance of the object.
available at ftp://ftp1.discreet.com/web/support/
lightscape/short_sizes2.zip. When you run the
206 Chapter 16: Managing Scenes and Projects
Textures group
Don’t Save Texture Data—Prevents textures from
being exported with materials.
Relative Texture Paths—Selects whether or not
texture path names will be output as relative or
absolute paths. If this option is off, the exporter
will output absolute texture path names. If this
option is on, the exporter will output relative path
names. See Using Relative Paths with Block and
Material Files (page 3–185) for more information.
Average Texture Color—Selects the material color Standard Lights group
the exporter will use for texture-mapped materials.
Maximum Light Intensity Scale—Selects the scale
If this option is off, the exporter will set the color
intensity method for converting standard lights.
of texture-mapped materials to the diffuse color of
You can enter the intensity scale in candelas in
the Autodesk VIZ material. If this option is on, the
the field to the right. (Photometric lights are not
exporter will set the color to the average color of
scaled.)
the diffuse map of a texture-mapped material.
Light Intensity at Distance—Selects the match
intensity method for converting standard lights.
Lightscape Block File Lights Panel You can enter the distance used for matching
intensity in the field to the right. The units are
This panel is used to set the parameters for
always in those selected by Master Units.
converting Autodesk VIZ lights to Lightscape
luminaires. Average Target Distance—Selects the match
intensity method for converting standard lights.
The distance used is the average distances between
targeted spotlights and their targets, which is
displayed in the edit field to the right. This button
is disabled if there are no targeted spotlights in the
scene.
Lightscape Block File Lights Panel 207
Use Attenuation—Selects the Use Attenuation • Cast Shadows —This option will be set
method for converting lights with range according to the Autodesk VIZ light Shadow
attenuation. Parameters Cast Shadows setting.
Preserve Spotlight Angles—Selects how spotlight • Store Direct Illumination—If the Autodesk VIZ
angles are converted from Autodesk VIZ light is turned on, this option will be disabled.
to Lightscape. When this option is off, the If the Autodesk VIZ light is turned off, this
Lightscape beam angle is set to the angle where the option will be enabled.
Autodesk VIZ intensity is one-half of the spotlight See the description of Store Direct Illumination
intensity, which matches the Lightscape intensity below.
at the beam angle. When this option is on, the
• Raytrace Direct Illumination—If Use Ray-Traced
Lightscape beam angle is set to the hotspot angle.
Shadows is on in Autodesk VIZ, this option will
The Autodesk VIZ intensity at the hotspot angle is
be enabled.
the full spotlight intensity, which is significantly
different from the Lightscape intensity at the beam See the description of Raytrace Direct
angle. You should only turn this option on if you Illumination below.
want to enter a specific Lightscape beam angle for Override Light Object Settings—Choose this
your spotlights in Autodesk VIZ. option to use the following check boxes to set the
luminaire processing options. The Autodesk VIZ
Lightscape Lights group light object settings will be overridden.
Relative Photometric Web Paths—Use this option if • Cast Shadows—When on, turns on the
your scene contains photometric lights with web Lightscape Cast Shadows processing option for
distributions. When this option is on, exported all luminaires. If you disable this option, light
luminaire definitions contain only the relative path energy is distributed to each surface as if there
of the IES file and the absolute path is added to the were no other surfaces blocking it.
Lightscape document path list. When this option
• Store Direct Illumination—When on, turns on
is off, the absolute path of the IES file appears in
the Lightscape Store Direct Illumination toggle
the luminaire definition.
for all luminaires. This causes illumination to
Luminaire Processing group be stored in the radiosity mesh. If you disable
this option, only indirect lighting will be
Average Map Color for Projectors—Use this option calculated; direct illumination from the lights
to average the texture map colors and include will not appear in the radiosity solution.
them in the filter color of the exported light. This
• Raytrace Direct Illumination—When on, turns
is available only for bitmap textures.
on the Lightscape Raytrace Direct Illumination
Use Current Light Object Settings—Use this option toggle for all luminaires. This causes light to be
to base the luminaire processing settings on the sampled when Lightscape raytraces the model
settings of the Autodesk VIZ light objects. You for rendering. Ray-traced direct illumination
might want to use this option if you plan on can improve shadow quality.
importing your resulting Lightscape solution back
Tip: In general, it is a good idea to give Store
into Autodesk VIZ. The options are determined
Direct Illumination and Raytrace Direct
as follows:
Illumination opposite values: turn off one when
the other is on. If you ray-trace lights that are
208 Chapter 16: Managing Scenes and Projects
also stored, then Lightscape must perform the names. See Using Relative Paths with Block and
additional step of removing energy from the Material Files (page 3–185) for more information.
mesh before it begins ray-tracing.
Interface
and Scale Factor settings. This can help you set up • (LS files.) Specifying a prefix (page 3–213) for
the exported file if you need to change either of imported Lightscape objects.
these settings. Model Size does not include lights • (LS files.) Choosing which Lightscape objects
and cameras, which might be outside the extents to import (page 3–213).
of the renderable geometry.
• (LS files.) Choosing the conditions for
Entire Scene and Selected Objects—These radio importing Lightscape lights (page 3–212).
buttons select whether all objects in the scene are
• (LS files.) Choosing the radiosity mapping
exported, or only selected objects.
settings (page 3–213).
Length Tolerance—The tolerance between points Note: The Lightscape importer does not convert
that will be welded together when forming Lightscape layers into Autodesk VIZ scene layers,
quadrilaterals. Points closer than this distance are because it was written before that feature was
welded. The distance is given in the units selected implemented.
in the Master Units drop-down list. This value
becomes the Length Tolerance in Lightscape. Procedures
Texture Path from Files—Specifies whether the To import a Lightscape (LS, VW, or LP) file:
texture path list the exporter outputs will contain
1. Choose File > Import.
directories generated from the textures in a scene.
The texture path list the exporter writes will always The Select File To Import dialog is displayed.
contain the directories specified on the External 2. Choose Lightscape (*.LS, *.VW, *.LP) from the
Files panel (page 3–532) of the Configure Paths Files Of Type drop-down list.
dialog. When you turn this option on, additional
3. Use the dialog’s controls to browse to the
directories containing textures are added to the
directory that contains the file you want to use.
path list. See Using Relative Paths with Block and
Highlight the name of that file, and then click
Material Files (page 3–185) for more information. Open.
Depending on the type of file you chose, an
Import Lightscape Preparation dialog (page
3–220) or an Import Lightscape Solution dialog
Importing Lightscape Files (page 3–221) is displayed.
No dialog is displayed when you import a
Just as you can export a Lightscape Preparation
Lightscape view (VW) file.
(LP) file, you can also import one into
Autodesk VIZ. You can also import Lightscape To replace the current scene:
Solution (LS) and Lightscape View (VW) files.
When you import a Lightscape Solution or
The steps to import a Lightscape file include: Preparation file, you can choose to add the
• Accessing the import dialog (page 3–210). imported objects to the current scene, or to replace
entire scene.
• Choosing to replace the current scene (page
3–210). • In the Import Lightscape Preparation dialog,
turn on Replace Current Scene.
• Choosing how to group the imported objects
(page 3–211). • In the Import Lightscape Solution dialog, turn
on Replace Scene Contents.
Importing Lightscape View Files 211
See also
Import Lightscape Solution Dialog (page 3–221)
212 Chapter 16: Managing Scenes and Projects
Luminaires and Photometric Lights • If a light is turned on in Autodesk VIZ and the
direct illumination was stored in Lightscape,
When you import luminaires as Photometric the effect of the light on the Lightscape objects
lights, they have the following settings: in Autodesk VIZ is doubled. Similarly, if the
• Intensity is equal to the luminaire Intensity in light is off in Autodesk VIZ and the direct
Lightscape. illumination was not stored in Lightscape, the
• Color and Filter Color are the same as the surface does not have any direct light and is
luminaire Color and Color Filter in Lightscape. too dark.
• The light’s distribution (isotropic, spot, or web) There are several issues to consider when deciding
is the same as the luminaire’s distribution in whether or not to have Lightscape store the direct
Lightscape. illumination or have Autodesk VIZ calculate the
direct illumination:
• Point lights are converted to Free Point lights.
• Does a Autodesk VIZ object that is not part of
• Area and Linear lights are imported as Area
the Lightscape model, need to be illuminated
and Linear lights.
by light?
• Triangular Area lights are converted to
If the answer is yes, then Autodesk VIZ needs
rectangular Area lights.
to do the lighting calculations for those lights.
• Shadows are on if Cast Shadows was on in
• Are you using a material effect that needs to be
the Luminaire Processing parameters in
illuminated by a light?
Lightscape.
The Lightscape radiosity mapping is applied
• Shadows are set to Raytrace Shadows, if
only to the ambient or diffuse map or color in
Raytrace direct illumination was on in
a material.
Importing Lightscape Solution Files 213
3. In Autodesk VIZ, import the LS file. Respond to the dialog that asks if you want to
The Import Lightscape Solution dialog is keep the original material.
displayed. 5. On the Multi/Sub-Object Basic Parameters
4. In the Import group, turn off all Import options rollout, click Set Number and change the
except for Radiosity and Lights. number of sub-materials to the number you
want to use with the imported meshes.
5. Click OK.
You can set the color and mapping of each
The importer replaces the scene’s radiosity sub-material as you would for top-level
solution with the one obtained from the LS file. materials.
To import sunlight into an existing Autodesk VIZ 6. Apply the new multi-sub-object material to the
scene: Lightscape Mesh objects (page 3–214) in the
This procedure assumes you have already scene.
established an existing Autodesk VIZ scene based 7. Select a Lightscape mesh object.
on the geometry of an LS file.
1. Process your Lightscape solution file with 8. On the Modify panel, go to the Face
the desired daylight settings until you have sub-object level.
achieved the desired result. Save the LS file. 9. Set the material ID of each Face sub-object to
2. In Autodesk VIZ, import the LS file. correspond to the ID of the sub-material you
want to apply to that face.
The Import Lightscape Solution dialog is
displayed. Note: When the mesh stores textures (the Mesh
To Texture procedure was used in Lightscape),
3. In the Import group, turn off all options except
faces that have textures are displayed and
for Radiosity, Sunlight, and Materials.
rendered with no further lighting calculations.
(Materials is an optional choice. If you didn’t If you want to assign a material to a face, then
change materials in Lightscape, you can leave at the Face sub-object level, make sure you turn
it off as well.) off Raw Mesh To Texture.
4. Click OK. 10. Repeat steps 7 through 9 for each Lightscape
The importer creates a directional light that mesh object in the scene.
models the sunlight created in Lightscape.
To make a Autodesk VIZ material for use with Lightscape Mesh Objects
imported meshes:
When you import a Lightscape Solution (LS)
1. In Autodesk VIZ, open the Material Editor. file, the Lightscape geometry, which can contain
2. Click an unused sample slot to make it active.
radiosity data, is imported as an object type named
Lightscape Mesh. At the object level, Lightscape
3. Click the material type button (by default, it meshes have no parameters. Lightscape meshes
is labeled “Standard”). have a single sub-object level, Faces. At the Faces
The Material/Map Browser is displayed. sub-object level, you can change the material
4. In the Browser, double-click Multi/Sub-Object.
ID value of faces for controlling sub-material
assignment.
Using Illumination Maps 215
You should not have more than 65,536 faces to prevent them from being clustered. Each
in any of the objects that you want to use with face that requires a different illumination
mesh-to-texture or illumination maps. Each face map, UV offset, or UV scale also needs a
might create a unique texture, and each texture different material for the face. is handled using
requires a unique material ID. Autodesk VIZ a multi/sub-object material. You might find
imposes a limit of 65,536 on the material ID value. thousands of materials assigned to a single
object.
If your game engine can apply only a single UV
coordinate map on a face, you need to be careful • The illumination map and diffuse map might
about the mappings on the faces. use different UV offsets and scales.
• Don’t face-map coplanar connected faces. • If you want multiple illumination maps packed
When the coordinate system is built for the into a single texture, you will need to write the
illumination map, Autodesk VIZ tries to use tool to do this. You should take care about
the coordinate system on the faces. If the face using the Fill Color for this purpose. The fill
UVs overlap, then Autodesk VIZ cannot use color might be drawn along the edges of a
them. A coordinate system will be created for face. Increasing the antialiasing will reduce the
the illumination map, but you will not be able regions where the fill color is drawn, but might
to use the same map for the diffuse and the not completely eliminate it.
illumination maps.
Procedures
• Watch out for degenerate maps. These maps
appear as streaks in Autodesk VIZ viewports, To build illumination maps:
or when rendered. Watch out for the top and 1. In Lightscape, export your model to a LP file.
bottom of a cylinder and cone. If you want
2. In Lightscape, create a radiosity solution.
to clean up the UV map, apply a UVW map
modifier and then collapse the stack. 3. In Lightscape, convert faces that are not
textured to textures by using Mesh To Texture.
Autodesk VIZ will warn you when it cannot
Turn on Pad Texture Edge in the Mesh To
match up the illumination and diffuse maps.
Texture wizard to ensure that textures mesh
Autodesk VIZ also places the correct coordinates
well at face boundaries. Replace the maps on
for the illumination map in the second UVW
the surfaces, and reset the mesh.
mapping channel, so your game exporter can use
it. Tip: You might want to use a single-pixel texture
when you want to use an illumination map with
Game-Engine Export faces that are not textured. This will help you
correctly adjust the brightness and contrast for
Illumination maps can be useful with game
the model.
engines. Once the illumination maps are imported
into Autodesk VIZ, your game engine exporter 4. Turn on textures.
will be able to export them to your game engine. A 5. Increase the contrast and reduce the brightness
few things to be aware of: until you are satisfied with the dynamic range of
• Maps are generated for coplanar clusters the illumination on the textured faces. At first
of faces. You can have the game exporter the model will look dark, but in the next step
extract the pixels for a face from maps, or you will use the texture scale to compensate.
you can put coplanar faces on different layers
Using Illumination Maps 217
6. Adjust the texture scale to compensate for the 2. Import the LS file you created in step 10 of
reduced contrast and brightness. Adjusting the the previous procedure, To build illumination
texture scale can compensate. Try to get the maps (page 3–216).
model to look as good as it can. The Import Lightscape Solution dialog is
This step assumes that your game engine will displayed.
multiply the illumination map by the diffuse 3. Turn off all options in the Import group.
texture. This method loses contrast. If your
game engine applies illumination differently, to In the Illumination Maps group, turn on
get a good-looking result you might need to use Import Illumination Maps, and choose the
different values in steps 5 and 6. material component you want to use for the
illumination maps.
Illumination maps have an inherent problem.
Tip: If you use material maps with the
They cannot brighten a texture value beyond
the HSV Value of the texture itself. This limits Self-Illumination component, Autodesk VIZ
the dynamic range produced by the textured will be able to render the illumination map
surfaces. You can see this in the Lightscape along with your other material settings.
OpenGL renderer. You can improve the look by Also in the Illumination Maps group, use the
increasing the contrast, reducing the brightness, default settings for unconvertable maps: leave
and increasing the texture scale of textures. Don’t Assign turned off, and Use Second UVW
7. Save the LS file.
turned on.
Solution Solution
Use the luminaire processing functions in Don’t use double-sided surfaces in Lightscape.
Lightscape to: Instead, hide mesh faces that are facing away from
• Store direct and indirect illumination (the the view. In Lightscape, you can make all surfaces
default setting) if you don’t plan to do opacity single sided before you initiate your model:
or specular mapping or use volumetric lights 1. Select all surfaces in the model.
in Autodesk VIZ. 2. Right-click and choose Orientation from the
• Process only the indirect illumination in the menu.
cases where you want to use material mapping 3. Click the One-Sided button.
such as opacity or specular mapping, or to cast
shadows from animated objects. Refer to the Lightscape User’s Guide for more
information.
Warning: Don’t apply an edit mesh modifier to a
Lightscape mesh that has radiosity. Any geometric The Imported Camera View Doesn’t
changes destroy the mesh’s radiosity mapping. Match Lightscape
Lightscape Meshes Appear Black in This can happen when you import a view that has
Shaded Viewports been scrolled in Lightscape. Scrolling positions
the focus point of the view away from the center of
Shaded viewports might not have Default Lighting the window. Autodesk VIZ cameras are not able
turned on. to display a view in this manner.
Solution Solution
Turn on default lighting, as follows: Avoid scrolling views in Lightscape. In Lightscape,
1. Right-click the viewport’s label, and choose you can remove any scroll by:
Configure. 1. Choose View > Setup.
Lightscape Materials Utility 219
2. Click OK. If the view was scrolled, the focus Selected Object group
point now moves to the center of the window.
Displays the name of the currently selected object.
Refer to the Lightscape User’s Guide for more If no objects are selected, displays None Selected.
information. If more than one object is selected, displays
Multiple Selected.
With the Lightscape Materials utility, you can add An object’s previous material, if any, becomes the
the Lightscape material (page 2–1191) to multiple Lightscape material’s base material. If a material
objects, and remove the Lightscape radiosity is already using a Lightscape material, it remains
material from multiple objects. unchanged.
You set the new Lightscape material’s values in the
Interface Radiosity Mapping group, described below.
Add to Selected—Clicking to add a Lightscape
material to all materials used by the current
selection.
An object’s previous material, if any, becomes the
Lightscape material’s base material. If a material
is already using a Lightscape material, it remains
unchanged.
You set the new Lightscape material’s values in the
Radiosity Mapping group, described below.
Remove from All—Click to remove the Lightscape
material from all materials used by all objects in
the scene.
Each material’s base material becomes the
top-level material. If a material is not using a
Lightscape material, it remains unchanged.
Remove from Selected—Click to remove the
Lightscape material from all materials used by the
current selection.
Each material’s base material becomes the
top-level material. If a material is not using a
Lightscape material, it remains unchanged.
220 Chapter 16: Managing Scenes and Projects
These parameters are used only when you add the Interface
Lightscape materials. They set the initial values of
the new Lightscape material.
Lightscape Import Dialogs Derive from Material within Layer—All surfaces that
have the same material and are on the same layer
are imported in a single group.
Import Lightscape Preparation
Dialog
Skip Layers that are Off—When on, skips layers that
File menu > Import > Lightscape (*.LS, *.VW, *.LP) >
Choose an LP file. > Import Lightscape Preparation dialog are off in Lightscape. When off, imports objects
on Lightscape layers that are off. The objects are
This dialog is displayed when importing the imported as hidden objects. Default=off.
Lightscape Preparation (LP) file format. Replace current scene—When on, the imported
model replaces the current Autodesk VIZ scene.
When off, the imported Lightscape objects are
added to the current scene. Default=off.
Import Lightscape Solution Dialog 221
Options in the Lights group of this dialog, • By Material Within Layer—All surfaces that have
described below, specify how the importer imports the same material and are on the same layer are
lights. imported in a single group.
Sunlight—Imports a directional light that
Radiosity Mapping group
duplicates the color and direction of the sun.
Default=on. Controls the brightness and contrast of the image
displayed on your monitor and in renderings.
Background—Imports the current background
These controls also let you specify the type
color in Lightscape. Default=on. of radiosity mapping required for your scene
The default background color in both Lightscape (daylight, exterior, or daylight and exterior).
and Autodesk VIZ is black. Brightness—Controls the brightness of the
Layers that are off—When on, imports objects displayed image on your monitor. The setting of
on Lightscape layers that are off. The objects are this control does not affect the actual lighting levels
imported as hidden objects. Default=off. in the model. Typically, values range between
30 and 60. Default=the Brightness value in the
Note: Layers that are on are always imported.
Lightscape model (you set this on the Lightscape
Keep original Materials—When on, finds and Document Properties dialog: File > Properties >
keeps the original Autodesk VIZ materials that Display tab).
were exported to create the Lightscape materials
Contrast—Controls the contrast between light
in the solution. When off, the importer creates a
and dark regions in the model. Typically, values
new Autodesk VIZ material for each Lightscape
range between 30 and 50. Default=the Contrast
material. See Keeping Your Original Autodesk VIZ
value in the Lightscape model (you set this on the
Materials (page 3–184). Default=on.
Lightscape Document Properties dialog: File >
Entity Grouping group Properties > Display tab).
Use these options to combine the imported Daylight—When on, uses natural daylight when
Lightscape geometry in various ways. calculating radiosity. Default=the Daylight
(Sunlight + Sky Light) setting in the Lightscape
• None—Imports each surface (flat area in
model (you set this on the Lightscape Process
Lightscape that you can select) as a distinct
Parameters dialog: Process > Parameters).
object.
Exterior—When on, uses exterior daylight when
• All—Imports the Lightscape model as a single,
calculating radiosity. Default=the opposite of the
combined object.
Daylight Through Windows And Openings Only
• By Layer—Imports each surface as an object, setting in the Lightscape model (you set this on
and objects on the same layer are placed in the the Lightscape Process Parameters dialog: Process
same Autodesk VIZ group. > Parameters).
• By Material—Imports all Lightscape geometry
Create Exposure Control—When on, creates a
assigned the same material as a single object.
logarithmic exposure control (page 3–77) for the
The name of the object is the same as the
scene. Default=off.
material name, along with the unique number
appended to the name. When Make Lightscape Lights is turned on (in
the Lights group), this control is disabled and
Import Lightscape Solution Dialog 223
turned on, because photometric lights require the • Use second UVW—When on, selects the
exposure control. mapping coordinates used for maps that cannot
be correctly rendered using explicit UVW1
Illumination Maps group mapping coordinates. The correct coordinates
You can import Lightscape illumination maps as are placed in explicit UVW2 mapping
Autodesk VIZ material maps. coordinates, and the map uses the UVW2
coordinates. When off, the mapping depends
Import Illumination Maps—When on, imports on the state of Don’t Assign. Default=on.
illumination maps from the LS file. Default=off.
When you import the illumination maps, you must Lights group
import into an existing scene that was imported In the box on the left, you can choose whether the
from Lightscape previously. You cannot import imported Lightscape lights are turned on or off in
materials or geometry at the same time, and you the Autodesk VIZ scene.
must import radiosity data. You can import lights, • All on—All lights come into the scene turned on.
sunlight, and so on, but you don’t have to import
these. • All off—All lights come into the scene turned
off.
Channels—Chooses the material component that
• Use light parameters—Uses the Lightscape
will be used for the illumination maps.
settings to determine whether a light is on or
In order to help this function work with normal off (see the list that follows). As a general rule
mesh-to-texture maps, the importer will not of thumb, you should leave this option chosen:
import a texture map that is already assigned to let the importer decide when to turn on lights.
a different material component. This keeps the This option is the one that is chosen by default.
importer from importing mesh-to-texture maps If Store Direct Illumination is on in Lightscape,
already assigned to the diffuse component into a then lights are off when imported. If Store
different component. The importer determines Direct Illumination is off in Lightscape, then
whether a map is assigned to a different component lights are on when imported.
by comparing the path names of the maps.
Note: If Store Direct Illumination is on in
This is unavailable when Import Illumination Lightscape, and the importer turns a light on
Maps is off. in Autodesk VIZ, then the effect of the light on
Unconvertable maps—Selects the error action for the imported Lightscape objects is doubled. In
maps that cannot be correctly rendered using a similar way, if the direct illumination was not
explicit UVW1 mapping coordinates. stored in Lightscape, and the importer turns the
light off in Autodesk VIZ, the imported surface
These toggles are unavailable when Import will not have any direct light and will appear too
Illumination Maps is off. dark.
• Don’t assign—When on, maps that can’t be
Make Lightscape Lights—When on, converts
rendered are not assigned to the material
imported lights into photometric lights with
applied to the faces in question. When off,
settings as described in the list that follows. When
the maps are assigned to the material and Use
off, converts imported lights into standard lights,
Second UVW is used to determine which
mapping coordinates are used. Default=off.
224 Chapter 16: Managing Scenes and Projects
with settings determined by the other controls in option will create lights with the same intensity
this part of the Lights group. Default=on. as the original Autodesk VIZ scene.
See Luminaires and Photometric Lights (page Use Attenuation—When on, the standard lights use
3–212) for details of how luminaires are converted. range attenuation. When off, the standard lights
are not attenuated. Default=on.
The remaining options in the Lights group are for
converting imported lights into standard lights. Note: The range attenuation limits are always
They are unavailable unless you turn off Make calculated, regardless of this option’s setting.
Lightscape Lights. Preserve Spotlight Angles—When on, the hotspot
• Automatic Intensity Calculation—The intensity angle is set to the Lightscape beam angle. When
of each standard light is based on the intensity off, the hotspot angle is set so the standard
of each Lightscape light. This option is chosen spotlight distribution is closer to the Lightscape
by default. light’s distribution. Default=on.
• Maximum Light Intensity Scale—The intensity Leave this option on if you are using Autodesk VIZ
of each standard light is based on the intensity for modeling only, and Lightscape for rendering.
of the Lightscape light divided by the specified Turn this option off if you want Lightscape and
value. When this option is chosen, you can Autodesk VIZ rendering to be similar visually.
enter the constant value in the field to the right
of the radio button. The value is in candles.
Default constant=12000. Error Dialog (Lightscape Import)
This option is useful when you import a The Lightscape importer will display an error
solution generated from a Autodesk VIZ scene dialog when errors are found while merging
with standard lights. If you used the Maximum radiosity or illumination maps into an existing
Light Intensity Scale option when you exported scene.
the scene, this option will create lights with the
same intensity as the original Autodesk VIZ The errors that can be displayed in the dialog are:
scene. • Radiosity data for [object ] could not be
• Light Intensity at Distance—The intensity of merged.
each standard light is calculated by matching The radiosity data for the specified object
the brightness of the standard light and the couldn’t be merged. This can happen if the
brightness of the Lightscape light at a given object has been deleted, or if the faces of the
distance from the light. When this option object have changed. The importer will not try
is chosen, you can enter the distance in the to import illumination maps if the radiosity
field to the right of the radio button. The data cannot be merged.
value is in feet unless you specify meters (m).
• [Face-material ]: [object-material ] (
Default=0.208m.
[sub-material ] ): Could not be cloned.
This option is useful when you import a
The material named face-material couldn’t
solution generated from a Autodesk VIZ scene.
be cloned to add the illumination map. This
If you used the Light Intensity At Distance
error is not expected, and usually indicates
option when you exported the scene, this
that the system doesn’t have enough memory
to make a copy of the material. Face-material
Exporting to Shockwave 3D 225
• Some types of mapping distort or disappear • Information about what resources each scene
on export. Whenever possible, use element uses (for example, the model resource
Multi/Sub-Object materials rather than maps. used by a model in the scenegraph).
• Controls for any modifiers associated with the
geometry resources.
Shockwave 3D Scene Export
• Information about any cameras, lights, and
Options Dialog
groups in the scene. Shockwave 3D treats
File menu > Export > Select File To Export dialog > Save cameras, lights, and groups as less important
As Type > Shockwave 3D Scene Export (*.W3D) resources, and stores information about them
only in the scenegraph.
This dialog appears when you choose the
Shockwave 3D format as the export format for The scenegraph hierarchy is the glue that binds
your scene. most of the scene assets in the Shockwave 3D file.
If this option is turned off, only shader, texture,
Interface model, and motion resources will be written to
the W3D file, and all the other information that
specifies how objects exist in the scene, how the
scene is laid out, how the scene is lit, and how the
scene is viewed will be missing. For this reason,
turn this option off only when exporting libraries
of animations or texture maps.
Note: The exporter will remember this setting
from one export to the next. Be sure to turn on
this option again before trying to export an entire
scene. If you do not, the result will be unusable
(except as an object and texture library).
Geometry resources—Exports all meshes to the
Shockwave 3D file. If this option is turned off,
the preview window will be completely black. All
other designated resources will be written to the
W3D file.
Animations—Writes out the animation on
Resources to Export group
all objects supported by the exporter to the
Scenegraph hierarchy—Controls whether or not Shockwave 3D file. The preview window is useful
the parent-child hierarchy between all geometry, in quickly showing which animations the exporter
light, group, and camera resources is written to is capturing.
the Shockwave 3D file. This option should always
By default, the Shockwave 3D Exporter captures
be selected when exporting an entire scene from
the animation of all objects in the scene in every
Autodesk VIZ. The Shockwave 3D scenegraph
frame. This data is compressed into a streaming
contains:
format as the file is written. There may be times,
• Information on parent-child relationships. however, when you only want to capture part of an
Shockwave 3D Scene Export Options Dialog 227
animation, or sample it more coarsely than once a We strongly recommend that you leave this option
frame. If this option is cleared, the full scene will on when exporting any geometry, shader, or
be displayed in the preview window without any texture map resources. Turn this option off only
animations. when exporting just the animation in a scene;
Note: Autodesk VIZ supports direct animation of otherwise, the W3D file will not work correctly
cameras and lights. If you animate a camera or with Director.
light, that animation will be exported, but an extra Texture map resources—Exports all texture maps
geometry node will be inserted into the scene associated with all objects supported by the
during the export process. This geometry node exporter to the Shockwave 3D file. Texture
has the animation of the camera or light applied to maps in Shockwave 3D are bitmap images or
it, and the camera or light is made a child of this 2D procedural maps, such as Tile and Gradient
extra node. Ramp. All bitmap images used in Autodesk VIZ
The exporter does this because the Shockwave are transformed by Shockwave 3D into streaming
3D runtime engine supports keyframes only on JPEG images.
geometric nodes. The extra node that the exporter Note: The terms "Texture," "Map," and "Texture
creates is named "Dummy Animation Node xyz", Map" are used interchangeably. If this option is
where xyz is the name of the animated camera turned off, models will be untextured when first
or light. This dummy geometry node also has loaded into Director, because they will have no
a dummy material applied to it named Dummy texture information (despite their being visible
Material, and the geometry is invisible. and fully shaded in the preview window). Once
textures are assigned to the proper shaders with
Lingo™ programmers should note that the camera
Lingo, the models will look properly textured.
or lights transform is now relative to the dummy
geometry node, that is, its parent. Shaders—Exports all shaders in the Shockwave
3D file. Shaders are the highest-level entities
Important: Animation export compression collapses
that describe surface properties. They bear no
hierarchies (simple linked hierarchies in Autodesk VIZ),
relationship to the shaders used in Autodesk VIZ.
so only animation assigned to the root exports properly.
Shockwave 3D does not distinguish among Blinn,
For example, in a simple head animation where the eyes
Phong, Anisotropic, or any other shader algorithm
and eyelids are linked to the skull, the skull movements
that determines the rendered look of materials
export but the eye and eyelid animations do not.
and maps. Only Gouraud shading, which is
Because Autodesk VIZ groups do not collapse on export,
most closely emulated by the standard shaders
you should link each element of your chain, and then
in Autodesk VIZ, is supported. Shockwave 3D
group each element with its parent starting from the
shaders are primarily pointers to texture map
bottom of the chain and working to the top. Arrange
resources and material resources.
each group’s pivot point, and then animate only the
group objects, and not their contained elements. Note: The Shaders option should be used in
conjunction with the Texture Map Resources
Material resources—Exports all basic materials
and Material Resources options. If this option
associated with all objects supported by the is turned off, models will be invisible when first
exporter to the Shockwave 3D file. Materials loaded into Director, because they will have no
represent the most basic properties that can be shading information (despite their being visible
assigned to a surface, such as diffuse color, opacity, and fully shaded in the preview window). Once
and specular color.
228 Chapter 16: Managing Scenes and Projects
shaders are assigned to the models with Lingo Compression Settings group
(Director’s scripting language), the models will
The Shockwave 3D file contains all scene assets
become visible and look properly shaded.
in a proprietary compressed and streaming
Enable Toon and SDS—When turned off, this format. You can control the order in which data
option prevents the writing of geometry data used streams with the user properties. The amount
by some of the more advanced Shockwave 3D of compression of the scene assets is set by three
technologies, and thus reduces the overall file size. controls: Geometry Quality, Texture Quality, and
Animation Quality. The controls have values
If turned off, Toon and Subdivision Surfaces (SDS)
that range from 0.1 to 100.0, with higher values
data is not included in the export file, which means
giving less compression and better quality (a more
that the Toon and Subdivision Surfaces modifiers
faithful representation of the original model).
cannot be applied to the model in Director. A
model missing this geometry data can be used with A value of 100 means that the scene assets will
all other Shockwave 3D technologies, however. be represented at the best quality possible, but
Leave this option turned on unless it is expedient with some degree of compression still present. It
to reduce the size of the W3D file. does not represent the value at which compression
does not occur. Also, the compression controls
Note: There is no way to tell if a W3D file was
do not have a linear scale, so a setting of 20.0
exported with this option enabled or disabled
doesn’t necessarily mean that the quality level of
until you try to apply the Toon or SDS modifiers
the resulting data is twice as good as that produced
in Director. For this reason, if you turn off this
with a setting of 10.0.
option, use a special naming convention to
indicate that a model doesn’t have the Toon or SDS Geometry quality—Controls how much the scene
data in it. geometry data (such as vertex positions and
normals and texture coordinates) is compressed.
Light resources—Exports all lights in the scene to
The default of 25.0 generally produces a good
the Shockwave 3D file.
compromise between data accuracy and space
Turning this option off doesn’t do anything unless savings.
the scenegraph hierarchy option is also turned off.
Texture quality—Controls the compression of
The only time you should turn this option off is
textures (images) in the scene.
when exporting just the animation, geometry, or
texture data in a scene. Animation quality—Controls the compression of
animation data in the scene. Higher compression
Camera—Determines the viewpoint used for the
levels (lower quality) tend to remove the finer
scene in Director. This option defaults to Active
motions authored in the scene, especially
Viewport, but if any cameras exist in the scene,
motion-capture data, while occasionally
you can choose one from the drop-down list.
introducing small noise artifacts.
Note: In order to preview or export an animated
Note: You might need to use larger values of the
camera, you must select that camera from the
list. Selecting Active Viewport with an animated
Animation Sampling Interval control (below)
along with greater values of this setting to
camera will not export that camera’s animation.
minimize the file space consumed by animation
while still maintaining acceptable motions.
Shockwave 3D Scene Export Options Dialog 229
Texture Size Limits group capture the entire animation interval specified
in Autodesk VIZ, sampling all animations in the
The Texture Size Limits setting lets you reduce
scene every frame.
the size of the W3D file by limiting the size of the
texture maps in the export.
Export Controls
The reduced size of the texture maps will usually
Author Check—Opens a window displaying
look fine on the model, because the model’s
warning messages about possible problems found
UVW texture coordinates will have already taken
converting the scene to the W3D file format. If no
into account the non-square dimensions of the
errors are found, the window is blank.
image. Use the smaller settings if, after tuning the
compression settings and simplifying the scene in These messages, which do not necessarily
Autodesk VIZ, the W3D file is still too large. If the indicate problems with the scene, can be useful in
scene contains no textures, or only small textures, debugging problems such as why the scene looks
limiting the texture size will not help to reduce the different in the preview window than it does in
size of the W3D file. Autodesk VIZ. If the scene uses any Autodesk VIZ
features that are not supported by the exporter,
No limits on texture size—Exports all texture maps
they will be listed here.
in the scene at the full resolution of the image as
used in Autodesk VIZ. For example, a 2048 X Analyze—Opens the Shockwave 3D File Analysis
4096-pixel image will be written to the W3D file at window (page 3–230), displaying a graphic
these dimensions (compressed, of course). breakdown of the data in the W3D file.
512 by 512 pixels maximum—Exports the texture Preview—Opens the Shockwave 3D Export
maps so that no image exceeds 512 X 512 pixels. A Preview window (page 3–230), showing the scene
2048 X 4096-pixel image will be scaled to a 512 X as it will be exported.
512-pixel image; a 128 X 1024-pixel image will be
File—Opens the Choose Export File dialog, which
scaled to a 128 X 512-pixel image.
lets you specify the name and location of the file to
256 by 256 pixels maximum—Exports the texture be exported. When you click Save, you’re returned
maps so that no image exceeds 256 X 256 pixels. to the Export Options dialog; the file name and
A 2048 X 4096-pixel image will be scaled to 256 X path you specified appear in the field next to the
256 pixels; a 128 X 1024-pixel image will be scaled File button.
to 128 X 256 pixels. Note: Clicking the Save button does not save the
W3D file; you must click the Export button to
Animation Options group create the file.
The Animation Options group contains the
Export—Exports the Shockwave 3D file, using the
controls to change how an animation is captured.
path and name specified next to the File button.
Sampling interval—This setting is used to capture
View after export—After you export a file, this
object animation once every specified number of
option lets you view it in the Preview window
frames.
(page 3–230).
Range—These Start and End controls indicate
which frames of the scene animations are to
be captured. By default, these values are set to
230 Chapter 16: Managing Scenes and Projects
Dolly
• Left-click+CTRL=dolly
• Left-click+CTRL+SHIFT=dolly faster
model. Other STL machines use metal powder to Weld Threshold—Determines the size of the area
create a model in steel. Still other machines use which vertices must occupy to be welded. Vertices
a special wax. with distances equal to or less than this value are
welded into a single vertex.
You can import and export STL files. See
Exporting to STL (page 3–233). Weld—Turns on the Weld Vertices function. In
most cases, you should leave this box turned on
Interface because unwelded objects can’t be unified or
smoothed.
Use Threshold—If on, STL import uses the
standard 3D Studio welding method. This can be
a very slow process.
Quick Weld—If on, STL import uses a welding
algorithm optimized for the STL format. This is
up to thirty times faster than standard 3D Studio
welding, and is highly recommended.
Auto-Smooth group
Auto-Smooth—Applies smoothing groups (page
3–732) to the geometry based on the smoothing
angle set by the smooth angle spinner. Edges
between faces that have an angle between them
that is greater than the specified smoothing angle
will appear faceted in the rendered image. Edges
between faces that are below the specified angle
are smoothed
Smooth Angle—Determines the size of the
smoothing angle.
Auto-Smooth—Turns on the Auto-Smooth
function.
Exporting to STL
File menu > Export > StereoLitho (*.STL)
Autodesk VIZ also imports basic transform Create Primitives—Converts the VRML
animations, such as position, rotation, and scale. Box/Cube, Cone, Cylinder, and Sphere nodes
Also included are animated color and light. These to corresponding Autodesk VIZ primitives, if
correspond to the basic animation that is exported possible. If the VRML object has a texture on it, or
by the VRML 1.0/VRBL and VRML97 exporters. if only part of the VRML object is to be created,
Helper objects are not created upon import. a general triangular mesh object will be created
Lighting effects are somewhat simplified from the instead. If you turn off this option, Autodesk VIZ
full VRML lighting model. will convert these objects to triangular mesh
• VRML97 files don’t indicate the duration of objects.
an animation. If you import animation from
a VRML97 file, you might want to set the
animation length in Autodesk VIZ manually. Exporting to VRML97
• More elaborate forms of animation File menu > Export > Select File To Export dialog > Save
As Type > VRML97 (*.WRL)
and simulation, including Script nodes,
MovieTexture nodes, and sensor nodes, are not
Autodesk VIZ scenes can be exported to VRML97
supported.
file format.
• The VRML 1.0 WWW Inline works only if the
URL refers to a local file residing in the same See also
folder as the .WRL file. Internet URLs are not
supported. VRML97 Export (page 3–237)
Interface Procedure
To export a file to VRML97:
1. Choose File menu > Export.
2. Choose VRML97 (.WRL) as the file format.
3. Enter a file name, and click Save.
4. In the VRML97 Exporter dialog, set options as
described below.
Normals—Generates real normals for objects. test0.wrl through test4.wrl are snapshots of the
Some browsers need normals to do smoothing animation in frames 0 through 4.
properly. Check this box if you are exporting Color Per Vertex—Exports the vertex colors of
geometry that uses smoothing groups in geometry. If this is turned on, the Color Per Vertex
Autodesk VIZ, to see the correct shading. Source lets you choose the source of the vertex
Default=off. color.
Coordinate Interpolators—Exports animation
effects that involve actual modifications of the Polygons Type
mesh objects, and not just move, rotate, and scale. Determines how geometric faces are written out as
Examples include modifiers whose parameters can VRML97 IndexedFaceSet nodes.
236 Chapter 16: Managing Scenes and Projects
file that has a texture map assigned to it, it will Exporting to VRML97 (page 3–234)
look for the subdirectory "Maps." “Maps” must
VRML97 Tips (page 3–237)
be a directory that is directly under the directory
where the VRML97 file resides. Using the Polygon Counter Utility (page 3–239)
Use forward slashes (not backslashes) to enter VRML97 Specification (page 3–239)
longer paths. For example, Autodesk VIZ
2006/maps. Procedures
To create VRML97 files:
Sample Rate
1. Create the objects that make up the scene.
Displays a dialog that lets you specify sample rates
2. In the Create , choose Helpers .
for controller-based and coordinate-interpolated
animation, as well as the Flip-Book output rates. 3. Use the tools in the VRML97 Helpers (page
Setting sample rates lets you trade off between 3–240) to add actions and triggers and prepare
animation fidelity and file size. The default values the scene.
give good results in most cases. For the greatest 4. Choose File > Export and export the scene in
animation precision, use a lower number (a higher the VRML97 format.
sampling rate).
5. Open the VRML97 file in the browser and test
it.
World Info
Lets you enter information about the world. This Interface
has no effect on the visual appearance or behavior
The VRML97 exporter supports the following:
of the world. Some browsers can display what
you enter in the Title field, for example, in the Lights—All VRML97 light types: direct, omni, and
browser window’s title bar. You can use the Info spot.
field to provide author, version, and copyright
Cameras—Free and targeted cameras.
information.
Primitives—Sphere, cone, box, and cylinder
primitive objects. These objects export as
VRML97 primitive objects. This helps reduce the
size of VRML97 files.
VRML97 Export Animation—All position, rotation, and scale
Vrmlexp.dle is for creating and exporting scenes in animation on objects, as well as animated
the VRML97 format. VRMLEXP exports .wrl files, hierarchies, and all controller types.
which can be viewed in any VRML97 browser.
Make sure that you have the most current
VRML97 Tips
version of your VRML browser and check its
documentation to insure that it supports VRML97. The following tips will help you make your work
look as good as possible and display and move as
This documentation covers:
fast as possible.
VRML97 Helper Objects (page 3–240)
238 Chapter 16: Managing Scenes and Projects
Procedure
VRML97 Helper Objects To set up an Anchor to jump to another VRML world:
The VRML97 Helpers appear when you click 1. Add an Anchor helper object by pressing the
Helpers in the Create panel and choose one of the Anchor button and then click-dragging in the
VRML97 Helpers from the Object Type rollout. Top viewport to create its icon.
Insert a VRML 97 Helper into the scene by clicking 2. Pick a Trigger Object in the scene that will be
and dragging at the desired location. the object the viewer clicks while browsing.
Note: Some helper objects (for example, Billboard 3. Choose Hyperlink Jump and designate a URL
and Level Of Detail) are position-sensitive, so be to jump to.
careful how and where you insert them. Usually,
4. When the user clicks the Trigger Object
you have the most control by creating the helper
geometry, the browser will replace the current
object in the Top viewport.
scene with the designated URL.
Anchor VRML97 Helper (page 3–240)
Interface
ProxSensor VRML97 Helper (page 3–241)
NavInfo VRML97 Helper (page 3–242)
Fog VRML97 Helper (page 3–243)
Sound VRML97 Helper (page 3–243)
LOD VRML97 Helper (page 3–245)
TouchSensor VRML97 Helper (page 3–246)
TimeSensor VRML97 Helper (page 3–247)
Background VRML97 Helper (page 3–248)
AudioClip VRML97 Helper (page 3–249)
Billboard VRML97 Helper (page 3–250)
Inline VRML97 Helper (page 3–251)
Create panel > Helpers > VRML97 > Object Type rollout Type—Specifies the type of movement (Walk,
> NavInfo Examine, Fly, and None) for navigating the world.
Implementation of these movement types may
The NavInfo helper lets you create a VRML97 vary from browser to browser.
NavigationInfo node. This tells the browser how
Headlight—Places a directional light at the
to navigate around the VRML97 world.
viewpoint. The light always points in the direction
Procedures the user is looking.
Tip: Don’t use this option if you have lights in the
To create a NavInfo helper:
scene.
1. Add a NavInfo helper by pressing the NavInfo
button and then click-dragging in the Top Visibility Limit—Sets the far clipping plane. Any
viewport to create its icon. geometry beyond this point is invisible. The
smaller this value is, the closer the clipping plane
2. Use the controls to adjust the behavior of the
is to the camera. The larger this value is, the more
helper.
of your scene is visible to the camera. A value of 0
turns off the effect, making everything in the scene
visible. Use this option to show just part of large
scenes.
Speed—Determines the speed of navigation in
units per second. Use this option to allow the user
to travel faster, if you’re building a large world (like
a cityscape), and slower, if you’re building a small
world (like a room).
Fog VRML97 Helper 243
Procedures
The Sound rollout contains the following options:
To create a Sound helper object:
Intensity—Sets the loudness of the sound. 1.0 is
1. Add a Sound helper by pressing the Sound
full volume.
button, then click-drag in the Top viewport to
create its icon. Priority—Sets the relative importance of the sound,
Icon Size—Determines the size of the helper in the To create all the objects and the LOD helper object at
scene. exactly the same coordinates:
1. Create the LOD helper object.
2. You can use Snap and create the helper object
LOD VRML97 Helper
at the origin (0,0,0 coordinates), or use the
Create panel > Helpers > VRML97 > Object Type rollout Keyboard Entry rollout for a Standard Primitive
> LOD to specify an exact object origin.
3. Create the object with the most detail at the
The Level of Detail (LOD) helper lets you
specify objects with varying face counts that same coordinates. Name it (for example,
are appropriate for different viewing distances. hicapsule).
Browsers display the less detailed objects when the 4. Choose Edit/Clone.
viewer is far away from them and substitute the In the Clone Options dialog, choose Copy
more detailed objects at closer ranges. and name the new object (for example,
Use LOD objects to speed up rendering of scenes medcapsule).
in which highly detailed objects are often far away 5. Repeat step 3 to create the other objects (for
from the viewer. example, locapsule).
Objects used for LOD do not have to be of the For the medium and low resolution objects,
same type or size, so you can accomplish a crude apply an Optimize modifier to reduce the face
form of morphing by using different objects as count.
the LOD components. For example, a tree might For primitives, you can reduce the face count
seem to grow if taller trees with more limbs are by changing the creation parameters in the
substituted as the viewer gets closer. modifier stack.
Procedures Interface
To create a Level of Detail helper object:
1. Create the objects to which you want to add
level of detail.
2. Click the LOD button.
3. Click and drag in the scene to create a helper
object.
4. Add the objects to the list with Pick Objects.
5. Use the Hide and Unhide commands, or the H
key, to help pick the objects and add them to
the LOD list.
6. Select the objects in the list and use the Distance
spinner to set the distance.
246 Chapter 16: Managing Scenes and Projects
The Level of Detail rollout contains the following When the user clicks the trigger geometry, the
options: geometry, camera or light animates, or the
sound plays.
Pick Objects—Selects objects of different face
counts to substitute for the LOD helper object.
Interface
Create all the objects and the LOD helper object at
exactly the same coordinates.
Distance—Sets the distance from the camera
at which the user sees the selected object. The
distance specified for the object appears next to
the object name. For example:
hicapsule - 100 medcapsule - 300 locapsule 500
Hicapsule is displayed when the distance between
it and the camera is within 100 units. The lower
resolution object (medcapsule) is displayed when
the camera is between 100 and 300 units. The
lowest resolution object (locapsule) is displayed
when the camera is beyond 300 units. The greatest
distance (500 in this case) is not actually used, but
must be supplied.
Delete—Deletes the selected object from the list.
Interface
TimeSensor VRML97 Helper
Create panel > Helpers > VRML97 > Object Type rollout >
TimeSensor
Procedure
To assign an object to a TimeSensor helper:
1. Add a Time Sensor object by pressing the Time
Sensor button and then click-dragging in the
Top viewport to create its icon.
2. Press Pick Objects and select the (animated)
geometry to control.
3. Use the controls to adjust the start and end The Time Sensor rollout contains the following
times of the animation, and to loop the options:
animation.
Loop—Repeats the animation from the start-time
frame to the stop-time frame.
Start on World Load—Starts the animation so that
it will be running when the file is loaded into the
browser.
Note: This option is only available when Loop is
turned on. Otherwise, the animation will start and
stop at the specified times.
Start Time/Stop Time—Specifies the range of
frames to play.
Note: If the start time is after the end time, the
animation will play from the earliest frame to the
last frame. It will not play the animation backward.
Pick Objects—Lets you select the objects to control
with this TimeSensor.
248 Chapter 16: Managing Scenes and Projects
Procedure
To create a Background helper object:
1. Add a Background helper object by pressing
the Background button, then click-drag in the
Top viewport.
2. Use the controls to adjust the colors and layout
of the background.
Lets you provide a colored background to the
world’s sky using a gradient of up to three colors.
The sky is an infinite sphere that encloses the
objects of the scene.
Number of Colors—Specifies whether the sky is one
solid color or a gradient of two or three colors.
Color One/Two/Three—Lets you select the colors
from the Color Selector. Color One is the base
color.
Angle—Specifies the angle at which Color Two and
Color Three merge with the base color, in degrees
from the North pole of the sky (straight up from
the viewer).
Icon Size—Adjusts the size of the helper object in
the viewports.
AudioClip VRML97 Helper 249
Procedures
To create an AudioClip helper:
1. Press the AudioClip button, and click-drag in
the Top viewport to create the helper.
250 Chapter 16: Managing Scenes and Projects
Icon Size—Determines the size of the Billboard The VRML Inline rollout contains the following
helper in the scene. options:
Insert URL—Specifies the URL of the .wrl files to
insert in place of the helper object. The URL must
Inline VRML97 Helper be another VRML97 file.
Create panel > Helpers > VRML97 > Object Type rollout >
Inline Bookmarks—Displays a dialog that lets you select
a location from a list of bookmarks. Click Import
The Inline helper lets you reference another List to import the list of bookmarks defined in
VRML97 file that is included in your world when your browser. Most browsers store bookmarks in a
you load it into your VRML97 browser. These file called bookmark.htm.
inline objects are like instance objects, but they Bounding Box—Specifies whether an explicit
function at the browser level. bounding box size will be exported. If you select
“Use Icon Size,” the diameter of the icon will
Procedure be written into the VRML97 file for the width,
To create an Inline helper object: length, and height of the bounding box; the actual
1. Click the Inline button.
contents of the inline file should fit within that
bounding box. If you select “Calculate in Browser,”
2. Click and drag in one of the viewports. no bounding box size is exported and the VRML
You can modify the helper object with the tools browser will determine the size of the inline
in the VRML Inline rollout. geometry.
Icon Size—Sets the size of the helper object. You
Interface
can transform this object like any other object in
If you create the objects in the scene to be inserted the software. The scene that replaces the helper
off-center (away from the origin), they will appear object will be moved, rotated, or scaled in the same
in the browser off-center as well. Align the original manner. The size shown is the radius of the icon.
scene and the scene to be inserted correctly, in
relation to the origin.
Note: Bitmaps are reloaded automatically after RPF Files (page 3–274)
they have been changed and resaved by a graphic
RGB (SGI Image) Files (page 3–276)
editing program. See the Reload Textures On
Change toggle in File Preferences (page 3–548). TGA (Targa) Files (page 3–276)
When you render a scene, you can render a still TIFF Files (page 3–277)
image or an animation. You can render to most
YUV Files (page 3–278)
of the formats listed below. Some of the formats
support various options. If there are output Note: To save loading time, if a map with the
options, these appear in a dialog that is described same name is in two different locations (in two
along with the image file’s format. different paths), it is loaded only once. This poses
a problem only if your scene includes two maps
These are the image file formats supported by that have different content but the same name.
Autodesk VIZ: In this case, only the first map encountered will
AVI Files (page 3–252) appear in the scene.
BMP Files
BMP files are still-image bitmap files in the
Windows bitmap (.bmp) format.
Interface
When BMP is chosen as the output format,
clicking Render or Setup on the Render Output
File dialog (page 2–1322) displays the BMP
Compression dialog.
DDS Files
The DirectDraw® Surface (DDS) file format is
used to store textures and cubic environment
maps, both with and without mipmap levels. This
format can store uncompressed and compressed
pixel formats, and is the preferred file format for
storing DXTn compressed data. Microsoft® is the
developer of this file format.
DDS is supported only as an input file format. You
can use DDS files as texture maps.
Printing Density Adjustment—Represents the
transfer function from printing density (10-bit
log) to 16-bit linear with the white point mapped
to a maximum code value of 65535.
EPS and PS (Encapsulated
PostScript) Files
Conversion of logarithmic printing density to a
linear representation requires both a scaling and Autodesk VIZ can render images to Encapsulated
an anti-log operation. With 16-bits linear, it is PostScript format files, which have the .eps or .ps
possible to maintain the full printing density extension.
range. The 90% white card at code value 685 is PostScript is an Adobe page-description language
mapped to maximum code value of 65535. for encoding graphics images. It is supported
The White Pt and Black Pt spinners let you adjust by many printing devices and is widely used
the 90% white code and the 2% black code. in desktop publishing and graphic design as a
means of porting images from one platform to
another. You can not view PostScript files with
CWS (Combustion Workspace) Autodesk VIZ or use them as bitmaps in materials
or environments.
Files
The file format for the Combustion™ software Interface
from Autodesk. CWS is a resolution-independent,
When PostScript is the chosen output format,
vector/raster file format.
clicking Render or Setup on the Render Output
You can use CWS files in conjunction with the File dialog (page 2–1322) displays the EPS File
Combustion map (page 2–1213). You can’t use Output Options dialog.
a CWS file as a general-purpose bitmap. You
can also generate a CWS file by using the Render
Elements option (page 2–1426) when you render
a scene.
Important: Only Combustion 2.1 and later formats are
supported. Maps in the Combustion 1 format are not
supported in Autodesk VIZ 2006.
FLC Files 255
Interface
When a flic file is the chosen output format,
clicking Render or Setup in the Render Output
File dialog (page 2–1322) displays the FLC Image
Control dialog.
Page Size—Set width and height measurements. Number of Palette Colors—Set the number of colors
up to 256. If you specify a number less than 256,
Resolution—Set width and height resolution in
the remaining slots in the palette are filled with
dots per inch (dpi). black.
Def Exposure—When on, the image will load as is • Compositing: using 16–bit images in a
without applying any changes to the colors. When compositing pipeline can quickly become
off, you can use the parameters in the Exposure a problem as colors are manipulated. For
group to remap colors. Available only with the example, banding may appear.
Real Pixels option. • HDR images are not bound to a specific
16 bit/chan Linear (48 bpp)—Compresses the range (e.g., 0-255 or 0-65535); they have a
luminance selections into 16–bit color space, at 48 dynamic range. As such, high-contrast and
bits per pixel. This is the recommended setting. To physically accurate values can be stored in
decompress the luminance for use in the scene, set 32-bit floating-point pixels.
the RGB Level on the image’s Output rollout (page • Because of their large range of values, HDR
2–1195) to the same value as the linear white value images can easily be modified, and effects can
on this dialog. be reapplied long after rendering, without
8 bit/chan Linear (24 bpp)—Compresses the affecting the quality of the image. For example,
luminance selections into 8–bit color space, at 24 changing the contrast/brightness/exposure of a
bits per pixel. This compression method uses less 16-bit image could cause banding, which would
memory than other methods, but it is generally require re-rendering the image. However, the
not adequate to display the range of luminance in same operation on an HDR image should not
a HDR image, and can result in banding or other affect its quality.
artifacts. Clicking Save or Setup in the Render Output
Display scaled colors by—When on, this value File dialog (page 2–1322) displays the HDR Save
scales the preview image’s luminance value by the Settings dialog.
specified amount.
L—Locks the preview luminance scale to the white
linear value. When off, you can change the value
manually. Default=on.
Mark White clamp—Masks the white-clamped
values in the preview window with the color
indicated by the color swatch. Click the color
swatch to change this color.
Mark Black clamp—When Black Point is on, this
option masks the black-clamped values in the The dialog lets you choose the source of the values
preview window with the color indicated by the used for output:
color swatch. Click the color swatch to change this
• Higher dynamic range and color precision than
color.
existing 8- and 10-bit image file formats.
HDRI Save Settings dialog • Support for 16-bit floating-point pixels. The
pixel format, called "half," is compatible with
Autodesk VIZ can render and save images with
the half data type in NVIDIA’s Cg graphics
32-bit floating-point channels. Among the useful
language and is supported natively on their
applications for this type of imagery are:
IFL Files 259
See also
IFL File Format Image File List Control Dialog (page 3–261)
IFL Manager Utility (page 3–261)
4. On Select Background Image dialog, use the Tip: The aspect ratio of the rendered movie
Look In field to navigate to the directory should match the aspect ratio of the frames in
containing the files you want to use for the the IFL file.
sequence.
Notes
If necessary, change the file type to match the
file name extension of the sequence, or choose • If the IFL generator has a name conflict with an
All Formats. existing IFL file, it will increment the new file’s
name to avoid overwriting the existing file.
Note: The Select Background Image File dialog
uses the last location where a bitmap was • If the IFL generator has any problems with
chosen, rather than the default bitmap path write access while trying to create the IFL file,
defined in Customize menu > Configure User the process will fail and the IFL file won’t be
Paths. created. Therefore, automatic IFL generation
won’t work when reading bitmaps from a
5. Construct an IFL file as described in the
CD-ROM. You need to copy them to a directory
previous procedure.
on your hard disk first. Likewise, automatic IFL
6. On the Select Background Image dialog, click generation won’t work on network drives to
OK. which you don’t have write access.
Image File List Control Dialog 261
This dialog duplicates the functionality found in The IFL Manager utility generates an image file
the IFL Manager utility (page 3–261). list (IFL) file (page 3–259) from an image file you
choose from a numbered file sequence.
Interface
Note: You can also generate an IFL file in a file
selector dialog by selecting a numbered bitmap,
turning on Sequence, and then clicking Setup to
display an Image File List Control dialog (page
3–261).
See also
Image File List Control Dialog (page 3–261)
Procedure
Target Path—Sets the directory where the IFL file
is saved. To use the IFL Manager utility:
1. Open the IFL Manager.
Browse—Use this to navigate to the correct
directory. 2. Click the Select button to display a file selector.
Options—Sets additional options for creating the 3. Select any of the sequentially numbered image
IFL file. files that you want included in the list, and click
Open.
Start Frame—Determines which file in the
The prefix name of the file appears in the
sequence will be the first frame. Use this when you
Working File Prefix group box, and the spinners
have a sequence but you don’t want to start with
in the IFL Manager panel become enabled.
the first image in the sequence.
4. Set the Start spinner to specify the first
End Frame—Determines which file will be the last
numbered file in the sequence. For example, set
frame listed in the IFL list.
this to 5 to begin with file tree0005.jpg.
262 Chapter 16: Managing Scenes and Projects
5. Set the End spinner to specify the last numbered Spinners group
file in the sequence. The Start and End spinners
Start—Displays the number of the first image file
default to the first and last number in the
in the selected sequence. Increase to specify a
existing numbered files.
different starting image for the IFL file.
Note: You can invert the Start and End values
End—Displays the number of the last image file in
(setting the greater value in Start and the lesser
the selected sequence. Decrease to specify a lower
in End) to create a reversed list in the .ifl file.
ending image for the IFL file.
6. Click Create to display a file dialog where you
can name and then save your IFL file. Every nth—Set to a number greater than 1 to skip a
specified number of images in the list.
7. Click the Edit button to display a file dialog
where you can choose an IFL file, which then Multiplier—Adds a multiplier after each file in the
appears in the Windows Notepad. IFL list. If you set to 3, each image is used three
times before the next image in the list is used.
Interface
Button set
Select—Displays a file dialog that lets you select a
file in a sequential list. The number appended to
the file doesn’t matter, as long as the prefix and file
name extension are the same. After selecting the
file, the spinners in the IFL Manager are enabled.
Create—Displays a file dialog where you can name
and save your IFL file.
Edit—Displays a file dialog where you can select an
IFL file. The selected file is then displayed in the
Windows Notepad editor.
Close—Closes the utility.
IMSQ Files
Working File Prefix group The Autodesk ME Image Sequence (IMSQ) format
is an XML file used by the Autodesk products
After you use the Select button to select a
Cleaner and Toxik. You generate IMSQ files in the
sequentially numbered file, the prefix name of
Render Output group of the Render Scene Dialog’s
the file appears here. For example, if the files are
Common Parameters rollout (page 2–1334) by
tree0000.jpg, tree0001.jpg, tree0002.jpg, and so
turning on Put Image File List(s) In Output Path(s)
on, the title in this group box would be tree.
and then clicking Create Now. The IMSQ file
stores information about the rendering, including:
• The name of the rendering file
• The format of the rendering file
JPEG Files 263
Note: The plug-in does not allow for the direct first movies to employ OpenEXR were
import of audio from a QuickTime file. Harry Potter and the Sorcerer’s Stone,
Men in Black II, Gangs of New York, and
Interface Signs. Since then, OpenEXR has become
ILM’s main image file format.
When you create a new QuickTime file or choose
Setup for an existing one, you see a dialog that OpenEXR’s features include:
is typically titled Compression Settings. This • Higher dynamic range and color
dialog is provided by the QuickTime codec (page precision than existing 8- and 10-bit
3–664) installed with your system, and can change image file formats.
depending on the version of QuickTime you’ve • Support for 16-bit floating-point,
installed. 32-bit floating-point, and 32-bit
integer pixels. The 16-bit
floating-point format, called "half,"
MPEG Files is compatible with the half data type
The MPEG format is a standard for movie files. in NVIDIA’s Cg graphics language
MPEG stands for Moving Picture Experts Group. and is supported natively on their
new GeForce FX and Quadro FX 3D
MPEG files can have a .mpg or .mpeg file name
graphics solutions.
extension.
• Multiple lossless image compression
MPEG is supported only as an input file format. algorithms. Some of the included
You can use MPEG files as texture maps. codecs can achieve 2:1 lossless
compression ratios on images with
film grain.
• Extensibility. New compression
codecs and image types can easily
OpenEXR Files be added by extending the C++
Autodesk VIZ can both read (page 3–268) and classes included in the OpenEXR
write (page 3–265) image files in the OpenEXR software distribution. New image
format. OpenEXR is both an image file format and attributes (strings, vectors, integers,
a general open-source API for reading and writing etc.) can be added to OpenEXR image
headers without affecting backward
such files.
compatibility with existing OpenEXR
The best place to look for information on applications.
OpenEXR itself is the official Website. The
The OpenEXR Bitmap I/O software goes beyond
following is taken directly from the OpenEXR
the “standard” OpenEXR format, taking advantage
home page:
of the flexibility of the format itself. It can write
OpenEXR is a high dynamic-range channels and attributes as well as general RGBA
(HDR) image file format developed data in formats that many OpenEXR file importers
by Industrial Light & Magic for use in cannot understand, due to implementation limits
computer imaging applications. as well as limits to the current set of standards.
OpenEXR is used by ILM on all motion The full-latitude 32-bit floating point RGBA files
pictures currently in production. The that the output function can write is one example.
Saving OpenEXR Files 265
Configuration File Usage Rendered Frame Window > Click Save Bitmap. > Enter file
name and set type to OpenEXR Image File > Click Save. >
Most bitmap I/O plug-ins, including those OpenEXR Configuration dialog
• Zip (per scanline)—Zip-style compression R/G/B/Alpha—Let you specify the channels to save:
applied to individual scanlines. red, green, blue, and alpha.
• Zip (16 scanline blocks)—Zip-style compression Use RealPixel RGB Data—When on, compresses the
applied to blocks of 16 scanlines at time. essential data of floating-point color into 32 bits.
This tends to be the most effective style of For technical information, see Structure RealPixel.
compression to use with rendered images that
Note: Image motion blur is not applied to the
do not have film grain applied.
RealPixel RGBA data by the renderer. If you are
• PIZ ( wavelet compression )—Uses a combined using Image motion blur, you will not be able to
wavelet/Huffman compression. This form of save RealPixel unclamped color data.
compression is best for grainy images.
Exponent—Enables and sets the power function
Standard Channels group exponent to use. This is effectively a gamma curve,
but the exponent is presented in an inverse manner
The standard channels in an image are: red, green, from typical gamma. The default value is what
blue, and alpha (transparency). This group lets exrdisplay expects for input.
you choose the general type of OpenEXR file to
save, as well as which of the four channels to save Pre-Multiply Alpha—When on, the software uses
with the file. The most widely supported format premultiplied alpha (page 3–717) when saving the
is Half Float - 64 bpp format. This stores each file. Pre-multiplying saves computation time if you
channel of the image in a separate slice in the file later use this image in compositing.
using half-type 16-bit floating-point data. The Plugin About—Opens a dialog that shows
OpenEXR distribution has features that allow easy information about the OpenEXR plug-in.
implementation of reading and writing this type of
file, and it is considered a standard OpenEXR file. Extra Channels and Attributes—Opens a sub-dialog
(page 3–266) that lets you specify additional
Format—Choose one of the following from the information to save with the OpenEXR image file.
drop-down list:
OK—Accepts any changes and closes the dialog.
• Integer - 32 bpp—This non-standard OpenEXR
format contains only a single 32–bit integer Cancel—Discards any changes and closes the
channel. It uses a packedIntRGBA image type dialog.
in order to support old-style bit depths, such as
32–bit Targa files. Only this plug-in can read Extra Channels and Attributes
this format. To specify an extra attribute or channel to be
• Half Float - 64 bpp—This 16-bit-per-channel included in the saved OpenEXR file, click the
“half-float” format is standard OpenEXR. Any corresponding + button and then choose the
software that supports OpenEXR can use this attribute or channel from the list. To delete an
format. attribute or channel, highlight it in the list and
then click the corresponding X button.
• Float - 128 bpp—The 32-bit-per-channel
“full-float” format is encoded using standard
OpenEXR channel tags. Most OpenEXR
implementations will have no problems reading
this format.
Saving OpenEXR Files 267
• Attributes and channels are stored in the file Computer Name—The name of the computer the
in alphabetical order according to the ASCII image was saved from. In the case of standard
file tag. render output during a net render, this is the
machine that rendered the frame.
• While this plug-in can write most of the
Autodesk VIZ G-Buffer (page 3–681) channels, System Time—The UTC (GMT) system time and
there is no software that can utilize them yet. date when the file was written.
• Attributes and channels are identified by Local Time—The local time and date (corrected for
plain-text (ASCII) strings. There can be the time zone) when the file was written.
only one instance of a string tag in any file.
268 Chapter 16: Managing Scenes and Projects
percentage of the image covered by pixels of that • You can set the display itself to linear or
brightness. Histogram features are: logarithmic mode. Logarithmic display remaps
• The histogram supports several display modes, all values greater than 1.0 to a logarithmic
which you can choose by right-clicking the curve. The dotted spacing indicators are
histogram display window. The menu lets supplemented by heavier dotted lines that
you choose between linear and logarithmic indicate when the scale has changed by a factor
display, automatic or manual x-axis scaling, of 10. This is useful for most HDR images, as
y-axis scale options, and which channel is the HDR data is usually spread out over a wide
graphed: luminance, red, green, or blue. The range.
menu entries X-Axis Scale and Y-Axis Scale • Setting X-Axis Scale to Auto mode causes the
are simply labels, and are thus unavailable for histogram to encompass the entire spectrum
choosing. of the image. If you switch back and forth,
• The vertical scale slider on the left side of the previous manually set values are preserved and
histogram lets you adjust the automatically restored.
computed vertical scale.
File Loading Parameters group
• To modify the luminance “window,” set X-Axis
Scale to Manual and adjust the minimum and Storage Buffer Format—Specifies the format
maximum values in the numeric fields below in which the image data is stored within
either end of the graph. Autodesk VIZ. The base types are variations
on 8-bits-per-channel and 16-bits-per-channel
• The background coloration indicates several integer formats. There are two forms of each: one
pieces of information: with alpha (RGBA) and one without alpha (RGB).
• The area between the black and white points If you are loading an image with an alpha channel
is shaded gray. but don’t require the alpha data, choose the RGB
• The area below 1.0 (low dynamic range) version to save some memory. If you choose a
is a lighter shade of gray than the area storage type that supports alpha, but load an image
with luminance greater than 1.0, the high without alpha, no memory is allocated for the
dynamic range region. alpha channel; the loader detects the situation and
reverts to the alpha channel-free storage option
• The background of the region outside the
with equivalent RGB bit depth.
currently selected blackpoint/whitepoint
region is tinted pink. The options supports the HDR bitmap
storage options. This allows storage of the
• The vertical dotted lines indicate integer
high-dynamic-range data within Autodesk VIZ
spacing (for example, 1...2...3...4). To see
in three different HDR formats: 24- and 32-bit
these, the maximum luminance value must
LogLUV formats and 32-bit RealPixel format.
be greater than 1.0.
• You can drag whitepoint/blackpoint markers EXR files loaded using these storage modes
in the histogram to place them visually. The are suitable for use as environment maps for
hot-spot is two pixels to either side of the reflections and skylight.
marker line. White point selection is tested Color Transform—Because EXR images often
first, so if the two lines are right next to each contain values brighter than “white,” it is often
other, the white point will be selected. desirable to change the luminance range in the
270 Chapter 16: Managing Scenes and Projects
source image over which black to white occurs; the file. See Extra Channels and Attributes (page
that is, to remap the color data. When Color 3–266).
Transform is on, you can adjust these luminance
and general brightness controls:
Exponent—The exponent to apply when loading
the file
Black Point—Where black should be in the
luminance range of the image
White Point—The white point
You can also open and save high-dynamic-range Grayscale 16 bit (65,536)—Choose to render a
images in the PIC format using the Radiance grayscale image with 65,536 shades.
Image File format in input and output file browsers
Alpha Channel—Turn on to save the alpha channel
in Autodesk VIZ. For further information, see
with the file.
HDRI Files (page 3–256).
Interlaced—Turn on to make the file interlaced for
See also faster display in Web browsers.
Radiosity Workflows (page 2–1357)
PSD Files
PNG Files PSD is the file-name extension for graphics files
native to Adobe Photoshop. This image format
PNG (Portable Network Graphics) is a still-image
supports multiple layers of images superimposed
file format developed for use with the Internet and
to get the final image. Each layer can have any
World Wide Web.
number of channels (R, G, B, Mask, and so on). It
is a powerful file format because multiple layers
Interface
can contribute to a variety of special effects.
Clicking Render or Setup in the Render Output
File dialog (page 2–1322) displays the PNG Adobe provides many different modes of
Configuration dialog. superimposing layers, including normal, darken,
lighten, difference, multiply, screen, dissolve, hard
light, hue, saturation, color, luminosity, overlay,
and soft light.
You can use PSD files as bitmaps, viewport
backgrounds, and so on. You can’t render to a PSD
file.
Autodesk VIZ supports Photoshop 6.0 format,
and allows you to use image layers as bitmaps, as
well as the entire composited graphic.
Interface
When you open a PSD file as a bitmap, a dialog
appears that lets you choose how to use the image.
Optimized palette (256)—Choose to render a
smaller, 8-bit color file.
RGB 24 bit (16.7 Million)—Choose to render a true
color (24-bit) file.
RGB 48 bit (281 Trillion)—Choose to render a 48-bit
color file.
Grayscale 8 bit (256)—Choose to render a grayscale
image with 256 shades.
272 Chapter 16: Managing Scenes and Projects
Collapsed Layers displays the entire image. Individual Layer displays list of layers to choose from.
Collapsed Layers—(The default.) Uses the entire Full Frame—When on, uses the entire layer as the
composited image. bitmap. When off, uses only that portion of the
layer occupied by image data. Default=on.
Individual Layer—Uses a single layer of the image.
When you choose this, the dialog shows a list of
Limitations
the layers, with a thumbnail of each, and the layer
names. Click a layer to choose it, then click OK. Bits Per Channel—Photoshop supports images
with 1, 8, and 16 bits per channel (1-, 24-, and
48-bit RGB images, respectively). Autodesk VIZ
supports PSD images with 8 or 16 bits per channel.
(In practice, there are very few images with 1 bit
per channel.) While Photoshop can load images
with 16 bits per channel, layers are always 8 bits
per channel.
Modes—Autodesk VIZ supports .psd files saved
in the following modes:
• RGB
• Grayscale
Autodesk VIZ doesn’t support the following
Photoshop modes:
• Indexed Color
• Bitmap
RLA Files 273
RPF Files (page 3–274) Material ID—Displays the Effects channel used
by materials assigned to objects in the scene.
Interface The Effects channel is a material property set in
the Material Editor. Each Effects Channel ID is
When RLA is the chosen output format, clicking
displayed using a different random color.
Render or Setup on the Render Output File dialog
(page 2–1322) displays the RLA Image File Format Object ID—Displays the G-Buffer (page 3–681)
dialog. Object Channel ID assigned to objects using the
Object Properties dialog. Each G-Buffer ID is
displayed using a different random color.
UV Coordinates—Displays the range of UV
mapping coordinates as a color gradient. This
channel shows where mapping seams might occur.
Note: UV Coordinates will not be displayed on
objects that have the UVW Map Modifier applied
unless a map has been applied that uses the
coordinates.
274 Chapter 16: Managing Scenes and Projects
Normal—Displays the orientation of normal Tip: When you create a scene you plan to
vectors as a grayscale gradient. Light gray surfaces render as an RPF file for use with the Autodesk
have normals pointing toward the view. Dark gray Combustion™ product, turn on Render Occlude
surfaces have normals pointing away from the Objects (on the Object Properties dialog (page
view. 1–107) ) for objects in the scene. This is important
if you want to use the Combustion G-Buffer
Non-Clamped Color—Displays areas in the
Extract feature. When Render Occluded Objects is
image where colors exceeded the valid color
enabled and you extract an object in Combustion,
range and were corrected. The areas appear as
the objects behind it are drawn correctly. If Render
bright saturated colors usually around specular
Occluded Objects is disabled (the default), objects
highlights.
behind the extracted object appear with black
Coverage—This saves the coverage of the surface holes where they were occluded.
fragment from which other G-buffer values
(Z Depth, Normal, and so on) are obtained. Interface
Z-Coverage values range from 0 to 255. To see Z
When RPF is the chosen output format, clicking
Coverage, render to an RLA file after first checking
Render or Setup on the Render Output File dialog
Z Coverage in the Setup subdialog, then choose
(page 2–1322) displays the RPF Image File Format
Z-Coverage in the rendered frame window’s
dialog.
Viewing Channel drop-down list.
The Z-Coverage feature is provided primarily for
developers, and should aid in the antialiasing of
Z-buffers.
RPF (Rich Pixel Format) is the format that Bits per Channel—Choose 8, 16, or 32 Floating
supports the ability to include arbitrary image Point as the number of bits per channel. Default=8.
channels. While setting up a file for output, if you Store Alpha Channel—Choose whether to save the
select RPF Image File from the list, you’ll go to alpha channel. Default=on.
the RPF setup dialog. Once there, you can specify
what channels you want to write out to the file. Premultiply Alpha—When on, premultiplies the
alpha channel. Default=on.
RPF files replace RLA files as the format of
choice for rendering animations requiring further Premultiplying saves computation time if you later
post-production or effects work. Many channels use this image in compositing. See Premultiplied
available in RPF files are exclusive to this format. Alpha (page 3–717) for more information.
RPF Files 275
Channel Bit Depth group When you render to a Targa file, you have the
8 Bit—Saves the RGB file as 8-bit color. following options:
Targa files are widely used to render still images Pre-Multiplied Alpha—When on, pre-multiplies the
and to render sequences of still images to video alpha channel. Pre-multiplying saves computation
tape. time if you later use this image in compositing. See
Premultiplied Alpha (page 3–717).
TIFF Files 277
Store Alpha Channel—When on, stores the alpha the animation through all of its frames. Hold the
channel along with other image data. Alpha data right mouse button and move the mouse left to
adds 8 bits per pixel to the image type you selected. move the animation back to the first frame. Move
the mouse right to advance the animation to its
Compression Type group end.
Lets you render a compressed TIFF file. For best RAM Player performance, Gamma
Default=No Compression. should not be enabled in Customize > Preferences
• No Compression—Does not compress the > Gamma.
rendered image.
Interface
• Packbits—Uses the TIFF Packbits algorithm to
compress the file.
Dots Per Inch—Sets the dots per inch (dpi) for
the saved image. This setting does not change the
resolution of the final image, but can affect the way
it prints in documents.
YUV Files
YUV files are still-image graphics files in the Channel A/B
Abekas Digital Disk format. Open Channel—Displays an Open File dialog
YUV is supported only as an input file format. You that lets you select a file to load into the channel.
can use YUV files as general-purpose bitmaps, but After you have selected a file, the RAM Player
you can’t render to a YUV file. Configuration dialog (page 3–280) appears that
allows you to set height, width, and memory usage
for that channel.
Open Last Rendered Image—Loads the last
rendered image into the channel. Nothing is
RAM Player displayed if there is no last rendered image
available.
Rendering menu > RAM Player
Close Channel—Unloads the image in the channel
The RAM Player loads a frame sequence into and frees up your memory.
RAM and plays it back at selected frame rates.
Save Channel—Displays a Save File dialog that
The RAM Player has a channel A and a channel
lets you save the animation or image from the
B. Two different sequences can be loaded into the
respective channel. You can save the animation as
channels to play back together, giving you the
a .avi file or a numbered sequence of images.
ability to compare them.
Note: The RAM Players converts everything it
Clicking and dragging in the channel display loads into 24-bit RGB which means that some
window allows you to set the A/B divider between information may be lost when it is loaded. This
the two channels. The right mouse button “scrubs” may affect a file saved in the RAM Player.
RAM Player 279
Channel A—When selected, this button will show Frame Rate Control—Sets the desired frame rate in
the file loaded into channel A. Split screen markers frames per second. When playing back a movie,
are displayed if both channels are enabled. The you see the frame rate displayed in the title bar of
split screen markers are represented by two the RAM Player. You can select a predefined frame
triangles. These markers indicate where channel rate or type in your own frame rate value.
A ends and channel B begins. You can move the
Color Selector—CTRL+right-clicking the mouse in
divider using the left mouse button.
the display window displays the color of the pixel
Channel B—When selected, this button will show in the color selector swatch. Stop the animation to
the file loaded into channel B. Split screen markers get a correct pixel reading. The RGB of the pixel is
are displayed if both channels are enabled. The also displayed in the title bar of the RAM player.
split screen markers are represented by two
Double Buffer—Selecting Double Buffer ensures
triangles. These markers indicate where channel
that the two frames in channels A and B are
A ends and channel B begins. You can move the
synchronized. Enabling this function has a
divider using the left mouse button.
substantial impact on the maximum frame rate.
Horizontal/Vertical Split Screen—Toggles between
the view of the two channels side-by-side or one RAM Player Keyboard Shortcuts
on top of the other. The following keyboard shortcuts are available for
the RAM Player.
Frame Controls
RAM Player Function Keyboard Shortcut
First Frame—Automatically returns the RAM
Player to the first frame of the animation. If the Go To Start Frame HOME
RAM Player is at the first frame, First Frame Go To End Frame END
returns the animation to the last frame. Go To Previous Frame LEFT ARROW
Previous Frame—Backs up the RAM Player to the Go To Next Frame RIGHT ARROW
previous frame in the animation. If the RAM Playback Reverse UP ARROW
Player is at the last frame, Previous Frame returns
Playback Forward DOWN ARROW
the animation to the first frame.
Stop Playback ESC or CTRL+C
Playback Reverse—Plays the frames in the
Toggle Playback or Stop SPACEBAR
animation in reverse order. The flyout contains an
option to play the animation once and then stop. Toggle Channel A On/Off A
Frames group
RAM Player Configuration Dialog
Start Frame—Specifies a certain frame in an
Rendering menu > RAM Player > Load a file into either animation where you want the RAM Player
channel. > RAM Player Configuration dialog to begin loading. A value of 1 would start the
animation at its rendered beginning. A value of 5
The RAM Player Configuration dialog contains would start the animation on frame five and any
controls for resolution, frames, memory usage, frame before that would not be loaded.
and alpha channel for playing back animations.
Num Frames—Specifies the total number of frames
Interface to be loaded into the RAM Player.
Alpha group
Load Into Other Channels—When turned on, this
option loads a grayscale alpha channel into the
other channel. This allows you to wipe between
an RGB channel of the animation and the alpha
channel of the animation.
Resolution group
Width—Defines the width at which the file is
loaded.
Height—Defines the height at which the file is
loaded.
External References (XRefs)
to Objects and Scenes
Lock Aspect Ratio—When turned on, Lock Aspect
Ratio forces the file to load at the same aspect
ratio, regardless of the Width and Height values Referencing Objects, Materials,
you enter. and Scenes
If you change the Width of the file, the Height You can use two kinds of externally referenced
adjusts according to the file’s original aspect ratio. files (XRefs): XRef Objects (page 3–281) and
Adjusting the Height does the same to the Width XRef Scenes (page 3–292). Using these external
value. references allows for a team approach to animation,
Filter Input—When turned on, Filter Input filters where the modeling, materials, and animation can
the image or animation so that it best maintains be handled in separate files by different artists. It
the quality of the original file. When turned can also make large files much easier to deal with
off, filtering does not occur, and the image or through the use of proxy objects.
animation could be distorted.
XRef Objects 281
However, if you merge the objects into the target the source file can cause XRefs in the target file to
scene, you can edit them in the stack. However, become unresolved.
changes that you make to the modifier stack in the
XRef objects can be modified or transformed in
target file have no effect in the source file.
your current scene just like any other object. XRef
Note: The XRef behavior of world-space modifiers objects also allow the use of proxy objects to stand
is different than the object-space modifiers. If you in or substitute for geometry. Use XRef objects
add a world-space modifier and use the XRef or to manage the complexity of your scene during
Ignore options, the world-space modifiers will be animation by substituting “lightweight” proxy
separated from the XRef object and appear on the objects for more complex geometry.
top of the modifier list.
You can create a proxy by simplifying a clone
Similarly, manipulators in your source file will be of your existing model or you can build simple
treated depending on the Merge Manipulators substitute objects like boxes or cylinders, or you
setting in the XRef Objects dialog. can save a copy of the model in the early stages of
modeling before you add the detail. You can even
use an object from another scene.
Note: Render effects such as glow or flare are not Record From File. This includes all objects and
carried in XRefs. To use render effects from the materials, and bypasses the XRef Merge dialog.
source file, merge them in using the Merge buttons 4. The XRef record appears in the upper list of the
found in the Environment And Effects dialog. XRef Objects dialog and has the same name as
its source file. The entities appear in the lower
Procedures list, where an entity can be either an object or a
To add an XRef object: material. Make additional choices at this time if
1. Choose File > XRef Objects. you like. You can control how the objects will
update (either automatically or on demand).
2. Click the Create XRef Record From File Updating is done at the file level: all objects and
button in the XRef Objects dialog. The Open materials from a single source file are updated
File dialog appears. Highlight the file you want at the same time.
by highlighting it in the list, then click Open.
To substitute a proxy object for an XRef object:
The XRef Merge Dialog (page 3–292) appears.
With proxy objects, you can avoid loading your
If the Merge Manipulators toggle is off before
detailed model in memory, and speed up the time
you click Create XRef Record From File,
of test renderings.
manipulators applied to XRef objects remain
linked (XRefed) to the source file. In a similar 1. Select an XRef object.
way, the Modifiers drop-down list gives you
three alternatives for how to handle object 2. On the Modify panel > Proxy rollout, click
modifiers. the Browse button, and use the File Open dialog
to choose the file that contains the proxy.
Note: If the Merge Materials toggle is off
before you click Create XRef Record From File, A Merge dialog appears.
materials applied to XRef objects remain linked 3. Pick the object to use as a proxy.
(XRefed) to the source file. If Merge Materials When you have picked the proxy object, the
is on, the materials are merged with the target Enable toggle should turn on.
scene (as they always were in previous versions
4. Turn on Use In Rendering to use the proxy
of Autodesk VIZ).
object in renderings.
3. Select the objects that you’d like to appear in
your current scene as XRef objects. To add further objects to an XRef Record:
You can choose as many as you want by holding 1. In the XRef Objects dialog, highlight an XRef
down the CTRL key and highlighting them in record (in the top list) that contains objects that
the list. If the source scene has a lot of object have not already been added to the scene.
types you don’t need to include, you can filter
the list by using the List Types radio buttons. 2. On the Entities List toolbar (the lower
Use the All button to select all of the entries, the toolbar), click Add Objects.
None button to select no entries and the Invert
This button is not available if all of the objects
button to highlight the opposite of your current
in the source file have already been added to
selection.
the XRef record.
Tip: You can also turn on Include All in the XRef
The XRef Merge dialog appears.
Objects dialog before you click Create XRef
284 Chapter 16: Managing Scenes and Projects
3. Highlight the objects that you want to add as conflict that there was in previous versions of
XRefs, and then click OK. Autodesk VIZ. However, if you choose a different
The selected objects are added. Depending source object for an existing XRef object, this is
on the dialog settings, materials might also be resolved by object name. In this case, if the XRef
added as XRefs. source file contains multiple objects with the same
name, Autodesk VIZ might not properly define
To change an XRef object into a scene object: which one will be used.
XRef Record toolbar Warning: If you update an XRef in a scene with radiosity
(page 2–1350), probably this will invalidate the radiosity
Use these tools to create and update XRef records.
solution. After you update the XRef, reset the radiosity
solution and then recalculate it.
Create XRef Record from File—Launches a file
dialog so you can select the source file for your Merge in Scene—Converts all objects for the
XRef record. When you a select a file, the XRef highlighted record into native objects in your target
Merge dialog (page 3–292) appears. scene. The objects, materials, and manipulators
Any transform animation assigned to the source are no longer referenced from the source file
objects can be merged along with the XRef object but become part of your target scene. A prompt
itself, but it will not be updated with the source appears so you can confirm the action. Since a
object. merged XRef object becomes part of the scene and
is no longer an XRef, its name is removed from the
Remove XRef Record—Deletes the highlighted list below. This works on a XRef record basis, so all
XRef records after you confirm the action. All entities belonging to the highlighted XRef record
entities associated with the highlighted records are converted. The contents of the source file are
are removed. not affected by this button.
Note: Once you have removed an XRef record, you Merging an XRef object loads the full modifier
cannot undo this action. stack of the original object into the target scene
(your current scene), while maintaining any
Combine XRef Records—Click to combine additional stack items that were added while the
the contents of more than one XRef record into object was an XRef. Thus, you can use Merge In
one record. This is useful when you want to clean Scene to update an object that has been modified
up the organization of your XRef records. Rather as an XRef.
than having multiple entries of the same file, you
can group all of the objects and materials from Convert Selected Object(s) as XRef
that file under the same record. This button is Record—Creates a source file for currently selected
available only when you highlight two records objects. This means that you can select objects in
that refer to the same file; both records must have the current scene and then save them to a scene
identical settings. XRef records must refer to the file. This file is then listed as an XRef record that
same file with the same XRef entities. Combine contains only the objects you selected.
XRef Records only allows you to consolidate all of Note: This option works best for new objects, not
the entities of one file into one XRef record entry. objects that have been XRefed already. If you use
It does not allow you to combine the contents of it for an object that is already an XRef, it creates
different files, even if the files have the same name. a nested XRef. Nested XRefs still behave as you
expect, but they can reduce performance when
Update—Refreshes the contents of all you open a scene or render it.
XRefs. If the objects, materials, or manipulators
referenced have changed in the source scene, you Select—Selects all of the objects that belong
will see these changes in your target scene. to the currently highlighted XRef record.
Note: The changes must be saved in the source file
before you see them in the target file.
286 Chapter 16: Managing Scenes and Projects
materials in two XRef records), Autodesk VIZ if you make changes in the target file, these
displays a Duplicate Name dialog (page 2–1082) changes are not reflected back into the source
so you can resolve the conflicts. file.
Merge Manipulators— When on, any manipulator • Ignore—Any modifiers assigned to the XRef
applied to the XRef object in the source file is object (in the source file) are disregarded and
combined into the scene. Manipulators are applied the base object is brought into the scene as an
to the XRef object and can be changed. However, XRef object. When you load the XRefed file
these changes have no effect in the XRef source the modifiers are not applied to the object so
file. Default=off. the modifications in the source file will not be
reflected in the master file.
To use Merge Manipulators, you must turn on this
option before you add the XRef record (source) Although the Merge Materials, Merge
file. Manipulators, and Modifiers settings are disabled
after you add a record, when you highlight the
Modifiers—Determines how modifiers from the
record in the XRef Record list, the toggles and list
source file will be loaded into your target file. field show the settings used when the record was
Modifiers are not listed as XRef entities. To see an created.
XRef modifier on the Modify panel, you must use
the Merge option. Otherwise, you have the choice XRef Entities toolbar
of either not merging the modifier information
at all (with the Ignore option) or merging the Add Objects—Click to add further entities
information with the object with the XRef option. to the highlighted XRef record. This button is
You must choose the Modifiers option before you available only when the highlighted XRef record
add the XRef record (source) file. contains objects that you have not yet XRefed.
The XRef Merge dialog appears, with a list of the
• XRef—Modifiers are contained within the XRef available objects. Highlight the objects to XRef,
object and cannot be changed. When you and then click OK.
load the XRefed file, you will see the changes
of the modifier but they will not be listed Delete XRef Entity—Click to delete the
separately from the object on the Modify panel. highlighted XRef. An alert prompts you to confirm
Additional modifiers can be applied to the XRef the action. All highlighted entities are removed
object, and will be a part of the scene; however, from the scene. You can delete XRef objects or
they will not be reflected back to the source file. materials.
Note: World-space modifers remain at the top
of the modifier stack and are not merged with Merge in scene—Merges the current selection
XRef objects. in the XRef Entities list into the target scene (the
current scene). Use this button to change XRef
• Merge—Modifiers assigned to the XRef object
objects or materials into objects that are native
(in the source file) are merged into the scene.
to the current scene. The connection between
When you load the XRefed file, you will see
the object in the source scene and in your target
the changes caused by the modifier and they
scene is broken, and the object or material that
will appear in the modifier stack in the Modify
you merged is no longer updated when the source
panel. They are applied to the XRef object and
scene changes.
can be changed in the modifier stack. However,
288 Chapter 16: Managing Scenes and Projects
Autodesk VIZ prompts you to confirm the merge. XRef Record list. If no source file is highlighted,
this list is empty.
Since a merged XRef object becomes part of
the scene and is no longer an XRef, its name is Right-clicking the XRef Entities list displays a
removed from the list. pop-up menu (page 3–290) that has further
options for managing the list and the objects and
Merging an XRef object loads the full modifier
materials in it.
stack of the original object, while maintaining any
additional stack items that were added while the This list contains the following information for
object was an XRef. Thus, you can use Merge to each XRef entity:
update an original object that has been altered as
Scene Name—Name of the entity in the target
an XRef. If you do this, use Convert Selected to
(current) scene. By default, the name of the entity
save out the “improved” original into a file, which
in the target scene is the same as the name of the
then can be merged back into the original source.
entity in the source file. If you change the name
of the entity on the command panel (page 3–479)
List Objects—When on, shows the XRef and then click Refresh, the name will update in the
objects for the current XRef record in the XRef XRef Entities list.
Entities list.
Source Name—Name of the entity in the source file.
List Materials—When on, shows the XRef
You cannot change this name from the target file.
materials for the current XRef record in the XRef If the name of the entity changes in the source file,
Entities list. the XRef in the master file will become unresolved.
Note: You can enable any combination of the List Type—Whether the entity is an XRef object or
buttons to show certain types of entities and hide material.
others. This is useful for navigating the list of Status—Usually this field displays “XRef Resolved”
entities. to indicate that the XRef is valid. When an XRef is
unresolved this field displays “Unresolved!” An
Select—Selects the currently highlighted XRef
unresolved XRef indicates that there is no longer a
object. connection between the entity in your master file
and the source file. This can happen for a number
Select by Name—Opens the Select Objects of reasons. For example, the entity in the source
dialog, which lists all objects belonging to the file might have been renamed or deleted.
currently highlighted XRef Record. Use this dialog
Note: If you resolve the cross reference the XRef
to select objects.
will be resolved again when you click Update.
Highlight Selected XRef Records Proxy—Whether a proxy is enabled for the entity.
(Entity)—Highlights entries in the XRef You enable and disable proxies for XRef entities on
Entities list for currently selected XRefs. the Proxy Object rollout. Displays “–––” when the
proxy is disabled and “Enabled” when the proxy
XRef Entities list is enabled.
Displays the XRef objects and materials that belong You can assign a proxy object using the Proxy
to the record that is currently highlighted in the Object rollout (page 3–299).
XRef Files List Right-Click Menu 289
Update—Refreshes the contents of all XRefs. If is no longer an XRef, its name is removed from the
the objects, materials, or manipulators referenced list below. This works on a XRef record basis, so all
have changed in the source scene, you will see entities belonging to the highlighted XRef record
these changes in your target scene. are converted. The contents of the source file are
Note: The changes must be saved in the source file not affected by this button.
before you see them in the target file. Merging an XRef object loads the full modifier
Warning: If you update an XRef in a scene with radiosity stack of the original object into the target scene
(page 2–1350), probably this will invalidate the radiosity (your current scene), while maintaining any
solution. After you update the XRef, reset the radiosity additional stack items that were added while the
solution and then recalculate it. object was an XRef. Thus, you can use Merge In
Scene to update an object that has been modified
as an XRef.
Select—Selects all of the objects that belong to the Convert Selected Object(s) as XRef—Creates a
currently highlighted XRef record. source file for the currently highlighted objects.
This means that you can highlight entities in the
Select by Name—Opens the Select Objects dialog,
current scene, including materials, and then save
which lists all objects and highlights those
them to a scene file. This file is then listed as an
belonging to the currently highlighted XRef
XRef record that contains only the entities you
Record. Use this dialog to select specific XRef
highlighted.
objects.
Merge in Scene—Converts all objects for the If all entities in the source scene are already
highlighted record into native objects in your target XRefed, this choice has no effect.
scene. The objects, materials, and manipulators Delete XRef Entity—Deletes the entities whose
are no longer referenced from the source file names are highlighted.
but become part of your target scene. A prompt
appears so you can confirm the action. Since a A prompt asks if you really want to delete these
merged XRef object becomes part of the scene and XRefs.
Merge XRef File Dialog 291
Select—Selects the objects whose names are restore the XRefed source material if the material
highlighted. was originally merged into the target scene.
Select by Name—Opens the Select Objects dialog,
which lists all objects and highlights those whose
names are highlighted in the entities list.
Merge XRef File Dialog
File menu > XRef Objects > XRef Objects dialog > XRef
Highlight Selected Object’s XRefs—When XRef Files window > Add
objects are selected in the scene, this choice
highlights their entries in the entities list. When you merge an object that’s linked to a parent
Highlight All—Highlights all entities in the list. object in a source scene, and an object of the same
name as the original parent exists in the current
Highlight Inverse—Inverts the current set of entities scene, you can recreate the same hierarchy using
that are highlighted. this dialog.
Highlight None—Turns off highlighting for all
entities in the list. Interface
List Objects—Toggles display of XRef objects in If you merge an object that’s linked to a parent
the list. object in a source scene, and an object of the same
name as the original parent exists in the current
List Materials—Toggles display of XRef materials scene, a dialog appears asking if you want to link
in the list. the incoming object to the existing parent object.
The state of List Objects and List Materials is the
same as the state of the toolbar buttons in the XRef
Objects dialog. Changing the state in the menu
changes the button state, and vice versa.
Merge in Scene—Merges the current selection in
the XRef Entities list into the target scene (the
current scene). Use this button to change XRef
objects or materials into objects that are native
to the current scene. The connection between
the object in the source scene and in your target
scene is broken, and the object or material that
you merged is no longer updated when the source
scene changes. Yes—Reparents the specified object and continues
Autodesk VIZ prompts you to confirm the merge. prompting for all subsequent merging objects that
might need reparenting.
Apply XRef Material(s) to Object(s)—Applies the
original, XRefed material to the highlighted Yes To All—Reparents the specified object and all
objects. This can be useful if you have assigned a subsequent merging objects that need reparenting.
local material to the object (for example, to use in No—Merges the specified object without
renderings of the target scene) and now want to reparenting, but continues to prompt for
restore the object’s original material. It can also subsequent objects.
292 Chapter 16: Managing Scenes and Projects
Overlays
Overlays allow multiple scene references without
the risk of circular dependencies. The overlay is
loaded only into the target scene that references it,
and is not visible in other scenes that might XRef
the target file that uses the overlay. Consider two
scenes that reference each other:
294 Chapter 16: Managing Scenes and Projects
Interface
XRef Scenes Dialog
File menu > XRef Scene > XRef Scenes dialog
Add—Displays a file dialog from which you can becomes part of the scene and is no longer an
choose a .max scene file to be loaded into the XRef, its name is removed from the list.
current scene as an XRef. The selected scene
appears in the list at left, and the geometry appears Update File group
in the viewports. Determines how and when the XRef scenes are
You can also add a scene by dragging a .max file updated. These options are applied to the selected
from the Windows Explorer into the list. XRefs; for example, one XRef can have automatic
updating, while another can have manual updating
Convert Selected—Lets you take any selected
(using the Update Now button).
objects in your scene and create XRefs from them.
Basically, this does a Save Selected for the objects, Warning: If you update an XRef in a scene with radiosity
which are automatically cut from the .max file and (page 2–1350), you will likely invalidate the radiosity
pasted into a new file. A file dialog lets you name solution. After you update the XRef, reset the radiosity
the new file. They remain in the viewport but are solution and then recalculate it.
now XRefs. Automatic—When this check box is turned on, the
Remove—Removes the XRef scene currently selected XRef scene is automatically updated when
chosen in the list, and removes it from the current its source scene is saved.
scene. To use, choose one or more XRef scenes in Update Now—Click this to update a selected XRef
the list, and then click the Remove button. scene when you’re not using Automatic (or when
several XRef scenes are selected and some of them
Select buttons are not set to Automatic). When you click Update
These standard buttons change the pattern of Now, the XRef is updated to match the latest saved
selection in the list. version of the source scene.
example, if you turn on Lights, the lights in the buttons on the toolbar, but it is not quite the same.
XRef source scene are not included in the current, When you Bind an XRef scene to an object, the
target scene. You can switch these categories on XRef scene moves so that the origin of the XRef
and off at any time, but if you Merge an XRef scene scene is placed at the pivot point of the parent
while a category is turned off, that category of object. If you unbind an XRef scene, it again moves
objects will not be merged into the scene. so that its origin is at the origin of the current
scene. (The origin of an XRef scene is typically
Lights—Turn this on to ignore the lights.
the 0,0,0 world origin of the .max file scene from
Cameras—Turn this on to ignore the cameras. which it came.)
Shapes—Turn this on to ignore the shapes. If you Merge a linked XRef scene, converting it
to objects in the current scene, the objects in
Helpers—Turn this on to ignore the helpers.
the XRef scene become linked children of the
Animation—Turn this on to ignore the animation. binding parent. At this point, you could Unlink
All animation in the scene is disabled and the scene them (using the toolbar command), and they’ll
appears as it would at frame 0 of the source scene. maintain their offset position to the parent.
Warning: Children of an ignored object are also ignored. Close—Click to close the dialog.
For example, if you have mesh objects linked as children
to a dummy object and ignore Helpers, then the mesh
objects are ignored as well. XRef Object Rollout
Parent group Select an XRef object. > Modify panel > XRef Object
rollout
These controls let you position and animate XRef
scenes within the current scene by binding the When you’ve selected an XRef object in a scene,
XRef scene to a parent object. the XRef Object rollout appears along with the
Parent Name field—Displays the name of the parent Proxy Object rollout (page 3–299) on the Modify
for the currently selected XRef. panel. The modifier stack for the XRef object
simply displays “XRef Object.”
Bind—Click this, and then pick an object in
the current scene to become the parent of the
highlighted XRefs. The XRef scene is moved so
that its original origin is placed at the pivot point
of the parent object. Once an XRef is bound to
a parent object, the transforms of the parent are
inherited by the XRef. Thus, you can animate the
XRef by animating the transforms of the parent.
Unbind—Click to unbind the highlighted XRefs
from whichever parent they’d been bound to. The
XRef immediately moves so that its original origin
is placed at the world origin of the current scene.
Binding XRefs to objects is similar to linking
objects, as performed with the Link/Unlink
Proxy Object Rollout 299
Use in Rendering—When on, the proxy object is Cancel—Cancels when you are rendering. OK
also displayed in the rendering. When off, the and Cancel behave the same during file opening.
original XRef object is rendered. Whichever you choose, the file still opens and the
missing XRefs appear as red in the XRef Scenes
File Name field—Specify the path and file name of
dialog.
the scene file containing the proxy object.
Browse—Displays the XRefs panel of the Configure
Path button—Click to display a file dialog from User Paths dialog, which you can use to specify
which you can specify the scene file containing the the correct file path. This lets you add, delete,
proxy object. modify, and change the list position of the paths
Object Name field—Specifies the name of the proxy
Autodesk VIZ uses to look for missing files.
object in the specified scene. This panel is identical to the one displayed by
choosing Customize > Configure User Paths >
Path button—Click to display a Merge dialog XRefs (page 3–534).
listing the objects in the specified scene file. From
here, you can select an object to be used as the If this problem occurs during network rendering,
proxy. the dialog doesn’t appear, but the errors are written
to the network log file.
Interface
Open end—Signifies that the entity is free.
See the following topics describing the Schematic
View user interface.
Red Border—Signifies that the entity is
animated. Schematic View Menus (page 3–304)
Schematic View List Views (page 3–306)
End Arrow—Signifies that the entity
shares a relationship with another entity. Schematic View Preferences Dialog (page 3–307)
Schematic View Toolbars (page 3–311)
White Fill—Signifies that the entity is
selected in the Schematic View window. Schematic View Display Floater (page 3–313)
See also
White Border— Signifies that the entity is
selected in the viewport. New Schematic View (page 3–314)
Delete Schematic View (page 3–314)
Up Arrow—Collapses the entity it springs
Delete Schematic View Dialog (page 3–314)
from and all child entities thereof up into the
parent entity Saved Schematic Views (page 3–314)
Schematic View Selection Right-Click Menu (page
Down Arrow—Expands the next child 3–314)
entity down from the entity that the arrow springs
from.
Using Schematic View
Overlap—Schematic View will prevent This topics includes procedures for using
newly visible nodes from overlapping with existing functionality in the Schematic View window (page
nodes. This applies to free mode: make an object, 3–300).
free it, make another object and it will fall on top
but to the right of the original object so both can To create hierarchies with Schematic View:
be accessed and moved.
1. Select the objects you want to work with in the
Instances—Schematic View will bold the text of viewport.
instanced entities, for nodes this will show up on 2. Use Zoom Extents Selected to display these
the base object entity. In the example illustrated, objects in the Schematic View window.
Box02 and Box03 are instances.
Using Schematic View 303
Menu bar > Graph Editors > Saved Schematic Views >
3. On the window navigation tools press Choose a saved schematic view. > Menu bar
Zoom Selected.
Main toolbar > Schematic View button > Menu bar
The Schematic View window now clearly shows
the object node.
Edit Menu
4. On the List Views menu, choose Show
Occurrences. Connect—Activates the connect tool. The connect
tool in Schematic View can be used to create any
The List viewer displays the Object Occurrences relationship or constraint, are can be used to
dialog. assign modifiers.
This is a sortable list. You can click the header
Unlink—Disconnects the selected entities.
title to sort by it.
Note: Object Occurrence is being used as an Delete—Removes entities from Schematic View
example here. You can use any of the List View and from the scene. Disconnects selected
menu choices to display a list of objects based relationships.
on a certain relationship. Assign Controllers—Let’s you assign controllers to
transform nodes. Only available when controller
5. On the Options menu choose Pan to
entities are selected. Opens the standard assign
Selected. Now click through the nodes in the
controller dialog.
list.
Wire Parameters—Let’s you wire parameters using
The Schematic View window updates to display
each node as you click. Schematic View. This is active only when entities
are selected. This launches the standard Wire
This method makes navigation of very complex Parameters dialog.
scenes much more convenient. Also when
working with lists such as relationships or Edit Object Properties—Displays the Object
instances you have the additional ability to Properties dialog for selected nodes. This is
detach the relationship or make the instance unavailable when no nodes are selected.
unique.
Select Menu
Select tool—Activates the Select tool when in
Always Arrange mode and Select and Move tool
when not.
Select all—Selects all entities in the current
Schematic View.
Select none—Deselects all entities in the current
Schematic View.
Schematic View Menus 305
Options Menu
Always Arrange—Sets Schematic View to
Schematic View List Views
always arrange all entities based on the chosen Menu bar > Graph Editors > New Schematic View > Menu
arrangement preference. Displays a pop-up bar
warning before doing so. Choosing this activates Menu bar > Graph Editors > Saved Schematic Views >
the toolbar button. Choose a saved schematic view. > Menu bar
viewport or the node display in the Schematic Options Menu in the List View Dialogs
View window.
Options for list view let you synchronize the list
selection with the viewport and the Schematic
Interface View window.
Sync selection—When this is turned on, Schematic
View selection corresponds to selections made in
the list.
Pan to Selected—When this is turned on,
Schematic View pans to put the entity selected
List view displaying relationships in the list into the center of the Schematic View
All Relationships—Opens or redraws List View with
within the existing zoom factor. For Instances
all relationships of currently displayed Schematic and Occurrences this will be single entities, for
View entities. Relationships it will be two entities.
Zoom to Selected—When this is turned on,
Selected Relationships—Opens or redraws List
View with all relationships of currently selected Schematic View zooms extents around the entity
Schematic View entities. selected in the list. For Instances and Occurrences
this will be single entities, for Relationships it will
All Instances—Opens or redraws List View with all be two entities
instances of currently displayed Schematic View
Respect display—When this is turned on, the List
entities.
View will only show entities turned on for display
Selected Instances—Opens or redraws List View by the Display Floater.
with all instances of currently selected Schematic
View entities.
Show Occurrences— Opens or redraws List Schematic View Preferences
View with all entities that share a property or Dialog
relationship type with currently selected entities
Menu bar > Graph Editors > New Schematic View >
Display > Filters
All Animated Controllers—Opens or redraws List
View with all entities that have or share animated Menu bar > Graph Editors > Saved Schematic View
controllers. > Open any existing Schematic View > toolbar >
Preferences button.
Schematic view window selection. You can also set Modifier Stack—Turns on and off the display of
the style for the node connections. By selecting modifier nodes.
the appropriate filters in this dialog you can make
Materials/Maps—Turns on and off the display of
working with Schematic View more controllable.
material nodes in the Schematic View window.
Hide the materials when you are animating and
Interface
don’t need to see them, display them when you
want to select materials or make changes to the
material of various objects.
Note: Schematic View does not support the ability
to manipulate maps. You can not paste a map from
one material to another.
Controllers—When this is turned on, controller
data is included in the display. When this is turned
off Controllers, Constraints and Param Wires
relationship and entity buttons are unavailable in
the Display floater. When this is on, you can assign
controllers or wire parameters using the tools quad
of the Schematic View right-click menu.
Static Values—When this is turned on, unanimated
scene parameters are included in the Schematic
View display. Turn this off to prevent the window
Include in Calculation group from filling up with everything seen in Track View.
Schematic View can traverse the entire scene,
Include Only group
including materials, maps, controllers, and so
on. The Include In Calculation settings control Selected Objects—Filters the display of selected
which scene components Schematic View will objects. Check this box if you have a lot of objects
know about. The Display Floater then controls and only want Schematic View to display the
what is displayed. So, if you don’t Include viewport selection.
Materials, you can’t display materials. If you don’t Visible Objects—Limits the display in Schematic
include controllers, you can’t display controllers, View to the visible objects. Hide objects you don’t
constraints, or parameter-wiring relationships. need to display, then check this box to contain
If you have a huge scene and are interested only clutter in Schematic View.
in using Schematic View for selection, you can Animated Objects— When this is turned on, then
turn everything off except Base Objects. If you only objects that have keys and their parents will
are interested only in materials, you can turn off be included in the Schematic View display.
controllers, modifiers, and so on.
Base Objects—Turns on and off the display of the Hide By Category group
base objects. Use this to remove clutter in the These toggles control the display of objects and
Schematic View window. their children, by category. The categories are:
Schematic View Preferences Dialog 309
The Schematic View toolbar at the top of the Always Arrange—Sets Schematic View to
window contains the following buttons: always arrange all entities based on arrangement
preference (alignment options). Displays a pop-up
Display Floater—Displays or hides the Display warning before doing so. When this mode is on it
Floater. Active button means floater is open, activates the toolbar button.
inactive button means it’s hidden.
Arrange Children—Arranges the display of
Select—Lets you select objects in the children based on set arrangement rules (align
Schematic View window and in the viewport. options) below the selected parent.
Selecting objects in the Schematic View window
turns the node yellow. Selecting the objects in Arrange Selected—Arranges the display of
the viewport, outlines their Schematic View children based on set arrangement rules (align
representation box in white, but doesn’t select it options) below the selected parent.
in the Schematic view window. If you want to
the selection in Schematic view passed into the Free All—Frees all entities from arrangement
viewport use the Sync Selection button. Whatever rules, tags them with a hole icon on their left end
is selected in Schematic view will become selected and leaves them in place. Use this to freely arrange
in the viewport as well. all objects.
Preferences —Displays the Schematic View Pan—Lets you move horizontally or vertically
Preferences dialog. This lets you control what in the window. You can also achieve the same
is displayed and hidden in the Schematic View effect by using the scroll bars at the right and
window by category. Various options are here to bottom of the Schematic View window, or by using
filter and control the display within the Schematic the middle mouse button.
View window. See Schematic View Preferences
Dialog (page 3–307). Zoom—Lets you move closer to or further
Schematic V iew Name field—Use this field to give from the Schematic display. When you first open
the particular configuration of Schematic View your Schematic View window you will spend
a name. Simply typing the name and hitting a moment zooming and panning to gain the
enter will add the named view to the list of Saved appropriate view of the objects in the display. The
Schematic View windows available from the Graph display of the nodes changes as you move in or out.
Editors menu. You can also zoom by holding CTRL and pressing
Bookmark Name field—Let’s you define a selection the middle mouse button. To zoom at the
of entities in the Schematic View window as a cursor, turn on Zoom About Mouse Point in the
bookmark, so you can easier return to them in a Schematic View Settings dialog, accessed by click
complex scene with many objects. the Preferences button.
only applies at activation time, it will not expand For information on the Schematic View buttons
or contract entities that are already displayed. and controls, see Schematic View Window (page
3–300).
Focus—When this is turned on, only those
entities that are related to others and have their
relationships displayed will be filled with their
color, all others will be displayed unshaded.
Saved Schematic Views
Graph Editors menu > Saved Schematic Views >
Schematic views by name
Free All—Frees all entities from arrangement rules, Assign Controller—Displays the Assign controller
tags them with a hole icon on their left end and dialog. This is available only when controller
leaves them in place. Use this to freely arrange all entities are selected.
objects. Wire Parameters—Let’s you wire parameters using
Free Selected—Frees all selected entities from Schematic View. This is active only when entities
arrangement rules, tags them with a hole icon on are selected. This launches the standard Wire
their left end and leaves them in place. Use this to Parameters dialog.
freely arrange selected objects. Edit Properties—Displays the Object Properties
Arrange Selected— Arranges the display of the dialog for the selected objects.
selection based on the arrangement preferences.
316 Chapter 16: Managing Scenes and Projects
unnecessary information by using layers and DWG file. Dynamic block instances, even those
other filters. The File Link Manager defines which that have been grip-edited, display certain types of
geometry is included in the scene from the linked instance behavior such as material propagation.
file, how the geometry is organized, and when it’s For more detailed information about dynamic
regenerated. You can also create links to files using block handling in Autodesk VIZ, see Blocks (page
the drag and drop feature. The objects that you 3–357).
bring in from linked files behave just like any other
object created in Autodesk VIZ. You can scale, Reloading, Binding and Detaching Links
rotate, and move them as well as attach modifiers to Files
and materials. You can also reload or detach linked files. When
When Autodesk VIZ stores linked file data, you reload a linked file, any changes you’ve made
you’ll need to decide how the objects from the to the linked file are applied to the reloaded
linked files will be organized in the scene. For geometry in your scene. Note, however, that
example, drawings are commonly organized by Autodesk VIZ won’t edit or change your original
layers, blocks, and objects, and Autodesk VIZ linked file. The integrity of your other software’s
scenes are organized by hierarchies of objects. design database is never compromised by the File
For translating between systems, Autodesk VIZ Link Manager. Finally, if you decide to break a
includes object types called VIZBlocks (page link to a linked file, there are two options. You
3–745) and Block/Style Parents (page 3–661). can use Bind to keep the objects from the linked
file in your scene, or you can use Detach to have
Working with VIZBlocks and Block/Style them removed along with the link. For more
Parents information, see File Link Tips (page 3–319).
A VIZBlock and a Block/Style Parent is like Note: Both Detach and Bind are available from the
a nested block; it has an object/sub-object or Files panel of the File Link Manager.
parent/child hierarchy structure. In many cases,
linked drawing data initially appears as a VIZBlock ObjectDBX Objects
or Block/Style Parent (depending on the Derive Autodesk VIZ supports the display and use of
AutoCAD Primitives By options you choose). custom AutoCAD objects. These custom objects
Using VIZBlocks is helpful when you’re working are created using the ObjectDBX™ or ObjectARX®
with layering and color schemes. You can create APIs. Applications and products that work
multiple links to the same linked file, so you can with either of these APIs can read and write to
use the same geometry in different combinations. AutoCAD drawings, and ObjectARX products can
extend the available feature set of AutoCAD.
Dynamic Blocks in Autodesk VIZ
Note: To improve file performance, some of the
Dynamic Blocks give blocks flexibility and ObjectDBX rules have been updated. This means
intelligence. A dynamic block reference can easily that some DXF files, ones built by non-Autodesk
be changed in a drawing while you work. You can products or very old DXF files, may no longer
manipulate the geometry through custom grips or import or file link into Autodesk VIZ.
custom properties.
The File Link Manager handles dynamic blocks
much the same way as any other block found in a
318 Chapter 16: Managing Scenes and Projects
Object Enablers
File Link Basics
AutoCAD and AutoCAD vertical applications,
such as Architectural Desktop (ADT), have Data synchronization between drawing files
custom objects that are unique to the product. In created with AutoCAD, Architectural Desktop,
order to view them in Autodesk VIZ, you need or Revit and Autodesk VIZ is implemented using
the appropriate Object Enabler (OE). Object the File Link Manager, which keeps drawing data
Enablers let you access, display, and manipulate linked to the scenes. It is best understood through
these objects in Autodesk VIZ, as well as the other a few simple principles:
vertical applications, including Autodesk VIZ. • Changes in AutoCAD, Architectural
When you use the File Link Manager to Attach Desktop, or Revit can change the data
a DWG file to your scene, you may encounter a viewed in Autodesk VIZ, but changes in
Proxy Objects Detected dialog. This means there Autodesk VIZ never change the data in
are custom objects in the drawing that require AutoCAD, Architectural Desktop or Revit.
special Object Enablers before you can edit the Creating a file link is a one-way process
objects in Autodesk VIZ. that supports the central role of AutoCAD,
Architectural Desktop or Revit in developing
and keeping a record of your core design
database. Many changes made in AutoCAD,
Architectural Desktop or Revit will appear
in Autodesk VIZ after a file link reload.
These include adding or removing objects,
moving objects, changing material assignments
(specific to ADT and Revit drawings), and
enabling Live Section objects (specific to ADT
drawings). Changes made in Autodesk VIZ,
such as moving objects, changing material
assignments, and adding lights, will never
appear in your AutoCAD, Architectural
Desktop or Revit drawing.
Do not show this message again—Check this option • Changes you can make in AutoCAD,
to not display this message the next time proxy Architectural Desktop or Revit should be
objects are detected. made in AutoCAD, Architectural Desktop
or Revit.
For a list of downloadable OEs, see the Autodesk
Web site Changes that you make in AutoCAD,
Architectural Desktop, or Revit become part
Note: Drawings that are exported from Revit do of that database, whereas changes you make in
not require Object Enablers. Autodesk VIZ appear only in the renderings
you produce.
• Changes in AutoCAD, Architectural Desktop,
or Revit aren’t reflected in Autodesk VIZ
unless you choose them to be.
File Link Tips 319
When you make changes to drawing files, those Autodesk VIZ, and you can create your own
changes will not appear in Autodesk VIZ unless material effects using the Material Editor.
you use the Reload command (page 3–323) on Materials created with the Material Editor
the File Link Manager. When you reload a link can be assigned to any component in your
in Autodesk VIZ, you can choose to update just scene.
the geometry from AutoCAD, Architectural • Bitmaps for use as environment
Desktop, or Revit, you can reload only specific backgrounds. You can use still images
objects, or (with Architectural Desktop and in a variety of formats, or even animated
Revit drawings) you can choose to update both movies, as a rendering background to create
the geometry and the material assignments. stunning photomontages that appear to
Note: After changing your Revit project, you place your proposed design right into the
must export a new DWG file and then reload actual location.
that file into Autodesk VIZ. Autodesk VIZ
cannot link a native Revit project, RVT file, See also
directly.
File Link Manager Utility (page 3–323)
You can transform (move, rotate, or scale)
Resetting Transforms on Linked AutoCAD Objects
AutoCAD, Architectural Desktop or Revit
(page 3–341)
objects and blocks that appear in Autodesk VIZ,
and these types of changes are not lost upon
reload. If you have moved, rotated, or scaled
linked objects and want the objects to resume
File Link Tips
the position and scale they have in the original Here are some tips for choosing File Linking
drawing file, use the Reset Position function options and avoiding common pitfalls.
(page 3–341).
• Autodesk VIZ integrates linked AutoCAD, Linked Data and Face-Normal
Architectural Desktop, or Revit data with Conventions
non-AutoCAD, Architectural Desktop, or Face normals (page 3–704) can be a source
Revit data. of confusion when linking to AutoCAD,
In addition to the linked AutoCAD, Architectural Desktop, or Revit drawing files. In
Architectural Desktop, or Revit geometry and Autodesk VIZ, every face has a front and a back,
material assignments, Autodesk VIZ allows you corresponding to the inside or outside surface of
to create or merge into your scene many types a solid object. In a cube, for example, there is
of data from other sources, including: seldom the need to view the inside surface of any of
the six squares that make up the cube. So for many
• Lighting objects for simulating light fixtures
viewing and rendering operations, Autodesk VIZ
and daylight conditions.
ignores a face if it’s facing away (that is, if its face
• Entourage objects such as surrounding normal is directed away) from a point of view.
buildings, terrain, trees, cars, and people.
When you create objects in AutoCAD,
• Advanced rendering material effects that Architectural Desktop or Revit, Autodesk VIZ
simulate the rich visual variety of any generally understands which way faces should be
imaginable material. You can take advantage oriented and manages face normals accordingly.
of materials that appear on objects created in
320 Chapter 16: Managing Scenes and Projects
However, occasionally you may encounter linked Note: The disadvantage of welding is that it can be
drawing geometry that displays correctly in time-consuming when you attach and reload the
AutoCAD, Architectural Desktop or Revit, but linked file. The time penalty is much greater when
doesn’t strictly respect face-normal conventions. Autodesk VIZ is creating objects that have very
This can make it appear as though elements large numbers of individual faces.
visible in the drawing file are missing or appear
“inside-out” in Autodesk VIZ. Linking Files with High Numbers of
Linear Line Segments
If this happens, try one of these four options:
Two-dimensional elements in drawing files, such
• During file link or import of the DWG file,
as lines, polylines, circles, and arcs, are represented
turn on the Unify Normals switch in either the
as splines in Autodesk VIZ. These splines carry
Basic panel of the File Link Settings dialog or
much more information at each vertex than
the Geometry Options group of the AutoCAD
typical AutoCAD 2D structures. Since some
DWG/DXF Import Options dialog.
drawing files contain large quantities of 2D data,
• If the drawing is already linked or imported, exercise caution when linking files containing a
assign a Normal modifier (page 2–167) to the high number of discrete line segments. There are
object that is not displaying properly. Turn two ways these elements can be left out of your
on the Unify Normals switch to force all the Autodesk VIZ scene;
normals to face the same direction. If the object
• by freezing their layers in AutoCAD,
then appears to be “inside-out”, also turn on
Architectural Desktop, or Revit before you start
the Flip Normals switch.
Autodesk VIZ and before each subsequent
• Turn on the Force 2-Sided switch in the Render reloading process.
Scene dialog (to render the faces correctly),
• by excluding specific layers during the File Link
and turn on Force 2-Sided in the Viewport
Attach/Reload process or Import process so
Configuration dialog (to display the faces
you do not have to freeze layers in the drawing.
correctly in the viewports.)
This is the preferred workflow.
• Apply a material with the 2–Sided switch
turned on. If you need this type of 2D geometry in your
visualization, try to use polylines instead of
Note: Using the Force 2–Sided options can result in
connected lines to get cleaner geometry in
slower performance, particularly when rendering.
Autodesk VIZ and to reduce the final size of your
Using either of the Unify Normals options is the
scene.
preferred method of handling face normals.
If you are experiencing a high volume of face 3D Solids Objects Linked into a
normal problems in a particular file, you should Autodesk VIZ Scene
verify that the Weld switch is turned on in the File 3D Solids objects in a drawing file will be
Link Settings dialog (page 3–327), and then reload tessellated (that is, turned into mesh objects with
the drawing. Weld forces nearby faces to share faces), when you link them into an Autodesk VIZ
edges and vertices. This can still result in groups scene. The fineness of the tessellation is controlled
of face normals that are flipped in Autodesk VIZ by the Surface Deviation For 3D Solids setting in
so the Unify Normals switch should also be used. the File Link Settings dialog. A high value results
in coarser tessellation. Autodesk VIZ uses less
File Link Tips 321
memory in the scene, but poor approximations resolves xrefs until it detects a circular reference.
of curved surfaces could result. For acceptable For example, if you have the circular reference
performance, keep this value as high as you can. A|B|C|A, Autodesk VIZ detects and breaks the
Tip: You can change the value of the Surface circularity between C and A. This is consistent
Deviation For 3D Solids control at any time by with the way AutoCAD or Architectural Desktop
turning on Show Reload Options on the Files handles circular xref dependencies.
panel of the File Link Manager dialog, and then
adjusting when you reload the file. Overlay External References
Autodesk VIZ treats overlay xrefs in the same way
Spline Objects Linked into a as AutoCAD when resolving xrefs.
Autodesk VIZ Scene
For more information regarding overlay xrefs,
Splines are not rendered in Autodesk VIZ unless refer to your AutoCAD User Reference.
they have rendering parameters applied to them.
Normally, you have to collapse a shape to an Cloning Actively Linked Objects
editable spline object in order to apply rendering
If you want to clone actively linked objects,
parameters; however, this is not possible with
you should only use the Copy option. Creating
spline objects from AutoCAD.
references or instances of actively linked objects is
Instead, you can apply a Renderable Spline not recommended, as reliability issues can arise
modifier (page 2–188) to the spline. This lets you when the instanced or referenced object is deleted
set rendering properties without having to collapse in the linked file.
to an editable spline.
When you copy actively linked objects, linked
through the File Link Manager (page 3–323), the
External References and Block Names
copies are automatically converted to editable
A linked AutoCAD or Architectural Desktop mesh or editable spline objects. If your selection
drawing can include xrefs that themselves contains several objects which instance another
reference different files but use the same block object, the resulting copies also instance the same
names. Autodesk VIZ keeps the blocks distinct by object.
prepending xref names to block names.
In Revit, a DWG, DXF or RVT file can be linked Compound Objects Containing Actively
to the project. This kind of link is called a RVT Linked Objects
Link (page 3–723). When the project is exported If you use an actively linked object as part of a
to a DWG file, this type of link is represented in compound object, you should always choose
the exported drawing as an xreferenced drawing. Copy when you specify how the linked object is
In this case, more than one drawing file may be transferred to the compound object. Choosing
created, with one referencing the other(s). Reference or Instance can cause instability in the
software.
Circular References
An xref file that contains a sequence of nested
references that refers back to the xref file itself is
considered a circular reference. Autodesk VIZ
322 Chapter 16: Managing Scenes and Projects
• Link Inheritance Utility (page 2–780) You can rename layers created by the File Link
Manager. When the next reload occurs, the
• Assign Controller (page 2–857)
renamed layer is not affected by the File Link
Manager. Objects on the renamed layer are
updated; however, they remain on the same layer.
Scale Synchronization 323
Finally, if you decide to break a link to a linked file, have to tell the File Link Manager where to find
you can either keep the objects from the linked file the drawing.
in your scene or have them removed along with Note: If your Revit project has been updated,
the link. remember to export a new DWG file that can be
reloaded.
See also
1. On the Files panel of the File link Manager,
File Link Basics (page 3–318) click the file name in the Linked Files list and
File Link Tips (page 3–319) click Reload.
Linked files that have been changed are prefaced
Working with AutoCAD, Architectural Desktop,
and Revit Files (page 3–339) with the symbol.
Tip: Turn on the Show Reload Options switch
Procedures if you want to make changes to the settings
To link a drawing file: used to link the drawing. Otherwise, the reload
process will use the same settings you originally
You can link drawings in the form of DWG or DXF
used when creating the link.
files. A DWG is the native file format for AutoCAD
and Architectural Desktop, but you must first 2. If Show Reload Options is turned on, the File
export a DWG when working from a Revit project. Link Settings dialog (page 3–327) is displayed
The File Link Manager does not recognize RVT where you can change your settings in the Basic
files. and Advanced panels.
1. Choose File menu > File Link Manager. Note: You cannot change the sorting or layer
options when reloading a drawing.
2. On the Attach panel, click Files to select a file
from the appropriate directory on either your 3. Click OK to reload the file.
local or network system, and click Open.
Interface
3. Choose a Preset from the pull-down list, if you
have one defined. The File Link Manager dialog contains three
Tip: If this is your first File Linking, and you
panels for listing linked files:
have not defined any presets, you may want to • Attach (page 3–325)
create one on the Presets panel (page 3–335) • Files (page 3–325)
of the dialog.
• Presets (page 3–326)
4. Turn on the Rescale switch and adjust the
Incoming File Units, if necessary. These panels let you attach files, update
attachments and settings, and change presets used
5. Click Attach This File.
by File Link. The terminology is similar to the
terminology for managing AutoCAD external
To reload a drawing:
references, or xrefs (page 3–749).
Reload is most often used when your
Note: An xref is an AutoCAD external reference.
drawing or project has been changed in
This is different from a Autodesk VIZ Xref (page
AutoCAD, Architectural Desktop, or Revit, or if
the linked drawing file has been moved and you
3–749), which is an externally referenced file that
can be a Autodesk VIZ object or scene.
File Link Manager Utility 325
Attach panel When Rescale is on, and the units you specify
are different from the system units currently set
in the Autodesk VIZ scene, the incoming objects
are scaled appropriately. For example, if a door
measures 914 units in the linked file, and you
specify millimeters to convert from, the door will
measure 36 inches in the Autodesk VIZ scene.
Note: You can’t change units when you reload a
linked file.
Note: By default, system units are inches in
Autodesk VIZ. Consider carefully before changing
the default system units. For more information,
see Using Units (page 2–618).
Incoming File Units—Displays the unit of measure
File—Displays an Open dialog that you can use found in the original drawing file and lists the units
the browse for DWG and DXF files that you want to which you can choose to rescale the attached
to link. When a file is selected, its path and name file. This is only active when Rescale is on.
appears in the File list. Select Layers to Include—Displays the Select Layers
File list—The file to be attached to your scene. You dialog (page 3–337), which you use to select the
can enter the file location, or you can expand the layers to import from the linked file.
list to display a history of the last ten attached files. Attach This File—Attaches the selected file to your
Note: You can resize the File Link Manager dialog scene, using the settings selected in the Preset list,
by dragging any corner or edge. This is useful for if one was selected.
viewing a file path if it’s too long to fit in the file
Close—Cancels all changes to settings and closes
list field.
the dialog.
Preset—Displays a list of preset settings you can
choose to use when attaching the file. Each list Files panel
entry in this list represents a unique collection
of attach and reload settings. You can create
additional presets in the Presets panel of the File
Link Manager dialog.
Rescale—Alters the scale of the geometry from a
linked file to match the system unit scale (page
3–582) in Autodesk VIZ. When Rescale is on, you
can specify what the base units should be for the
geometry in the linked file. For example, if the
length of a line in the linked file is 2 units, you can
specify that these units be considered as any of
the units listed under File Units (below), such as
inches, millimeters, or parsecs.
326 Chapter 16: Managing Scenes and Projects
Linked Files—Lists linked files. The File Link When you click this button, you receive a warning
Manager displays an icon next to the path name of that you’re about to remove all objects associated
each linked file. The icon reflects the status of the with the linked file. You can either proceed or
linked file, as described below: cancel the operation.
Note: This option is available only when the file is
The linked file hasn’t changed and there are no
errors. highlighted in the Linked Files list.
Bind—Removes the link to the file. The geometry
The linked file can’t be found at the specified
location. in the scene remains unchanged, but it’s no longer
linked back to the original file and, if the original
The linked file has changed or another file has file changes, it can’t be updated using Reload.
been selected by changing the path or using the
When you click this button, you receive a warning
browser from this list. If you want to update your
that you’re about to break the link between the
scene with the changes in this file, you must reload
objects in the current Autodesk VIZ scene and
your link.
the file.
You can change the path name by highlighting it
Note: This option is available only when the file is
and clicking again to enter its location. This also
highlighted in the Linked Files list.
displays a file browser button to the right of the
file name that you can use to locate a file. If the Show Reload Options—Displays the File Link
directory of a linked file is no longer valid, then Settings dialog (page 3–327) when you click
you must enter a new, valid path name. Reload, and uses these settings for reloading.
When you turn off this option, the File Link
Reload—Refreshes the link between the file and the
Manager uses the reload settings stored in the
Autodesk VIZ session. This feature is useful when
current scene.
the file has been modified and you want to see the
changes reflected in your Autodesk VIZ scene. If Close—Cancels all changes to settings and closes
you turn on Show Reload Options, the File Link the dialog.
Settings dialog (page 3–327) displays when you
click this button. Presets panel
Named Presets—Lists all existing presets. • View and exclude layers in a linked file.
Modify—Opens the File Link Settings dialog (page • Control how geometry is converted.
3–327), letting you change the settings of the • Define how linked objects are converted to
selected preset. Autodesk VIZ objects, referred to as VIZBlocks.
New—Opens the New Settings Preset dialog (page The selections you make in the File Link Settings
3–335), creating a new preset with default settings. dialog can affect the amount of memory used
Note: New is only available when no preset is by Autodesk VIZ to hold the linked data. Use
selected in the list. If a preset is selected, this the Select Layers To Include option to reduce the
button changes to Copy. amount of information added to your scene.
Copy—Opens the New Settings Preset dialog In some cases, it might be more efficient to create
(page 3–335), creating a new preset with the same multiple links to the same file, making different
settings as the currently selected preset. file link settings for each file.
Note: Copy is only available when a preset is
See also
selected in the list. If no preset is selected, this
button changes to New. File Link Tips (page 3–319)
Rename—Opens the Rename Settings Preset dialog
(page 3–336), letting you change the name of the
Basic File Link Settings
selected preset.
File menu > File Link Manager > Reload a linked file with
Delete—Deletes the selected preset. Show Reload turned on. > File Link Settings dialog >
Basic panel
Close—Cancels all changes to settings and closes
the dialog. File menu > File Link Manager > Presets panel > Select
an existing preset and click Modify. > File Link Settings
dialog > Basic panel
File menu > File Link Manager > Presets panel > Create a
File Link Settings Dialog new preset. > Select the newly created preset and click
Modify > File Link Settings dialog > Basic panel
File menu > File Link Manager > Files tab > Turn on Show
Reload Options. > Click Reload. Utilities panel > Utilities rollout > File Link Manager >
Reload a linked file with Show Reload turned on. > File
Utilities panel > Utilities rollout > File Link Manager > Files Link Settings dialog > Basic panel
tab > Turn on Show Reload Options. > Click Reload.
Utilities panel > Utilities rollout > File Link Manager >
Presets panel > Highlight an existing preset and click
The File Link Settings dialog gives you control Modify. > File Link Settings dialog > Basic panel
over the detailed aspects of how geometry is
Utilities panel > Utilities rollout > File Link Manager >
translated from DWG or DXF files and interpreted Presets panel > Create a new preset. > Highlight the
in Autodesk VIZ. It also allows you to control newly created preset and click Modify > File Link Settings
dialog > Basic panel
whether only a portion of the Autodesk VIZ
objects will be affected by subsequent reloading. The Basic panel of the File Link Settings dialog
The File Link Settings dialog is displayed when (page 3–327) defines how Autodesk VIZ converts
Show Reload Options is turned on in the File Link the linked file’s objects into corresponding
Manager dialog, or when editing a file link Preset. Autodesk VIZ objects.
The File Link Settings dialog lets you:
328 Chapter 16: Managing Scenes and Projects
UVW coordinate generation; these are found on Surface Deviation for 3D Solids—Specifies
the Spline Rendering panel (page 3–333). the maximum allowable distance from the
• Generate Coordinates For All Autodesk VIZ surface mesh to the parametric
Objects—Automatically generates UVW AutoCAD solid surface. Small numbers produce
coordinates for all objects when the drawing more accurate surfaces with a greater number
is linked. of faces. Large numbers produce less accurate
surfaces with fewer faces.
This option tells the File Link Manager to
create UVW coordinates, but loading time Include group
is increased while the coordinate generation
occurs. This group allows you to toggle the inclusion of
specific parts of a DWG file during the file link
• Generate Coordinates On Demand—Does not process.
generate texture coordinates for linked mesh
objects. External references—Imports xrefs attached to the
DWG file.
Actively linked objects generate UVW
coordinates on demand, so if you assign a Hatches—Imports hatches from the DWG file.
material to an object and the material requires
Warning: This stores each line or dot in the hatch
texture coordinates, the texture coordinates are
pattern as a separate spline that defines the hatch; this
silently assigned to that object. If the material can create a very large number of objects in your scene.
or texture map is set to display in viewport, the
coordinates are assigned as soon as the material Points—Imports points from the DWG file.
is applied; if not, the coordinates are assigned Note: The imported point objects are represented
when the scene is rendered. in Autodesk VIZ as Point Helper (page 2–638)
This option gives you faster loading speed, but objects.
no UVW coordinate generation. Lights—Imports lights from the DWG file.
Note: Objects in drawings created in
Views (cameras)—Imports named views from the
Architectural Desktop pass texture coordinates
DWG file, and converts them to Autodesk VIZ
explicitly to Autodesk VIZ when you attach
cameras.
the drawing. If you specify on-demand
coordinate generation, they might not match UCSs (grids)—Imports user coordinate systems
the coordinates that were specified in the (UCS) from the DWG file and converts them to
original drawing. The map scaling is the same, Autodesk VIZ grid objects.
but the texture offsets may be altered.
Curve Steps—For objects such as splines, the
number of knot points determines the spline’s
shape and curvature. The Curve steps value
defines the number of segments between knot
points. A low value gives you a more linear
interpolation between the knot points; a higher
number gives you a more accurate curve.
330 Chapter 16: Managing Scenes and Projects
Interface
Advanced File Link Settings
File menu > File Link Manager > Reload a linked file with
Show Reload turned on. > File Link Settings dialog >
Advanced panel
File menu > File Link Manager > Presets panel > Select
an existing preset and click Modify. > File Link Settings
dialog > Advanced panel
File menu > File Link Manager > Presets panel > Create a
new preset. > Select the newly created preset and click
Modify > File Link Settings dialog > Advanced panel
Utilities panel > Utilities rollout > File Link Manager >
Reload a linked file with Show Reload turned on. > File
Link Settings dialog > Advanced panel
Utilities panel > Utilities rollout > File Link Manager >
Presets panel > Highlight an existing preset and click
Modify. > File Link Settings dialog > Advanced panel
Utilities panel > Utilities rollout > File Link Manager >
Presets panel > Create a new preset. > Highlight the
newly created preset and click Modify > File Link Settings
dialog > Advanced panel
The Advanced panel of the File Link Settings dialog Derive AutoCAD primitives by:—Lists the options
(page 3–327) controls how the software derives for deriving objects from the linked DWG file.
AutoCAD primitives and whether Autodesk VIZ This setting is available only when modifying a
uses the scene material definitions when linking to preset (page 3–336).
or reloading the AutoCAD drawing. It also lets you Note: This applies only to standard AutoCAD
selectively reload your scene, so that you reload primitives. Specialized objects, such as those from
only specific objects, not the entire file. Autodesk Architectural Desktop, are handled
differently.
Tip: For best results, use the Layer, Blocks as Node
Hierarchy or Entity, Blocks as Node Hierarchy
options, except in special circumstances.
There are six options to choose from:
• Layer, Blocks as Node Hierarchy—Linked objects
on a given layer in the AutoCAD drawing that
aren’t in blocks are combined into a single
Editable Mesh or Editable Spline object in
Autodesk VIZ. The name of each linked
object is based on the AutoCAD object’s
layer. The linked object name has a “Layer:”
prefix and is followed by the layer name. For
example, all AutoCAD objects residing on the
layer Walls become part of the Editable Mesh
Advanced File Link Settings 331
named Layer:Walls after they are linked in members at once. For example, in a scene
Autodesk VIZ. containing a conference table with six chairs
Each block is linked separately as a hierarchy, around it, you could move all of the chairs
with the block itself as the parent object and simultaneously by moving a single chair.
its constituent parts as child objects. The child Another advantage is that all geometry is
objects of the block are combined by layer. instanced, so edited UVs and normals and
Tip: This is usually the best option for file other modifications need be done only once.
linking. It preserves all ADT information, and Note: This derivation method might cause
generally maintains the same granularity as you unreliable material propagation when
would expect in AutoCAD. importing drawings containing dynamic
• Layer, Blocks as Node Hierarchy, Split blocks. Materials might propagate to some
by Material—This works the same as the block instances and not to others.
Layer, Blocks as Node Hierarchy option, Warning: This option has the potential to create an
with the following additional functionality: enormous number of objects in your scene.
Combination of non-block objects takes place
• Layer—Linked objects are combined in
first by layer, and then by material.
Autodesk VIZ according to their layer. Objects
For example, take an AutoCAD file with six in each of the associated application’s layers are
objects in layer A: three have a Brick material combined into one object, with the exception
and three have a Stone material. Using this of blocks, each of which is represented as an
option, this file would be linked to in the form individual VIZBlock (not a hierarchy). Multiple
of two objects, or nodes, one containing the inserts of the same block are represented using
Brick material and the other with the Stone instances in the scene. Material assignments are
material. lost but material IDs are preserved.
Each block is linked to separately as a hierarchy, • Color—Linked AutoCAD objects are combined
with the block itself as the parent object and in Autodesk VIZ according to their color.
its constituent parts as child objects. The child All objects of the same color are combined
objects of the block are combined by layer. into one object, with the exception of blocks,
• Entity, Blocks as Node Hierarchy—Every linked each of which is represented as an individual
object not in a block is represented as a separate VIZBlock (not a hierarchy). Multiple inserts of
object in the Autodesk VIZ scene, without the same block are represented using instances
regard to layers. The nodes are then placed on in the scene. Material assignments are lost but
scene layers that correspond to the drawing material IDs are preserved.
layers. Each block is imported separately as a Note: Blocks can contain objects with different
hierarchy, with the block itself as the parent colors. However, when sorting, Autodesk VIZ
object and its constituent parts as child objects. considers only the color of the block itself.
The child objects of the block are combined by Also, Autodesk VIZ objects can only display
layer. one color, unless a material is applied.
One benefit of this option is that you can • Entity—Provides a one-to-one correspondence
apply instanced animation controllers (page between AutoCAD objects and Autodesk VIZ
2–685) to block subcomponents and thus, by objects. For each linked object or block in the
transforming a single member, transform all imported file, the File Link Manager creates an
332 Chapter 16: Managing Scenes and Projects
independent object or VIZBlock, respectively, This setting is available only when modifying a
in the scene. Material assignments are lost but preset (page 3–336), and not using the Derive
material IDs are preserved. option Layer, Blocks as Node Hierarchy.
Warning: This option has the potential to create an Create One Scene Object for Each ADT
enormous number of objects in your scene. Object—Architectural Desktop (ADT)
Note: When working with drawings exported objects are linked as a single object instead of being
from Revit, it is recommended that you do not separated into their constituent components. This
use this setting. means that if you link an ADT door object, the
door is represented as one object instead of three.
• One Object—All linked objects are combined
Turning on this switch make linking faster and the
into a single VIZBlock. Material assignments
scene size is smaller.
are lost but material IDs are preserved.
This setting is available only when modifying a
Select Layers to Include—Displays the Select Layers
preset (page 3–336).
dialog (page 3–337), which you use to choose
layers to import from the linked file. Available only Note: This switch presents several modeling
when reloading a linked file. concerns that you need to be aware of.
Tip: Excluding unnecessary objects from linking • Material assignments from ADT are not
can improve the performance of the reload translated during the file link process. However,
operation. while the objects themselves do not have
materials assigned, the materials are imported
Create Helper at Drawing Origin—When on, and placed on the Scene Unused palette (page
Autodesk VIZ inserts the user coordinate system 3–407).
icon as an origin point helper. Autodesk VIZ
• If you want to assign materials to these objects,
places this helper at the world origin of the linked
use Multi/Sub-Object materials.
file. It’s a reference point for all the geometry of the
linked file. After attaching, the helper is selected, • Depending on the Texture Mapping option
allowing you to easily move, rotate, or scale all the you choose, UVW coordinates are translated
geometry that was just added to the scene. Each correctly.
linked file gets a unique helper object.
Use Scene Material Definitions—When on,
This setting is available only when modifying a Autodesk VIZ checks the current scene for any
preset (page 3–336). currently used materials with the exact same name
as a material name in the linked DWG file. If a
Use Extrude Modifier to Represent Thickness—When
match is found, File Link does not translate the
on, linked objects with thickness receive an
drawing’s material, but instead uses the material
Extrude modifier to represent the thickness value.
defined in the scene.
You can then access the parameters of this modifier
and change the height segments, capping options, When off, the File Link Manager always uses the
and height value. material definitions contained in the DWG file,
and will overwrite scene materials with the same
When off, objects with thickness (and closed
name, regardless of which objects the material is
capped objects) are converted directly to a mesh.
applied to. All material definitions stored in the
DWG file are reloaded (even when using a selective
reload). If you make changes to a linked material,
Spline Rendering File Link Settings 333
in Autodesk VIZ, then reload, those changes will you click Linked Objects, the Select Linked Object
be lost (if the switch is off). dialog (page 3–338) is displayed.
Tip: When reloading a file, most of the materials
from the DWG file will have already been created
in the scene by Autodesk VIZ; they may not need Spline Rendering File Link Settings
to be re-translated. If you want to update a scene File menu > File Link Manager > Reload a linked file with
material with the definition contained in the Show Reload turned on. > File Link Settings dialog >
Spline Rendering panel
drawing, turn this switch off.
Note: Material assignments can only be transferred File menu > File Link Manager > Presets panel > Select
an existing preset and click Modify. > File Link Settings
from Autodesk Architectural Desktop files and dialog > Spline Rendering panel
drawings exported from Revit.
File menu > File Link Manager > Presets panel > Create a
Note: Material name comparison is case-sensitive. new preset. > Select the newly created preset and click
Modify > File Link Settings dialog > Spline Rendering
panel
Use Scene Material Assignments on Reload—When
on, linked objects with a material already assigned Utilities panel > Utilities rollout > File Link Manager >
Reload a linked file with Show Reload turned on. > File
to them in the Autodesk VIZ scene will not Link Settings dialog > Spline Rendering panel
have that material assignment changed. This is
the case regardless of whether the material was Utilities panel > Utilities rollout > File Link Manager >
Presets panel > Highlight an existing preset and click
assigned automatically by the File Link Manager Modify. > File Link Settings dialog > Spline Rendering
panel
or manually by the user.
Utilities panel > Utilities rollout > File Link Manager >
When off, linked objects have their material Presets panel > Create a new preset. > Highlight the
assignment “coordinated” with the drawing, so newly created preset and click Modify > File Link Settings
dialog > Spline Rendering panel
that the two are in sync.
Note: Material assignments can only be transferred The Spline Rendering panel of the File Link
from Autodesk Architectural Desktop files. Settings dialog (page 3–327) controls how shapes
Selective Reload—Lets you perform a partial reload will appear in the scene once the DWG or DXF file
of your linked file. Use a partial reload when you is linked. You can control the appearance of the
know what has changed in the linked file, and shape, its smoothing, mapping coordinates and
want to speed up the time it takes to reload the if they can be rendered.
geometry.
The following options are available:
• Selected in Scene—Reloads only the objects
currently selected in your scene.
• Selected in List—Reloads only the objects that
you choose from a named list. This list is
defined by clicking Linked Objects.
Linked Objects—Allows you to reload only objects
that you choose from a named list. The list is
created from the objects linked in the file. When
334 Chapter 16: Managing Scenes and Projects
Utilities panel > Utilities rollout > File Link Manager >
Presets panel > Copy or New
Rectangular—Displays the spline’s mesh shape as Note: New is available only if no named presets
a rectangle. are highlighted.
2. On the New Settings Preset dialog, enter a name
Length—Specifies the size of the cross–section
for your preset, and click OK.
along the local Y axis.
A new preset is created with default settings.
Width—Specifies the size of the cross–section
along the local X axis. To copy a preset:
Angle—Adjusts the rotational position of the 1. On the Presets panel of the File Link Manager,
cross-section in the viewport or renderer. For choose a named preset.
example, if you have a square cross-section you
2. Click Copy.
can use Angle to position a "flat" side down.
Note: Copy is available only if a named preset is
Aspect—Sets the aspect ratio for rectangular highlighted.
cross-sections. The Lock check box lets you lock
3. In the New Settings Preset dialog, rename the
the aspect ratio. When Lock is turned on, Width is
preset, and click OK.
locked to Length that results in a constant ratio of
Width to Length. A new preset is created with the same settings
as the selected preset.
Note: If you do not rename the preset, it will
cancel the command.
336 Chapter 16: Managing Scenes and Projects
Interface
Preset Editing
File menu > File Link Manager > Presets panel > Click a
preset > Modify
Utilities panel > Utilities rollout > File Link Manager >
Presets panel > Click a preset > Modify
Procedures
Rename Settings Preset Dialog To edit or modify a preset:
File menu > File Link Manager > Presets panel > Click a 1. On the Presets panel of the File Link Manager,
preset > Rename
choose a named preset.
Utilities panel > Utilities rollout > File Link Manager > 2. Click Modify.
Presets panel > Click a preset > Rename
The File Link Settings dialog (page 3–327) is
The Rename Settings Preset dialog lets you rename displayed.
your preset. 3. From the Basic, Advanced and Spline
Note: You cannot use names beginning with Rendering panels, make the settings you want
’Preset’, so names like “Preset 1” or “Preset with associated with the preset and click Save.
Welding” are not allowed.
Interface Interface
other instances of that block in the scene. This 2. On the Command panel, click the Modify tab
mirrors the behavior of blocks in AutoCAD when to display the Modify panel.
reference-editing a block definition. The name of the linked object appears at the
top of the Modify panel, and the modifiers
See also that have been added to the object (if any) are
Blocks (page 3–357) shown on the modifier stack.
3. At the bottom of the list of applied modifiers,
click either Linked Geometry, VIZBlock, or
Resetting Transforms on Linked Block/Style Parent, whichever appears, if it is
AutoCAD Objects not already highlighted.
Select a linked AutoCAD object. > Modify panel > Linked A Linked Geometry rollout appears at the
Geometry rollout > Reset Position bottom of the Modify panel.
4. Click the Reset Position button
You can move, rotate, or scale linked
AutoCAD objects in Autodesk VIZ, and these The linked object reverts back to its original
transformations will remain intact even after the location, rotation, and scale in the linked
linked AutoCAD drawing has been reloaded. But AutoCAD drawing.
you can choose to eliminate the transforms on an Note: When Reset Position is applied to a linked
object-by-object basis using the Reset Position object that has been animated (in other words,
function, available on the Modifier panel. has transform keys for different frames) only the
Note: The Reset Position functionality is only transform for frame 0 is reset.
available for linked files. It is not available when
you Import a DWG file, or when you have bound a See also
linked file. File Link Basics (page 3–318)
Every linked AutoCAD object and component
has a Reset Position function associated with Interface
it. Clicking this button automatically resets all
transformations that have been applied to this
object or component in Autodesk VIZ, so that the
component resumes the location, rotation, and
scale it held in the linked AutoCAD drawing when
it was last reloaded. Reset Position—Resets the selected object’s
transforms to those of the original AutoCAD
Warning: Transforms applied to block components object when the drawing was last reloaded.
are applied to all instances of that component in all
other linked block insertions in the Autodesk VIZ scene.
Resetting the transformation of any instance will reset
Restrictions on Editing AutoCAD
all of them.
Geometry
To reset the transforms applied to a linked AutoCAD Many operations that are allowed on mesh,
object: spline, or shape objects in Autodesk VIZ are not
1. Select a linked object in your scene.
342 Chapter 16: Managing Scenes and Projects
allowed on linked AutoCAD geometry, and other When you use modifiers on linked AutoCAD
operations behave differently. objects and blocks, remember that the VIZBlock
object you see in Autodesk VIZ does not contain
The following operations are not allowed on linked
any geometry directly; applying modifiers to
geometry:
VIZBlocks will never have any visible effect.
• Deletion Instead, apply modifiers to the component objects
• Altering the parent-child hierarchy below the VIZBlock in the Autodesk VIZ object
hierarchy.
• Collapsing the linked geometry into an editable
mesh or an editable spline
Copying Actively Linked Objects
If you must perform any of these operations, you
You can copy actively linked objects in
must either do them in AutoCAD or else bind the
Autodesk VIZ; the copies are automatically
drawing data to Autodesk VIZ, which breaks the
converted to editable mesh objects. If your
link back to AutoCAD.
selection contains several objects that instance
another object, the resulting copies also instance
Applying Modifiers to Linked AutoCAD
the same object.
Geometry
However, it is recommended that you do not
You can apply modifiers to linked AutoCAD
instance or reference actively linked objects, as this
geometry and these modifiers will persist when
can introduce instability to the scene.
you reload the geometry. This can be a very
powerful way to intelligently manage your design
intent, but it can also lead to some unexpected
See also
results, especially when using topology-dependent Using Modifiers (page 2–23)
modifiers.
Select Objects Dialog (page 1–74)
“Topology-dependent” simply means that the
modifier is relying on the particular arrangement
and number of faces and vertices that comprise the
mesh representation of the object. It is common,
for example, for the modifier to cause an action to Architectural Desktop Files
be performed on the nth element it encounters,
say the “twelfth” face or the “fourth through the
in Autodesk VIZ
twentieth” vertex. It is easy to perform edits on
the base object in AutoCAD that would cause
Architectural Desktop Files
the definition of the nth element to change,
which would result in the modifier yielding DWG files from Autodesk Architectural Desktop
unexpected results when the drawing is reloaded often contain additional information, such as
in Autodesk VIZ. special ADT objects, material definitions, and
styles. Autodesk VIZ is thoroughly compatible
Not all modifiers are topology-dependent. When
with ADT, and it recognizes all of these specialized
you attempt to use a topology-dependent modifier
objects and definitions during the file link process.
on linked AutoCAD geometry, a warning dialog
is displayed that gives you an opportunity to
continue or abort the operation.
Architectural Desktop Objects in Autodesk VIZ 343
• Material assignment
Architectural Desktop Objects in
So, for example, if a window object in Autodesk
Autodesk VIZ
Architectural Desktop contained a mullion
Each instance of an Architectural Desktop object is component, but a portion of the component had
represented by multiple objects in Autodesk VIZ. a different material assignment than the rest of
Whenever the file link process detects a useful it, the mullion component would appear as two
distinction between elements of an Architectural separate objects when linked into Autodesk VIZ.
Desktop object, it automatically separates, names, The objects will be linked together with all the
and groups the elements in Autodesk VIZ to other components of the window, but you could
make them easier to work with. The new objects modify the material properties of the two mullion
created in Autodesk VIZ through file linking are objects separately. If you changed the material
grouped together hierarchically below a special assignments in Architectural Desktop so that the
object called a VIZBlock, allowing you to deal entire mullion component only had one material
with individual objects in the hierarchy or with all assignment, then when you reloaded the drawing
of them as a group. You can view this hierarchy, in Autodesk VIZ there would only be one mullion
but you cannot change it in Autodesk VIZ. You object present.
can only change the hierarchy indirectly by editing Note: Material assignment and Layer are two of the
the objects in Architectural Desktop, and then properties used to separate one component from
reloading them into Autodesk VIZ using the File another. When these are changed in the ADT
Link Manager (page 3–323). drawing, new objects are created in Autodesk VIZ,
Note: Autodesk VIZ does not display linked or geometry may move from one object to another.
Architectural Desktop light objects. The best way In either case, some scene properties are changed,
to link lights from your Architectural Desktop such as assigned material or scene layer.
design to Autodesk VIZ is to define them as
Autodesk VIZ organizes and names file linked
blocks in Architectural Desktop, and then use
objects to reflect their structure in Architectural
the Substitute modifier (page 2–210) to replace
Desktop, using a parent-child hierarchy. The
them with Autodesk VIZ lights with photometric
parent object will be a VIZBlock named object
(page 3–714) parameters. This allows you to use
class <style>, and this VIZBlock will have one
Autodesk VIZ radiosity functions (page 2–1350)
or more child objects named object class <style
to simulate the behavior of real lights in your scene.
name> component1, object class <style name>
component2, and so forth. Objects that originate
Criteria for Subdividing Architectural
in an xref drawing in Architectural Desktop are
Desktop Objects
grouped together under a VIZBlock that is named
The File Link Manager divides an Architectural for the xref drawing.
Desktop object into multiple objects in
Autodesk VIZ if it detects distinctions based on The following table lists some examples of the
the following features: naming conventions of Architectural Desktop
objects that are file linked in Autodesk VIZ.
• Component name
• Component subtype (for example, in sectioned
bodies)
• Layer
344 Chapter 16: Managing Scenes and Projects
want the grain to wrap around the corners of a treated differently by the import/file link process.
three-dimensional object? The primary differences are:
How two-dimensional maps are applied to • object naming conventions
three-dimensional surfaces is represented by • scene organization of incoming geometry (how
mapping coordinates (page 3–696), which are the objects are combined)
stored as UVW coordinates (page 3–743). In
• parent-child hierarchy of scene objects
cases where mapping coordinates are likely to
be important to the rendered appearance of an • possible automatic material assignments
object, Architectural Desktop assigns UVW Important: Autodesk VIZ cannot directly import (or
coordinates to object components. Autodesk VIZ link) a native Revit project (RVT). You must first export
translates these coordinates and stores them in a DWG or DXF file from Revit before you can import
the object mesh that is displayed and rendered the model into Autodesk VIZ. The imported or linked
in the Autodesk VIZ scene. You can adjust these file will contain scene objects that correspond directly
coordinates in Autodesk VIZ using the UVW to individual Revit objects. In addition, most materials
Xform modifier (page 2–285), or you can redefine are translated and assigned to the objects, giving Revit
them all at once using the UVW Map modifier customers a head start toward better visualization and
(page 2–274). faster rendering of their models.
Important: Make sure that Rescale is turned on in the Note: If you’re working in 3ds Max 7.0 and you
Attach Panel of the File Link Manager dialog. Otherwise, perform a File Link Reload of an Autodesk VIZ
if the units do not match, the UVW coordinates will be 2006 scene containing a linked Revit model, the
incorrectly scaled when linked to Autodesk VIZ. scene may not reload correctly. This limitation
is corrected when you’re running 3ds Max 7.5 or
higher.
See also
Drawings Exported from Revit Elements in Autodesk VIZ (page 3–346)
Revit in Autodesk VIZ Material Translation and Linked Revit Objects
(page 3–352)
Drawings Exported from Revit
The Export function in Autodesk Revit lets you Revit Elements in Autodesk VIZ
export models to DWG or DXF file formats. In
Whenever you use the File Link Manager or
Revit 6.1 and 7.0, the exported drawing entities
DWG/DXF Import functionality, Autodesk VIZ
contain additional information, “Revit data,” such
detects a useful distinction between categories of a
as their originating Category, Family, Type, and
Revit elements. It automatically separates names
Material.
and groups the elements in Autodesk VIZ to make
The File Link Manager (page 3–323) and them easier to work with. The new objects created
DWG/DXF Import functionality looks for and in Autodesk VIZ through file linking are grouped
processes this additional information. When together hierarchically below a special object
“Revit data” is found with an object, the object is called a Block/Style Parent (page 3–661), allowing
Revit Elements in Autodesk VIZ 347
you to deal with individual objects in the hierarchy system families; they include walls, dimensions,
or with all of them as a group. This hierarchy is ceilings, roofs, floors, and levels.
similar to the one created when Architectural Besides being a class of elements, families are
Desktop objects are linked. also a template that allows you to generate new
You can view this hierarchy, but you cannot change types of items that belong to this family.
it in Autodesk VIZ. You can change the hierarchy • Types—Types, also called a family types, are
only indirectly by editing the elements in Revit, a class of elements within a family that have
exporting an updated DWG, and then reloading the exact same values for all type properties.
the drawing. For example, all 32x78 six-panel doors belong
to one type, while all 24x80 six-panel doors
Criteria for Subdividing Revit Elements belong to another type. Like a family, a type
The File Link Manager organizes Revit elements is also a template that generates new instances
into multiple Autodesk VIZ objects based on the of this type.
following classification of elements: • Instances—Instances are the actual items that
• Categories—Categories are the most general have specific locations in the building (model
class of element. They are subdivided into instances) or on a drawing sheet (annotation
model categories and annotation categories. instances).
Model categories include doors, windows, Autodesk VIZ organizes and names file linked
walls, and furniture. Annotation categories objects to reflect their structure in Revit, using
include dimensions, grids, levels, and text a parent-child hierarchy. The parent object is
notes. a Block/Style Parent named category <family
• Families—Families are classes of elements within : type>, and the Block/Style Parent has one or
a category that group elements with a common more child objects named category <family :
set of parameters (properties), identical use, type> subcategory1, category <family : type>
and similar graphical representation. Different subcategory2, and so forth.
elements within a family may have different
For example, if a single-flush door object in
values of some or all properties, but the set of
Revit is linked to Autodesk VIZ, it will have
properties—their names and meaning—is the
a parent-child hierarchy displayed as a parent
same.
object, Doors <Single-Flush : 34” x 80”>, with
For example, six-panel colonial doors are one three children, (2) Doors <Single-Flush : 34” x
family, although the doors that compose the 80”> Frame/Mullion and a Doors <Single-Flush
family come in different sizes and materials. : 34” x 80”> Panel. The objects will be linked
Most families are component family files, together with all the other components of the door,
which means you can load them into your but you could modify the material properties of
project or create them from family templates. the two frame/mullion objects separately. If you
You can determine the set of properties and changed the material assignments in Revit so that
the graphical representation of the family. the entire frame/mullion component only had one
Other families are called system families and material assignment, then when you reloaded the
are not available for loading or creating in drawing in Autodesk VIZ there would only be one
Revit. Autodesk Revit predefines the set of frame/mullion object present.
properties and the graphical representation of
348 Chapter 16: Managing Scenes and Projects
When working in Revit, you also have the ability Imported/File Linked Remarks
to link AutoCAD drawings or other Revit projects Name
to your current project. This is comparable to Casework <Base
A Block/Style Parent object
using xrefs in AutoCAD. Objects that originate as named, Casework <Base
Cabinet-4 Drawers :
18”>
Cabinet-4 Drawers : 18”> and
a linked drawing in Revit are grouped together the two, child components,
as Linked Geometry that is named for the linked Casework <Base Casework <Base Cabinet-4
Cabinet-4 Drawers : Drawers : 18”> and Casework
drawing. In this case, the parent object is named 18”> <Base Cabinet-4 Drawers : 18”>
Import Symbol <drawing.dwg> and its children Casework <Base Cabinet
are named Import Symbol <drawing.dwg> Cabinet-4 Drawers :
subcategory1, Import Symbol <drawing.dwg> 18”> Cabinet
subcategory2, etc. The subcategories are derived Import Symbol This object is Linked Geometry
from the layers that the objects reside on in the <drawing1.dwg> containing one or more
components found in
drawing. drawing1.dwg, which is a
drawing that is linked to the
The following table lists some examples of the Revit drawing. This linkage
naming conventions of Revit objects that are is comparable to an xref in
AutoCAD.
imported or file linked in Autodesk VIZ.
Imported/File Linked Remarks Note: It is possible for instances of the same Revit
Name element to subdivide differently into Autodesk VIZ
Door <Single-Flush : A Block/Style Parent for an objects. Revit elements are considered instances of
34” x 80”> object of catagory=Door, the same element if their category, family, and type
family=Single-Flush and name are exact matches, and this will affect their
type=34” x 80”. This parent
object has one or more instancing behavior for Autodesk VIZ functions
components, that are child such as material propagation.
objects displayed as Linked
Geometry.
Revit Cameras and Views
Window <Casement A component to an object
with Trim : 24” x 48”> named, Window <Casement In order to navigate a Revit drawing more
Frame/Mullion with Trim : 24” x 48”>. This is a
child object and is displayed as
efficiently, you might have set up a series of 3D
Linked Geometry. In Revit, the views by means of placing cameras at different
Frame/Mullion is a subcategory viewpoints around the drawing. The File Link
of Windows.
Manager and Import functions of Autodesk VIZ
allow camera views to be treated as Autodesk VIZ
cameras.
You must meet two conditions in order for
Autodesk VIZ to understand Revit camera views.
• A camera view must be active before you export
the DWG file from Revit.
Note: Only the active camera view is exported.
• You have to make sure you’ve turned on the
Views (cameras) switch in the Basic File Link
Settings dialog (page 3–327).
Suggested Settings for Revit Projects 349
the Geometry Options group of the AutoCAD Elements are occasionally missing Revit embedded
DWG/DXF Import Options dialog. data. When this data is missing, the objects are
"derived" according to the Derive AutoCAD
When Revit exports model geometry to a DWG
Primitives By setting. Deriving by either of the
file, objects are translated as multiple surface
Entity choices will not, generally, give you the
meshes. For example, a single wall is made up
end result you want and could result in a scene
of 6 or more AutoCAD entities; each a polyface
in Autodesk VIZ that contains a vast number of
mesh with vertices that overlap their neighbors.
individual objects. In particular, these settings can
When the meshes get linked to Autodesk VIZ,
cause issues with railing balusters.
the File Link Manager or DWG/DXF Importer
recombines them back to a single object. However,
Use Layer, Blocks as Node Hierarchy
when the meshes are recombined, their vertices
are not welded, so you end up with a larger and • On the Advanced File Link Settings dialog, use
less elegant model than expected. By turning Layer, Block as Node Hierarchy, when choosing
on the Weld option and setting an appropriate a Derive AutoCAD Primitives By option.
Weld Threshold (like 0.1" or smaller), coincident The Layer, Blocks as Node Hierarchy derive by
vertices are welded together and the file structure option, often gives the best results for linking
is more efficient. DWG files, especially when the Revit project has
Note: This is particularly important if you plan to other drawings, RVT links (page 3–723), linked to
do radiosity rendering because gaps in the model it. Combining by Layer (node hierarchies or not) is
can cause leaks that greatly increase the rendering the preferred setting. RVT links get exported to the
time. DWG as xrefs. If you want the File Link Manager
to preserve color and material assignments of
Turn on Views (cameras) those objects, Layer, Blocks as Node Hierarchy is
• Views (cameras) is found in the Include group the setting to use.
on the Basic panel of the File Link Settings
Turn on Material Definitions and Assignments
dialog and the AutoCAD DWG/DXF Import
Options dialog. • The Use Scene Material Definitions and Use
Scene Material Assignments on Reload switches
If you’ve set up one or more cameras in your Revit
are on the Advanced File Link Settings dialog.
project, the File Link Manager or DWG/DXF
Importer will recognize and link a camera when These two switches are quite important when
the Views (cameras) option is turned on. There is, you’ve got materials assigned in your Revit project.
however, a catch. Before you export a DWG from
When the Use Scene Material Definitions switch is
Revit, the camera view must be active and only the
turned on, Autodesk VIZ checks the scene for any
active camera will be exported.
currently used materials matching the exact same
name as a material name in the linked DWG file. If
Avoid Entity and Entity, Blocks as Node
Hierarchy a match is found, File Link does not translate the
drawing’s material, and instead uses the material
• On the Advanced File Link Settings dialog, defined in the scene.
when choosing a Derive AutoCAD Primitives
By option, avoid Entity and Entity, Block as When turned off, the File Link Manager always
Node Hierarchy. uses the material definitions contained in the
Suggested Workflow for Revit to Autodesk VIZ Projects 351
DWG file, and will overwrite scene materials program. Autodesk VIZ comes into play when
with the same name, regardless of which objects you’re ready to produce some higher end
the material is applied to. In addition, material renderings and perhaps add some final details.
definitions are always reloaded from the DWG file,
Following is a basic description of the expected
so if you make changes to a linked material, then
workflow between Revit and Autodesk VIZ:
reload, those changes will be lost.
1. You’ve completed most of the design work in
If the Use Scene Material Assignments on Reload Revit and you’re ready to add finishing touches
switch is turned on, linked objects with a material and create some presentation renderings.
already assigned to them in the Autodesk VIZ
scene will not have that material assignment 2. From Revit, export a DWG file.
changed. When turned off, linked objects have Exporting to a DWG file is necessary because
their material assignment ‘coordinated’ with the the File Link Manager cannot accept the
drawing, so that the two are in-sync. “native” Revit project (RVT) files.
3. Start Autodesk VIZ and use the File Link
Determine how you want Splines Handled Manager to link the DWG file.
• The settings on the Spline Rendering File Link Link the drawing using presets that include
Settings dialog control how shapes and splines the linking settings you want as described in
are linked or imported into Autodesk VIZ. the Suggested Settings for Revit Projects (page
In your original project, you may have used 2D 3–349) section.
lines to represent joints between sidewalk pavers 4. Adjust materials or make final modifications in
or as mullions separating sections of a curtain wall. Autodesk VIZ in preparation for rendering.
The settings on the Spline Rendering panel let you
Depending on the results at this stage, you may
use those lines more advantageously.
find that the Revit project needs to be changed
When you turn on Enable In Renderer and/or and updated.
Enable In Viewport, lines are visible when you 5. In Revit, makes changes to the project like
render the scene or are treated as selectable objects moving walls, adding new doors and windows
in the scene. You can also adjust the appearance or adding/removing objects.
of lines by having them display as radial or
For structural changes like adjusting walls,
rectangular geometry.
doors, windows, etc., it’s best to make these
Tip: Using the Sweep modifier (page 2–218) with changes in Revit because those changes need to
2D splines or shapes lets choose a cross-sectional be included in the originating project. File Link
shape that is swept along the spline resulting in is a one way link so any changes you can make
much more scene detail. in Revit, should be made in Revit. Otherwise,
you’d have to remember to make the same
changes in both Autodesk VIZ and Revit.
Suggested Workflow for Revit to
6. When the changes are completed, export
Autodesk VIZ Projects another DWG file with the same name as the
Most of the work you do on your Revit project original DWG file you exported in step 2.
will be done in Revit. The initial design, layout
and modeling all occurs from within the Revit
352 Chapter 16: Managing Scenes and Projects
If you give a new name to the exported DWG, Therefore, an AccuRender material that uses
the File Link Manager will not show that the a bitmap image in the base texture definition
currently linked file has been updated. will provide a more accurate translation to
7. In Autodesk VIZ, open the File Link Manager Autodesk VIZ.
and review the Files panel. Select the updated Note: There are some limitations on what is
file link and click the Reload button — Turn translated between Revit/AccuRender materials
on Show Reload Options if you want to change and Autodesk VIZ materials because there is not a
link settings. one-to-one correlation between the two material
The changed model reloads to Autodesk VIZ definitions.
and changes made to the model in
Autodesk VIZ prior to the reload are retained. Material Assignments
The Revit DWG Exporter puts embedded
The symbol means the DWG file has been
information on each object it exports. Amongst
updated.
this information are identifiers specifying
material assignments. Revit creates the same
kind of material definitions used by Architectural
Desktop, VIZ Render and Autodesk VIZ. When
imported or linked, Autodesk VIZ uses this
Materials and Linked Revit information to translate and maintain the material
Objects assignment to the resulting scene object.
Because the material identifier is embedded, if you
opened the DWG in AutoCAD, you would not see
Material Translation and Linked
the applied materials.
Revit Objects
Revit offers many options for specifying a material
When you export a DWG or DXF from Revit
to an object or class of objects. Likewise, there
projects, materials are translated into a format
are many ways where material assignments
that Autodesk VIZ can understand. Revit
can be overridden. The results you see in the
creates materials in the same format as used
Autodesk VIZ scene, in terms of how the materials
by Architectural Desktop, VIZ Render and
are applied, match what you see in the Revit model.
Autodesk VIZ. There are two kinds of materials
associated with the Revit project; AccuRender The exception to the rule would be if many of the
materials and Revit materials. When a Revit materials are AccuRender procedural materials. In
material references an AccuRender material, these cases, you will see only the diffuse color.
the AccuRender material’s parameters are used;
otherwise, the Revit material parameters are used. Texture Coordinates
There is an important caveat to this. AccuRender Material textures on imported or linked objects
materials that reference a bitmap file are translated have the same appearance as within Revit or
in Autodesk VIZ without any problems, while AccuRender. Of course, the exception to this rule
AccuRender materials that are considered is when AccuRender procedural textures are used.
“procedural” are only translated at the most basic When materials from Revit are viewed in the
level. Autodesk VIZ Material Editor, you’ll notice that
Applying Materials to Linked Revit Objects 353
of materials that it links to Autodesk VIZ. If you bottom level of the material. The Vein material is
change the properties of an assigned material while ignored.
working in Autodesk VIZ, the new properties
AccuRender materials that are applied to objects
can get overwritten the next time you reload an
in the Revit drawing are translated when you link
updated drawing, exported from Revit.
or import the drawing to Autodesk VIZ. If the
During a File Link reload, if the Show Reload texture used for the material is a digital bitmap
Options switch is turned on, you can control like a BMP or JPG file, the texture will be included
how materials are handled by using the Use with the material.
Scene Material Definitions or Use Scene Material
However, if the texture being used is one of the
Assignments on Reload options.
Procedures, the texture is not translated when the
drawing is brought into Autodesk VIZ. In these
Procedures
cases, you will see only the diffuse color.
To retain material settings made in Autodesk VIZ
during a reload: See also
1. On the Files panel of the File Link Manager,
Material Editor, Materials, and Mapping (page
make sure the Show Reload Options switch is
2–1025)
active.
2. Select the updated DWG file from the Linked
Files list and click Reload. UVW Mapping on Revit Elements
3. Open the Advanced tab and turn on Use Scene An important consideration in how many
Material Definitions and then click OK. materials render is how they are “mapped” to
The updated DWG file is reloaded and Revit the surfaces of the objects they are assigned to.
materials retain the setting changes you made This is especially important for materials that use
in Autodesk VIZ. bitmaps (page 3–660) to define the diffuse color of
a material, or the bump and cutout special effects.
AccuRender Materials As an example, you may have scanned a picture
of wood grain for use in a material, but when
AccuRender materials consist of one or more base
the material is applied to an object, how large
materials. For each base material you can set
should the image of the wood grain be? Which
attributes such as color, reflectivity, transparency,
way do you want the grain to run, and how do you
index of refraction, bump maps, and image maps.
want the grain to wrap around the corners of a
The Procedures list displays the simple materials three-dimensional object?
that combine to form your final material definition
How two-dimensional maps are applied to
and the rules for combining them. For simple
three-dimensional surfaces is represented by
materials, there is only one item in the list: Base.
mapping coordinates (page 3–696), which are
For complex materials, a tree indicates how the
stored as UVW coordinates (page 3–743). Revit
components combine. For example, the marble
assigns UVW coordinates to object components,
procedure consists of a Base material and a Vein
so in cases where mapping coordinates are
material. While the Base material is considered
important to the rendered appearance of an object,
a ’procedure’, it is translated because it’s at the
Autodesk VIZ translates these coordinates and
Using Revit Materials on Autodesk VIZ Geometry 355
• Instances are multiple occurrences of objects assigned to the various components, and so
such as style-based objects or blocks that are forth. Altering the style definitions changes the
clone instances. When you link a model or appearance of the object in the scene.
drawing that contains instanced objects to
Autodesk VIZ, those objects remain instances See also
of one another.
Object Properties Dialog (page 1–107)
• Family Elements in a Revit project represent
different items of a building and are separated
into two general categories; Model and Instanced Objects
Annotation. The Model category includes
Instanced objects are AutoCAD, Revit or
such elements as walls, doors, windows and
Architectural Desktop objects or blocks that you
stairs while the Annotation category includes
can drag and drop into Autodesk VIZ.
dimensions, text notes and section tags. When
a DWG is exported from Revit and linked Modifiers and materials that are applied and
to Autodesk VIZ, elements appear in the assigned to an instanced object propagate
Modifier panel as Block/Style Parents (page throughout all instances of the object. For
3–661), meaning you’ve selected the element example, if all the doors in a scene have glass panes
at its topmost level, or as Linked Geometry and you change the glass material of one door, all
(page 3–692), meaning one of the element’s the doors of the same style will adopt that material.
subcomponents. Propagation of materials can be controlled by
• Blocks are reusable objects made in AutoCAD toggling Propagate Materials To Instances (page
or Architectural Desktop. Blocks are made 3–355).
of one or more objects that can be inserted Once you link a model to Autodesk VIZ, instanced
into a scene at different locations, scales and objects can be transformed (moved, rotated, or
orientations. Blocks can also be an amalgam scaled). If you don’t like the way an object is
of other blocks. A block that is made of other transformed, you can use the Undo command
blocks is referred to as a nested block. Once or Reset Transform button (page 3–341) on the
linked to Autodesk VIZ, blocks appear in the Modify panel.
Modifier panel as VIZBlocks, meaning you’ve
selected the block at its topmost level, or as
Linked Geometry, meaning one of the block’s Family Elements
subcomponents.
When modifiers and materials are assigned to
Note: If you use one of the “node hierarchy”
family elements that are imported or linked to
Derive By settings, you will see Block/Style Autodesk VIZ, they propagate throughout all
Parent objects in the Modifier panel and not instances of the element if their family and type
VIZBlocks. match exactly. For instance, one particular part of
• Architectural Desktop style-based objects are your model shows a room with three doors. Two
complex objects like Doors and Windows of the doors are Doors <Single-Flush : 32” x 80”>
whose components rely on style definitions and the third is a Doors <Single-Flush : 36” x
to control how they appear in the scene. For 80”>. If you change the panel material of one of the
example, style definitions for a door set the Doors <Single-Flush : 32” x 80”> doors, the panel
type of door, the door thickness, the materials of the other Doors <Single-Flush : 32” x 80”>
Blocks 357
door will also change because their family, Doors, Note: A change to the drawing in AutoCAD is
and type, Single-Flush : 32” x 80”, are identical. reflected in Autodesk VIZ when you reload the
linked model. Changes made in Autodesk VIZ do
Propagation of materials can be controlled by
not propagate back to AutoCAD.
toggling the Auto Material Propagation Toggle
(page 3–355).
Block and Modifying Linked Geometry
Linked objects show up as linked geometry objects
Blocks in the modifier stack. These objects don’t allow
access to sub-object levels where minor editing
The concept of blocks originated in AutoCAD.
can occur at Vertex or Face levels. You must first
Blocks allow you to combine one or more objects
add an Edit Mesh modifier to the object in order
into a single reusable object. Blocks can be
to access sub-object levels where you can perform
repeatedly inserted in the drawing at various
operations like welding vertices or deleting faces.
locations, orientations, and scales. Changes made
If you add a modifier to a block, the modifier is
to a block propagate automatically to all instances
applied to all instances of that block. Likewise, any
of that block throughout the drawing. Like
sub-object level editing to the originally selected
all drawing construction, inserting or deleting
block propagates to all other instances.
blocks occurs while you work in AutoCAD or
Architectural Desktop. Note: Any modifiers you apply to a block or block
component in Autodesk VIZ are preserved if you
You then link the DWG file to Autodesk VIZ, where reload the file with the File Link Manager (page
your goal is to beautify the scene in preparation 3–323).
for rendering. Some of those preparations include
such procedures as selecting a block instance If you move, rotate, or scale blocks or block
so you can apply or adjust a material, applying components in Autodesk VIZ, their new transform
texture mapping coordinates, unifying or flipping is preserved even if the linked model is reloaded
normals, and setting rendering properties. These from AutoCAD. Transforms applied to linked
procedures affect all other block instances in the geometry in Autodesk VIZ are relative to the
scene. transforms applied to the same objects in
AutoCAD. Further, the transform propagates to
The structure of nested blocks, blocks that are all instances of that block or component. For
made from multiple sub-blocks, is maintained example, if you move the Chair component of
when you link an AutoCAD drawing to Desk1, the Chair component of all Desk1s in
Autodesk VIZ. For example, if the block Desk1 the scene will be moved. If the transform is
is made using several blocks, Desk, Chair and undesirable, you can use the Reset Transform
Return, you will be able to select any of Desk1’s button (page 3–341) on the Modify panel to
sub-blocks to alter their rendering properties put the block or component back to its original
or materials. You can only access rendering position.
properties for block components that appear as
Linked Geometry on the Modifier panel. Blocks When a modifier is applied to a block or block
or sub-blocks, that appear as VIZBlocks in the component, it propagates throughout all instances
Modify panel, do not have rendering properties of the block or block component in the scene.
because they are not renderable.
358 Chapter 16: Managing Scenes and Projects
ConferenceTable. With this sort of naming All blocks that share the specified name are
breakdown, you can easily find a block using selected.
the Select Objects dialog.
To select blocks by layer:
• Another selection method uses the Layer
or Color setting you made for your block 1. Choose Edit menu > Select By > Layer.
when you created it in Architectural Desktop. 2. Select a block in the scene.
Because layer and color data is also linked to
All the blocks sharing that layer are selected.
Autodesk VIZ, you can select entire groupings
of blocks using Select By Color or Select By To isolate selected objects:
Layer.
1. Using one of the previous selection methods,
• Finally, you can select blocks by the type of select some blocks.
material that’s applied to them. Take care when
2. Choose Tools menu > Isolate Selected.
selecting blocks this way because the material
assigned to the block may also be assigned to All objects are hidden except for the selected
other objects in the scene. blocks. A dialog is displayed, indicating that
Once a block or set of block instances is isolation mode is active.
selected, you can isolate them from the
remainder of the model to work on them more
efficiently. Styles
Styles are sets of parameters that you can assign
To select block by color: to objects in Autodesk Architectural Desktop
1. Choose Edit menu > Select By > Color. to determine their appearance. This means
2. Select a block in the scene.
an Architectural Desktop object references a
style in order to determine certain aspects of
All blocks that share that color are selected. its appearance. For example, a door style in
Architectural Desktop determines the type of
To select blocks by name:
door represented in the drawing, such as single or
1. Choose Edit menu > Select By > Name, or press double hung, bifold or hinged, solid core or glass
the H key to open the Select Objects dialog. pane. You can assign one style to more than one
Alternately, you could use the Selection Floater, object, and you can modify the parameters of that
accessed from the Tools menu. While similar to style to change all the objects that have the same
the Select Objects dialog, the Selection Floater style assigned to them.
is modeless and can remain on-screen while For more information about how to work with
you’re working. styles in Architectural Desktop, refer to the
2. While holding down the CTRL key, select Architectural Desktop Reference.
blocks with common names.
A style is made up of components. Each
You can also enter the block name in the name component defines dimensions and display
field at the top of the dialog. properties per view. For example, the hatch
3. Click Select. pattern defined for component1 in Plan view
can be different from the hatch pattern for the
same component in Model view. Styles are
Styles 361
grouped in categories that mirror the categories of is preparing the scene for presentation to
Architectural Desktop objects. You perform model your clients and rendering. AEC Objects are
management, such as creating and deleting styles made up of components that have default
and style-components in Architectural Desktop, architectural materials assigned through their
and reload the modified scene into Autodesk VIZ styles. Components can be selected from the Select
using the File Link Manager utility (page 3–323). Object dialog (page 1–74) or Selection Floater
and new materials can be assigned or the existing
When a model is linked to Autodesk VIZ from
material can be altered in the Material Editor.
Architectural Desktop, styles play an important
role in assigning render materials and texture For example, a door that is assigned the “Hinged
coordinates to Architectural Desktop object – Single – Full Lite” style is made up of five
components described by style components. components in Architectural Desktop. The
Components of an Architectural Desktop object components are the Frame, Panel, Stop, Glass, and
often have predefined materials in their style Muntins. Each component has a material assigned
definitions. This means that if you have many to it. For instance, the default material assigned
instances of an object in your drawing, you can to the Panel component of this type of door is
quickly replace materials on all the objects without “finish carpentry.wood.mahogany”. If you want to
having to select each instance of the object. change the Panel material in Autodesk VIZ, you
can select the Panel component and drag a new
’Style-based objects’ is a more common term for
material to it from the Material Editor.
Architectural Desktop objects that reference styles.
Because the Panel material is part of the door’s
Limitations of Styles style, your new material will automatically
propagate to any other door in the scene that is
Styles-based Architectural Desktop objects do
assigned the “Hinged – Single – Full Lite” style.
have some limitations when a model is linked to
Autodesk VIZ. Note: If you need to apply a material to individual
objects, or object selections, rather than to all
• Changes to styles and their components
objects of the same style, you can use the command
performed in Autodesk VIZ will not propagate
back into Architectural Desktop.
Propagate Materials To Instances (page 3–355).
• The structure of a style-based object in For more information about working with
Autodesk VIZ cannot be changed. You cannot materials and assigning materials to objects in
add components to or delete them from a Autodesk VIZ, see Materials (page 2–1025).
linked object.
Styles and Interactive Selection and
• Objects on frozen layers in Architectural
Navigation
Desktop will not be displayed when the model
is linked to Autodesk VIZ. Architectural drawings range from simple
details to highly complex floor plans, so finding
Note: This is not the case when Skip All Frozen
different components of a drawing can be difficult.
Layers is turned off in your File Link settings.
Style-based objects from Architectural Desktop
all have styles associated with them. So if you link
Styles and Materials
a drawing to Autodesk VIZ, objects with styles
The primary purpose of linking a model will be associated with them both in Architectural
from Architectural Desktop to Autodesk VIZ Desktop and in Autodesk VIZ. Furthermore, in
362 Chapter 16: Managing Scenes and Projects
Autodesk VIZ, the name of the object will contain 2. Select an object in the scene.
the Architectural Desktop object category name All objects or components that share that layer
(Door, for example), style name (Double Hinged) are selected.
and component name (Panel).
You make most object and component selections To isolate selected objects:
in Autodesk VIZ by selecting objects in the 1. Using one of the previous selection methods,
viewports. However, in complex models where select some objects.
objects and components may be spread across 2. Choose Tools menu > Isolate Selected.
multiple layers or located in congested areas,
style definitions help streamline the selection of All objects are hidden except for the selected
reusable components in a drawing. objects or components. A dialog appears
indicating that isolation mode is active.
Once objects and components are selected, you
can also isolate them from the remainder of the
model to work on them more efficiently.
render the furniture, you can turn off that layer’s Note: The Hide and Freeze states of an object
Renderable property. cannot be set to ByObject. Objects can be hidden
Note: When you link an AutoCAD file into or frozen on a per-object basis; however, they will
Autodesk VIZ, any layers that are frozen (and always follow the behavior of their layer when it is
all objects that reside on these layers) are not hidden or frozen.
imported.
Special Layer 0
Note: Objects can be hidden and frozen on a
per-object basis; however, an object residing on When you begin a new scene, Autodesk VIZ
a hidden or frozen layer will always adopt the creates a special layer named 0 (default). By
hide/freeze state of its layer. default, objects on layer 0 have their visibility
settings on, renderability is on, and viewport
Tip: If you set lights’ render control to ByLayer (in
display is set. You can’t delete or rename layer 0.
the General panel of the Preferences dialog), you
can use the Render column in the Layer Manager If you haven’t created any layers, Autodesk VIZ
to quickly turn lights on or off in your scene. places objects you create on layer 0 by default.
After you create objects, you can reassign them to
different layers, including those residing on layer 0.
Display Properties
In the Layer Properties dialog (page 3–369), you
can specify layer visibility individually for each
viewport. If you don’t want to display a certain
layer, you can hide that layer. Autodesk VIZ hides
the layer in the viewport, but not in any output
rendered image of the scene.
Note: For hidden geometry to render, Render
Hidden Geometry must be turned on in the
Render Scene dialog > Common Parameters
rollout (page 2–1334).
Layers can help organize the contents of a scene.
You can specify layers to display objects shaded
Layer-Object Relationships (page 3–453), in wireframe mode (page 3–747), as
a bounding box (page 3–663), or as whatever is set
The Layer Manager (page 3–364) displays layers, on the Viewport Properties menu (page 3–453).
as well as their associated objects. This makes it Using this method, you can have different objects
very easy to organize, and make changes to objects displayed differently in the same scene.
in a scene. With the Layer Manager, you can
adjust property settings at either the layer level, or You can display layers in See-Through mode.
individually for each object. Each property can See-Through mode temporarily displays selected
be toggled between various states, including the objects in translucent form so you can see through
ByLayer state (page 3–663). When an object’s them without applying special materials. You can
property is set to ByLayer, the object inherits that toggle See-Through mode for all objects per layer.
setting from the layer it is associated with.
364 Chapter 16: Managing Scenes and Projects
You can also Freeze, Hide, or Isolate the layer of a Objects are organized by layer in the dialog, in
selected object using the corresponding command an expandable list. By clicking ‘+’ or ‘-‘, you can
in the display quadrant of the quad menu. expand or collapse (respectively) the object list for
each layer. You can also sort the layers by clicking
Layer Names any of the column heads.
You can create and name a layer for each Another useful tool is the ability to open
conceptual grouping (such as walls or terrain) the Object Properties dialog or Layer Properties
and assign common properties to those layers. By dialog for one or more highlighted objects or
grouping objects into layers, you can control their layers directly from the Layer Manager by clicking
display and make changes quickly and efficiently. the corresponding icons.
When you name layers, you can use names of
Note: You can change the property settings for
variable length up to 255 characters. These names
each layer or object by clicking the corresponding
can contain letters, digits, blank spaces, and the
icon in the dialog. With each click, the icons
special characters dollar sign ($), hyphen (-), and
cycle through the various states of the property,
underscore (_).
including Off ( ) and By Layer (page 3–663)
Note: Any layers from a linked AutoCAD file ( ), and, in the Render, Color, and Radiosity
are automatically imported to Autodesk VIZ. columns, By Object. When a property is set to By
Autodesk VIZ names the converted layers based Layer, the object inherits the property setting from
on the layer names from the AutoCAD drawing. its associated layer.
The Layer Manager, available from the main 2. In the Layer Manager, click Create New
toolbar, is a modeless dialog where you can create Layer.
and delete layers. You can also view and edit the Autodesk VIZ displays a new layer in the list
settings for all of the layers in your scene, as well with the temporary name Layer01.
as the objects associated with them. You can 3. Click the Layer to enter a new name.
specify the name, visibility, renderability, color,
4. To create more than one layer, click New again
and objects’ and layers’ inclusion in the radiosity
solution from this dialog. and enter the new layer name.
Layer Manager 365
Tip: If an existing layer is highlighted when want to view, without editing, objects on other
you create a new layer, the new layer inherits layers. You can’t edit or select objects on a frozen
the properties of the highlighted layer. You layer; however, the objects are still visible if the
can modify the properties of the new layer, layer is on. You can make a frozen layer current,
if necessary, as illustrated in the following and you can add new objects to the frozen layer.
procedures.
1. On the main toolbar, click Layer
To make a layer current:
Manager.
2. In the Layer Manager, select the layers you want
1. On the main toolbar, click Layer
to freeze.
Manager.
3. In the Freeze column, click Off to turn
2. In the Layer Properties dialog, click the
Freeze on for the highlighted layer(s).
second column next to the layer name.
A check box appears indicating that the The Freeze icon displays.
layer is current.
Note: The current layer is also displayed in the Tip: You can freeze all layers by clicking
title bar of the Layer Manager. Freeze/Unfreeze All Layers on the Layer
Manager toolbar.
To make a layer current (alternate method):
• On the Layers toolbar > Layer List, select a layer. To assign a color to a layer:
The highlighted layer becomes the current layer. You can assign a color to a layer using the Layer
Properties dialog. For example, you can assign
To hide a layer: the color red to a layer named HVAC to help you
identify the mechanical equipment in your scene.
1. On the Layers toolbar, click Layer
Manager. 1. On the main toolbar, click Layer
2. In the Layer Manager, select the layers you want Manager.
to hide. 2. In the Layer Manager, select a layer and click
3. In the Hide column, click Off to turn Hide the Color icon.
on for the highlighted layer(s). 3. In the Layer Color dialog, select a color, and
The hide icon displays. then click OK.
To rename a layer:
Tip: You can hide all layers by clicking You might want to rename a layer to better define
Hide/Unhide All Layers on the Layer Manager how it’s used in your scene. You can rename a
toolbar. layer at any time during a Autodesk VIZ session.
However, you can’t rename Layer 0.
To freeze a layer:
Freezing layers is useful when you want to edit 1. On the main toolbar, click Layer
objects associated with particular layers but also Manager.
366 Chapter 16: Managing Scenes and Projects
To delete a layer:
You can delete an empty layer at any time during a
Autodesk VIZ session. However, you can’t delete
the current layer, Layer 0, or a layer that contains
objects.
Shape objects (page 1–234) have the Enable in Layer Manager Right-Click Menu
Renderer option turned on by default. In addition,
they have an Enable in Renderer check box in their
creation parameters. When both check boxes are
on, the shape is renderable. If either check boxes
are off, the shape isn’t renderable. If you apply
a modifier that converts the shape into a mesh
object, such as a Lathe (page 2–142) or Extrude
(page 2–127) modifier, the shape automatically
becomes renderable regardless of the state of its
local Enable in Renderer check box.
For shapes, the Renderable toggle in the Object A standard popup menu is displayed over the
Properties dialog (page 1–107) affects the main Layer Manager by right-clicking anywhere in
object, so it also affects all instances of and the Layer Manager dialog. The menu contains a
references to the shape. variety of layer management and focus operations.
Color—Changes the color associated with the Some of the operations involve highlighted items
highlighted layers. You can select another color or selected objects in your scene. If the right-click
by clicking the color swatch to display either the is on a non-highlighted row, the highlight switches
Object Color dialog (page 1–130) (for objects), or to that row and the subsequent operation applies
the Layer Color dialog (for layers). to the newly highlighted item. If the right-click is
on a highlighted row (or a group of highlighted
You can set an object’s color independently, or rows), all of the highlights are preserved and
turn on ByLayer in the Object Color dialog to use the subsequent operation applies to all of the
the associated layer’s color. highlighted items.
Radiosity—When on, objects are included in Note: To apply an operation to a group of objects or
the radiosity solution (page 2–1350). Objects layers, you must hold CTRL when you right-click.
not included in the radiosity solution do not If you have highlighted a group of objects and
contribute to indirect illumination. If these objects right-click on one of them (without holding
are lights, only their direct contribution will be CTRL), the selection group is cleared and only that
used for rendering. object will be highlighted.
Note: Removing objects from the radiosity solution Rename—Initiates text editing mode for the
can significantly decrease radiosity processing highlighted layer’s name. Unique names are
and rendering time, however it does sacrifice enforced. If a non-unique name is typed in, a
some accuracy in the solution. It can be useful for modal dialog pops up, stating “Invalid Layer
creating quick test renders. Name. Layer names must be unique.”
Note: Rename is available only for layers; objects
cannot be renamed in the Layer Manager.
Likewise, Rename is only available when a single
layer is highlighted.
Cut—Stores references to highlighted objects in
memory so they can be pasted into another layer.
Layer Properties Dialog 369
Cut is only available when objects are highlighted; Highlight All Layers—Highlights all of the layers in
if there are no objects highlighted or if a layer is your scene.
part of a multiple selection, it is not available. Note: This command does not highlight any
Note: Objects are not actually cut from their objects.
assigned layer until they are pasted to another one.
Layer Properties—Opens the Layer Properties
Tip: If you cut a layer, Autodesk VIZ cuts all objects dialog (page 3–369) for the currently highlighted
in the layer. layers.
Paste—Moves cut objects into the highlighted Object Properties—Opens the Object Properties
layer. dialog (page 1–107) for the currently highlighted
Paste is available only when a single layer is objects.
highlighted and one or more objects have been cut.
Collapse All—Closes all expanded layers, hiding Layer Properties Dialog
the object lists.
Main toolbar > Layer Manager > Select one or more
Expand All—Expands all layers, displaying the layers. > Click Layer icon.
objects within each.
The Layer Properties dialog is similar to the Object
Create New Layer—Creates a new layer containing
Properties dialog (page 1–107). Here, you can
any currently selected objects.
change the rendering, motion blur, and display
The new layer becomes the current layer. Its name settings of one or more selected layers. In addition,
is generated automatically ("Layer01", "Layer02", you can also change the advanced lighting settings
etc.) but can be changed by clicking its label. or hide/freeze one or more selected layers.
Delete—Deletes any empty highlighted layer.
Note: This does not delete objects. Likewise, this
command is not available when your selection
includes Layer0, any objects, or any layer
containing objects.
Add Selected Objects—Places objects currently
selected in your scene into the highlighted layer.
Note: This command is available only when a single
layer is highlighted.
Select—Selects all of the currently highlighted
objects or layers in the Layer Manager.
Note: If you use this command on a layer, all objects
in that layer are selected.
Highlight Selected Objects’ Layers—Highlights all
layers that contain objects in the current scene
selection.
370 Chapter 16: Managing Scenes and Projects
General panel
Interactivity group
Controls layer information for objects on the
Hide—Hides the selected layer.
selected layer.
Freeze—Freezes the selected layer.
Name—Displays the selected layer name. You
can edit the name. The name can have up to 255
Display Properties group
characters, containing letters, digits, blank spaces,
and the special characters dollar sign ($), hyphen Provides controls that alter the display of objects
(-), and underscore (_). on the selected layer.
Active Color—Displays the color of the selected See-Through—Makes objects on the selected layer
layer. You can select another color by clicking the translucent in viewports. This setting has no effect
color to display the Layer Color dialog, which is on rendering, it simply lets you see what’s behind
identical to the Object Color dialog (page 1–130), an object in a crowded scene, and especially to
except that it doesn’t have the By Layer/By Object adjust the position of objects behind or inside the
toggle. See-Through object.
Display—Controls the display of the objects on the Display As Box—Toggles the display of objects on
selected layer. the selected layers, including 3D objects and 2D
Layer Properties Dialog 371
shapes as bounding boxes (page 3–663). Produces use vertex colors to shade the mesh. When off,
minimum geometric complexity. colors are unshaded.
Backface Cull—For objects on the selected layer,
Rendering Control group
toggles the display of faces with normals (page
3–704) pointing away from view. When on, you Controls rendering settings for objects on the
see through the wireframe to the back faces. selected layer.
Applies only to Wireframe viewport display. Visibility—Controls the rendered visibility of the
Edges Only—For objects on the selected layer, object. At 1.0, the object is fully visible. At 0.0,
toggles the display of face edges. When set, the object is completely invisible when rendered.
only faces appear. When off, all mesh geometry Default=1.0.
appears. Applies only to Wireframe viewport Renderable—Makes objects on the selected layer
display. appear or disappear from the rendered scene. For
Vertex Ticks—Displays the vertices in objects on more information, see Renderable.
the selected layer as tick marks. Note: This has the same functionality as the Render
If the current selection has no displayed tick toggle in the layer list (page 3–373).
marks, the check box is clear. If some of the Inherit Visibility—Causes objects on the selected
vertices in the current selection display tick marks, layer to inherit the visibility of their parents (as
the check box contains a gray X. If all vertices in determined by the parent’s Visibility track in Track
the current selection display tick marks, the check View). When a group parent is assigned a visibility
box contains a black X. track, Inherit Visibility is automatically turned on
Trajectory—Toggles trajectory (page 3–741) for all children in the group. Transparent materials
display for objects on the selected layer. You can and hidden objects have no effect on this function.
display an object’s trajectory wherever you are in Visible to Camera—When on, the object is visible
Autodesk VIZ. to cameras in the scene. When off, cameras do not
Ignore Extents—When turned on, objects on the view this object.
selected layer are ignored when you use the display Visible to Reflection/Refraction—When on, the
control Zoom Extents (page 3–462). object is used in calculating reflections and
Show Frozen in Gray—When on, the object turns refractions. When off, the object does not appear
gray in viewports when you freeze it. When off, in reflections or refractions.
viewports display the object with its usual color or Receive Shadows—When on, objects on the
texture even when it is frozen. selected layer can receive shadows.
Vertex Colors—Affects editable mesh objects (page Cast Shadows—When on, objects on the selected
2–350) on the selected layer. Displays the assigned layer can cast shadows.
vertex colors (page 1–107) in the viewport. You
Apply Atmospherics—When on, atmospheric
assign vertex colors at the vertex or face sub-object
levels. effects are applied to the object. When off
atmospheric effects do not change the rendered
Shaded—Affects editable mesh objects (page appearance of this object.
2–350) on the selected layer. When on, if the
editable mesh has vertex colors, shaded viewports
372 Chapter 16: Managing Scenes and Projects
Object Subdivision Properties group Default=12” for imperial units and 30cm for
metric units.
Use Global Subdivision Settings—When on, the
object’s meshing settings correspond to the global
subdivision settings on the Radiosity Control
Panel. When off, you can change the meshing
Layer List
settings for each object. Default=on.
• Subdivide—When on, a radiosity mesh is
created for the objects regardless of the Layers toolbar > Layer List
Property On Off
Hide/Unhide Set Current Layer to Selection’s
(Hidden) (Visible)
Freeze/Unfreeze Layer
(Frozen) (Editable)
Renderable/Non- Layers toolbar > Set Current Layer to Selection’s Layer
Renderable (Renderable) (Non-
renderable)
Set Current Layer to Selection’s Layer changes
the current layer to the layer which contains the
currently selected objects.
Note: This button is not available if your selection
includes objects that reside on different layers.
Isolate Selection’s Layer 375
This command hides the layer of the current When you save a scene state, you can choose which
selection. To display the hidden layer, choose aspects of the scene to record:
Unhide All from the quad menu or use the Layer • Light Properties—Light parameters such as
Manager (page 3–364). color, intensity, and shadow settings are
recorded with the scene for each light or
luminaire.
• Light Transforms—Transforms such as position,
orientation, and scale are recorded for each
light.
• Object Properties—Current Object Properties
values are recorded for each object. This
376 Chapter 16: Managing Scenes and Projects
includes settings for Advanced Lighting and the scene will contain both the omni lights and
mental ray. the free spot light.
• Camera Transforms—Camera transform modes If you decide to add other lights to the scene
such as position, orientation and scale are that you don’t want to render with the existing
recorded for each camera. lights, you need to remember to turn off the
• Camera Properties—Camera parameters such new lights and overwrite any existing scenes
as FOV and depth of field, including any that have Light Properties saved. See Saving
corrections made by the Camera Correction Changes to an Existing Scene State (page
modifier (page 2–1019) are recorded for each 3–378) on how to overwrite an existing scene
camera. state.
• Layer Properties—Records the settings for each • Use descriptive names for scene states. If scene
layer in the Layer Properties dialog at the time state names are too long to see in the dialog,
the scene state is saved. resize the Manage Scene States dialog or use the
scroll bar at the bottom of the dialog.
• Layer Assignment—Records each object’s layer
assignment. If you select individual parts to be saved with a
scene state, it is useful to note in the scene state
• Materials—All materials and material name which parts are recorded.
assignments used in the scene are recorded.
• If the scene contains more than one camera,
• Environment—Records these Environment restore the desired scene state first, then change
(page 3–52) settings: Background, Ambient, the viewport to the desired camera view.
and Tint colors; Global Lighting > Level;
Environment Map; Environment Map on/off Scene State Limitations
state; Exposure Control rollout settings.
• Even though you can select multiple scene
Tips for Managing Scene States states from the Manage Scene State dialog, only
one scene state can be restored at a time.
• When first becoming familiar with scene states,
minimize changes to make it easier to keep • The currently restored scene state name is not
track of what each scene state contains. displayed in the user interface. It’s helpful to
save rendered scenes by their scene state name
• Saving all scene aspects in a scene state allows as a reference.
you more flexibility when restoring. When
you include all the parts of the scene, you can • Materials must be reopened in the Material
choose to restore all or just a few of the aspects Editor after a scene state containing objects
that were originally saved. with material assignments is restored. When
the scene is restored, its materials are copied
• Additions made to a scene after a scene state and replaced on the Scene–In Use palette (page
has been saved affect how the restored scene 3–407).
will render. For example, say you already have
a scene state named Omni that contains omni The originally assigned materials are moved
lights. You then decide to save another scene to the Scene–Unused palette. If you want to
state named Free Spot that contains a free spot make additional changes to the material and
light. When you restore the Omni scene state, the Material Editor is open, you need to click
the material in the Scene–In Use palette. If
Manage Scene States Dialog 377
Scene states do not store viewport layouts, such as 3. In the Save Scene State dialog, highlight the
which camera view is active, so you can use the parts you want saved in the scene state, then
Batch Render tool (page 2–1457) to coordinate enter a descriptive name. For descriptions of
rendering from any camera that is saved with the these parts, see Managing Scene States (page
model. With each camera task that you assign 3–375).
to the batch render tool, you can specify a saved 4. Click the Save button. This saves the scene state
scene state that will be automatically loaded and to the MAX file.
rendered.
To restore a scene state:
See also 1. Right-click in a viewport and choose Restore
Manage Scene States Dialog (page 3–377) Scene State from the quad menu.
2. Choose the scene state to restore from the flyout
Batch Rendering (page 2–1456)
list.
Batch Rendering - Batch Render Dialog (page
3. Highlight the parts you want restored with the
2–1457)
scene state. Only the parts that were originally
saved with the scene state are listed.
4. Click Restore.
The scene state is restored in the viewport.
378 Chapter 16: Managing Scenes and Projects
Enter a Scene State name—A text field where you Enter a Scene State name—Displays the scene
enter a descriptive name for the scene state. name that was selected in the Manage Scene States
dialog. Use the drop-down list to select a different
Select Parts—Lists the parts you can save in the
scene state to restore.
scene state. By default, all parts are highlighted
except for Materials and Environment. When you Select Parts—Displays a list of scene parts from
make a different selection set, it is “sticky,” which which you can restore for the scene state. To
means the next time the dialog is displayed, the highlight a continuous range of parts, drag or
parts you highlighted previously are highlighted. SHIFT+click. To highlight noncontinuous parts,
use CTRL+click.
Save—Saves the scene state with the name you
supplied and the parts you selected. The scene Restore—Click to restore the scene state in the
state is saved in the MAX file. active viewport.
Cancel—Closes the dialog without saving the scene Cancel—Closes the dialog without restoring the
state. selected scene state.
380 Chapter 16: Managing Scenes and Projects
Status Bar Controls (page 3–427) In Track View, if you select any track or group of
tracks, this command turns the keyable property
Animation and Time Controls (page 3–440) (page 2–839) on or off. If a selected track is not
Viewports (page 3–451) keyable, its children (sub-animations), if any, are
toggled. For example, if you select a transform
Viewport Controls (page 3–457)
controller track, this command toggles the keyable
Command Panel (page 3–478) property of all position, rotation, and scale tracks.
If you select an object’s track, its transform,
Tool Palettes Set (page 3–403)
parameter, and material tracks are all toggled. If
382 Chapter 17: User Interface
the object is part of a hierarchy, all its child objects’ Viewport Navigation
tracks are also toggled. Pan Viewport
This action can be undone. Default key: I (the letter “i”)
Running Scripts from the Command Line (page File Menu (page 3–385)
3–504)
Edit Menu (page 3–385)
Using the -V Option Tools Menu (page 3–385)
You use the -V option to load a different display Group Menu (page 3–386)
driver at startup. This option overrides the setting
Views Menu (page 3–386)
in 3dsviz.ini.
Create Menu (page 3–387)
Follow the -V with one of these letters for the
driver you want to use: Modifiers Menu (page 3–389)
s: Loads the software driver. Animation Menu (page 3–391)
o: Loads the OpenGL driver. Graph Editors Menu (page 3–392)
d: Loads the Direct3D driver. Rendering Menu (page 3–393)
n: Loads a null driver. Customize Menu (page 3–393)
For example, if you ordinarily run OpenGL and MAXScript Menu (page 3–394)
want to switch to the software driver for a session,
Help Menu (page 3–394)
you would type: 3dsviz vs
Interface
Using the -Z Option
When you click a menu name, a number of
If you call product support, the representative
commands are listed below it.
might ask you to run this option to determine the
exact version of your software. This option only As an alternative to using your mouse (or other
writes to a file; it does not start Autodesk VIZ. pointing device), each menu name includes an
underlined character. Pressing that character key
Follow the -Z with a file name:
while holding down the ALT key opens the menu.
3dsviz z id.txt Commands in the open menu usually have an
underlined character as well. While the menu
The file (in this example, id.txt) is written to the
is open, pressing that character key invokes the
Autodesk VIZ root directory.
command.
An ellipsis (…) after a command name indicates a
dialog will appear.
A right-pointing triangle after a command name
Menu Bar indicates that a submenu will appear.
If a command has a keyboard shortcut, the menu
The menu bar is located directly under the main displays it to the right of the command name.
window’s title bar. The title of each menu indicates Menu commands that are on/off toggles use a
the purpose of the commands on the menu. check mark to indicate their status. If a check
Each menu uses standard Microsoft Windows mark is present, the command is active.
conventions.
File Menu 385
Open Recent (page 3–94) The Edit menu contains commands for selecting
Save (page 3–94) and editing objects in a scene.
Export Selected (page 3–101) Edit Named Selection Sets (page 1–88)
Rename Objects (page 1–118) Undo View Change / Redo View Change (page
1–34)
Assign Vertex Colors (page 2–1303)
Save Active View (page 1–35)
Color Clipboard (page 1–135)
Restore Active View (page 1–35)
Camera Match (page 2–1014)
Grids Submenu (page 2–649)
Grab Viewport (page 1–33)
Viewport Background (page 1–36)
Measure Distance (page 2–631)
Update Background Image (page 1–42)
Reset Background Transform (page 1–43)
Group Menu
Show Transform Gizmo (page 1–43)
Menu bar > Group
Show Ghosting (page 1–44)
The Group menu contains functions for grouping Show Key Times (page 1–44)
and ungrouping objects in the scene.
Shade Selected (page 1–45)
Create Menu 387
Cameras Systems
Free Camera (page 2–999) Daylight System (page 1–335)
Target Camera (page 2–1000) Sunlight System (page 1–335)
Create Camera From View (page 1–46)
Helpers
Modifiers Menu
Dummy (page 2–631) Menu bar > Modifiers
Wire Parameters
Saved Schematic Views (page 3–314)
Main Toolbar
The main toolbar provides quick access to tools Selection Region Flyout (page 1–76)
and dialogs for many of the most common tasks
in Autodesk VIZ. Window/Crossing Selection Toggle (page
Note: Right-clicking the move, rotate, or scale 1–85)
buttons opens the Transform Type-In dialog (page
1–352). Select and Move (page 1–360)
Layers Toolbar
The Extras toolbar contains several miscellaneous
Right-click any toolbar > Layers tools for working with your Autodesk VIZ scene.
3. SHIFT+click the button you want to define. This list is the same as the one that appears at the
Autodesk VIZ assigns the presets to the file that bottom of the Render Scene dialog (page 2–1316).
corresponds to the button: a.rps, b.rps, or c.rps.
2. On the main toolbar, click Quick Render. To toggle display of the Snaps toolbar, right-click
The scene is rendered using the presets you an empty area of the main toolbar, such as the
chose. section under the Reference Coordinate System
drop-down, and choose Snaps. For details on the
Interface button functions, see Standard Snaps (page 2–656)
and Snap Options (page 2–660).
Delete Button—Deletes the button from the you may have selected in the Quads panel of the
toolbar. Customize UI dialog. The menus are set up to
Note: There is no Undo for Delete Button, although display only the commands that are available for
Customize > Revert To Startup Layout will restore the current selection; therefore, selecting different
the toolbar to its original appearance. types of objects displays different commands
in the quadrants. Consequently, if no object is
Edit Macro Script—Opens a MAXScript Editor selected, all of the object-specific commands will
window, which lets you edit the button’s script. be hidden. If all of the commands for one quadrant
Customize—Opens the Toolbars panel (page are hidden, the quadrant will not be displayed.
3–513) of the Customize User Interface dialog, Cascading menus display submenus in the same
which lets you customize the contents of the manner as a right-click menu. The menu item that
current toolbar (or any other toolbar). contains submenus is highlighted when expanded.
The submenus are highlighted when you move the
mouse cursor over them.
Some of the selections in the quad menu have
a small icon next to them in the quad menu.
Quad Menu Clicking this icon opens a dialog where you can set
When you click the right mouse button anywhere parameters for the command.
in an active viewport, except on the viewport label
To close the menu, right-click anywhere on the
(see Viewport Right-Click Menu (page 3–453)),
screen or move the mouse cursor away from the
a quad menu is displayed at the location of the
menu and click the left mouse button. To reselect
mouse cursor. The quad menu can display up
the last selected command, click in the title of the
to four quadrant areas with various commands.
quadrant of the last menu item. The last menu
These commands can be customized on the
item selected is highlighted when the quadrant is
Quads panel (page 3–515) of the Customize User
displayed.
Interface dialog (page 3–511).
There are additional, specialized quad menus
The quad menu allows you to find and activate
available when you press any combination of
most commands without having to travel back
SHIFT, CTRL, or ALT while right-clicking in any
and forth between the viewport and rollouts on
standard viewport. For more information, see
the command panel.
Additional Quad Menus (page 3–401).
The two right quadrants of the default quad menu
display generic commands, which are shared Interface
between all objects. The two left quadrants
The following are the default commands for the
contain context-specific commands, such as mesh
right-click menu. You can add, edit, or remove
tools and light commands. Each of these menus
any of these commands in the Quads panel (page
provides convenient access to functions found in
3–515) of the Customize User Interface dialog.
the command panel. You can also repeat your
last quad menu command by clicking the title of
the quadrant.
The quad menu contents depend on what is
selected, as well as any customization options
400 Chapter 17: User Interface
Convert To—This submenu lets you convert the Hide Selection’s Layer—Hides the layer of the
selected object to an editable mesh (page 2–350), selected object.
an editable patch (page 2–316), an editable spline
Save Scene State—Opens the Save Scene State
(page 1–261), a NURBS surface (page 2–465), or
dialog where you enter a name for the current
an editable poly (page 2–377). This command is
scene and select the options you want saved with
available only if an object is selected when you
the scene.
open the quad menu.
Manage Scene States—Opens the Manage Scene
Display quadrant States dialog. This is a modeless dialog where
These options are available from the Display you can select, save, restore, rename, and delete
quadrant: scene states. See Manage Scene States Dialog (page
3–377).
Isolate Selection—The Isolate Selection tool (page
1–69) lets you edit your selection while hiding the Tools quadrants
rest of the scene.
The two quadrants on the left side of the default
Tip: You can use this successively to dig into a large quad menu are called Tools 1 and Tools 2. These
selection set. quadrants contain commands specific to various
Isolate Selection’s Layer—Isolates the layer of the geometries and modifiers such as: lights, editable
selected object. geometries, and cameras. These quadrants are
not displayed unless one of the corresponding
Unfreeze All—Unfreezes all frozen objects. geometries or modifiers are selected when the
Freeze Selection—Freezes the selected objects. quad menu is opened.
Frozen objects are visible in the viewports, but
cannot be manipulated.
Additional Quad Menus
Freeze Selection’s Layer—Freezes the layer of the
selected object. Several specialized quad menus are available when
you press any combination of SHIFT, CTRL, or
Unhide by Name—Displays a dialog you use to ALT while right-clicking any standard viewport.
hide objects you choose from a list. See Select
Objects Dialog (page 1–74), which describes More quad menus are available if you hold down
nearly identical controls. any combination of SHIFT, CTRL, or ALT when
you right-click a viewport. Some of these menus
Note: You cannot unhide an object on a hidden
have default commands, and some of them are
layer. If you select and object on a hidden layer, a
empty.
dialog will prompt you to unhide the layer first.
You can create or edit any of these menus from the
Unhide All—Unhides all hidden objects.
quad set list in the Quads panel (page 3–515), on
Hide Unselected—Hides all visible objects that are the Customize User Interface dialog; however, they
not selected. Hidden objects still exist in the scene, cannot be deleted.
but do not appear in the viewports or in rendered
These are the additional quad menus and their
images.
default settings:
Hide Selection—Hides the selected objects.
402 Chapter 17: User Interface
Material Palettes (page 3–405) 1. Open the palette from which you want to select
tools.
Lighting and Cameras Palettes (page 3–412)
2. Select the tool you want. To select multiple
Studio and Luminaire Palettes (page 3–415) tools, use the CTRL or SHIFT keys.
Tool Palette Right-Click Menus and Dialogs (page 3. Right-click on the tool or selection set and
3–420) select Copy from the menu.
Content Browser 4. Open the New Palette.
5. Right-click on an empty area and select Paste
from the menu.
See also:
Content Browser Utility (page 3–124)
Material Palettes 405
Paint Palette 1. Open the palette that contains the material you
want.
The Paint palette contains basic materials with
characteristics ranging from flat to high-gloss 2. Click and drag the material to an object in the
finishes. scene.
3. Release to assign the material to the object.
Plastic Palette Tip: As an alternate method, you can first select the
The Plastic palette contains an assortment of object in the scene, and right-click on the material
materials that have plastic qualities. to display its right-click menu. Select the Apply
To Selected option.
Scene-In Use and Scene-Unused Palettes 407
Scene–In Use Palette Materials material has been assigned, it is transferred to the
Scene–In Use palette and the red lock is removed.
The material thumbnails on the Scene–In Use
palette contain symbols that indicate how many
times the material has been assigned or if it not Thumbnails on the Scene–Unused palettes
supported. that have a pair of yellow arrows indicate that
these materials were once applied to objects
that have been deleted from the scene, or the
The number shown on the material
materials were applied to objects that now have a
thumbnail indicates how many times it has been
different material assignment. These materials are
assigned. For example, if the thumbnail displays
considered recycled and can be reused as long as
5, it means that material has been assigned to five
they remain on the Scene–Unused palette.
different objects in the scene.
You can remove recycled materials from the
Scene–Unused palette by clicking the Empty
When a material is assigned to more than
Recycled button or by choosing Delete or Cut from
99 objects, a dot displays on the thumbnail.
the right-click menu. Clicking Empty Recycled
removes all recycled materials; deleting or cutting
When a thumbnail has a yellow triangle, it removes only highlighted items.
indicates the material is not a fully supported type. When scenes containing materials were saved
Supported materials are Standard, Architectural, in a scene state (page 3–375) and then later
Composite, Multi/Sub-Object, and Raytrace. restored, clones of those materials appear on the
Unsupported materials and maps are listed Scene–Unused palette. The same material may
in gray. For a complete list, see Unsupported appear multiple times on the palette depending
Materials/Maps in the Tool Palettes (page 3–410). on the number of times the saved scene state
You can also see which materials, maps, and containing the material is restored.
shaders are unsupported in tool palettes by
opening the Material/Map Browser (page 2–1042) Warning: Recycled materials on the Scene–Unused
and turning on Incompatible and select Palettes. palette are not saved with the scene. If you want to use
one of these materials in a future session, copy or cut it
and then paste it to another palette.
Scene–Unused Palette Materials
Several different symbols are displayed on the Procedures
material thumbnails on the Scene–Unused palette
To apply materials from the Scene–In Use and
that indicate if the material has not been applied, Scene–Unused palettes:
or that it’s recycled or unsupported.
• Select the material you want to use from either
Scene palette and drag it to an object.
You can also create new architectural Alternatively, you can first select an object or
materials from the Scene–Unused palette. Newly objects, right-click the material thumbnail,
created materials created by using the Create and then choose Apply to Selected from the
New button are designated by a red lock symbol right-click menu.
that displays in the material thumbnail. Once a
Scene-In Use and Scene-Unused Palettes 409
To see objects that have been assigned a material: panel, and will disappear at the end of your
1. On the Scene–In Use palette, right-click the Autodesk VIZ session unless you move them
material thumbnail. to another palette.
2. From the menu, choose Select Objects. 5. Make any desired changes to the material.
Objects in the scene with that material assigned The material thumbnail on the Scene–Unused
are selected. palette is updated.
Tip: If it doesn’t update, right-click the material
To create an architectural material on the and select Refresh Thumbnail.
Scene–Unused palette:
6. Drag the material to an object in the scene.
1. Click the Create New button at the top of After the material is assigned, it is transferred
the palette. to the Scene–In Use palette.
2. From the New submenu, select a material
To save a material to a palette:
template.
1. Right-click the material you have modified or
A new material with that template’s settings is
created in the Tool palette, and choose Copy.
placed on the palette. The red lock symbol on
the material thumbnail indicates the material 2. Select the palette into which you want to place
has not been used in the scene. the material.
The preset material templates available on this For example, if you created a material with a
menu are the same as those on the Architectural wood grain texture map, you might want to
material Templates rollout. A template is simply save it on the Wood Plastics palette.
a set of preset material parameters, which 3. Right-click in an empty area of the palette, and
approximates the kind of material you want to choose Paste.
create, and gives you a starting point. Once you
The material is added to the palette, and will be
choose a template, you can adjust its settings
available in future design sessions.
and add maps to enhance realism and improve
the material’s appearance. Tip: You can organize materials into groups
within a single palette by adding separator bars
3. Right-click the material and select Properties.
and text labels from the palette right-click menu
The material is displayed in a sample slot in and then reordering the icons themselves by
the Material Editor. If the Material Editor draggng and dropping them to new locations
is not currently open, clicking Properties in the palette. You can also use the right-click
automatically opens the Material Editor. menu to sort palette items by name or type.
4. In the Material Editor, give the material a new
name in the Name field. To modify material properties from the Scene
palettes:
Tip: Skipping this step can lead to later
1. To make changes to a material, right-click on
confusion. If the name is not changed, and you
the material thumbnail and select Properties.
apply the material to objects in the scene, the
changed material replaces all scene materials The Material Editor opens and displays the
that have the same name. The replaced material in a sample slot.
materials are moved to the Scene–Unused 2. Make changes to the material.
410 Chapter 17: User Interface
The material thumbnail on the Scene palette palettes. You can also see which materials are
is updated and objects in the scene that unsupported in the Material/Map Browser. For
are assigned this material are automatically more information, see Show Group (page 2–1047).
updated. Note: Unsupported materials cannot be copied or
Note: If the material thumbnail is not updated, dragged into the Content Browser (page 3–124).
right-click on the image and select Refresh
Material Types
Thumbnail.
Advanced Lighting Override
To delete materials from the Scene–Unused palette:
Blend
• To remove all the unused materials from DGS Material (physics_phen)
the palette, click the Empty Recycled button. Double Sided
• To remove highlighted materials, use the SHIFT Glass (physics_phen)
or CTRL keys to select multiple materials, then
click the Empty Recycled button. Lightscape Mtl
Note: This only removes the recycled materials. Matte/Shadow
Materials with a red lock icon and unsupported mental ray
materials remain in the Scene–Unused palette until
Shell Material
you apply them to an object in the scene, you move
them to another palette or you exit Autodesk VIZ.
Shellac
See Also SSS Fast Material (mi)
Unsupported Materials/Maps in
3D Displacement (3dsmax)
the Tool Palettes
Ambient/Reflective Occlusion (base)
Some types of materials, maps and shaders are
Bump (3dsmax)
unsupported in the tool palettes. The materials
that are unsupported or contain unsupported Camera Map Per Pixel
Maps Shaders
Material to Shader
Contour Only (contour)
Opacity (base)
Depth Fade (contour)
Parti Volume (physics)
Distortion (lume)
Parti Volume Photon (physics)
Facade (lume)
Photon Basic (base)
Factor Color (contour)
Reflect (base)
Glass (lume)
Refract (base)
Glow (lume)
Shader List (Environment)
Landscape (lume)
Shader List (Lens)
Metal (lume)
Shader List (Output)
Mist (lume)
Shader List (Photon Volume)
Night (lume)
Shader List (Shadow)
Ocean (lume)
Shader List (Texture)
Stain (lume)
Shader List (Volume)
Submerge (lume)
Shadow Transparency (base)
Submerge (lume)
SSS Physical Shader (mi)
Translucency (lume)
Texture Remap (base)
Water Surface (lume)
Texture Rotate (base)
Water Surface Shadow (lume)
Texture Wave (base)
Wet-Dry Mixer (lume)
Transmat (physics)
WrapAround (lume)
Transmat Photon (physics)
Transparency (base)
Two-Sided (base)
UV Coordinate (3dsmax)
UV Generator (3dsmax)
XYZ Coordinate (3dsmax)
XYZ Generator (3dsmax)
412 Chapter 17: User Interface
The Incandescent palette contains nine The Cameras palette contains two types of
photometric lights that have preset configurations. cameras: free (page 2–999) and target (page
All nine lights are free point lights that are preset 2–1000).
with Isotropic Light Distribution (page 2–953). The default parameters set for a free camera or
target camera when dragged from the Cameras
palette are the same as the creation parameters
Customize Heights Dialog 413
used when these cameras are added to the scene 2. Right-click in a viewport to end the command.
from the Create panel. 3. Rotate and move the camera to adjust the point
If you drag a camera into the scene from the of view.
Cameras palette, you have the option to specify 4. Change the viewport to a Camera viewport.
the Z height of the camera before you place it.
The Customize Heights dialog (page 3–413) is To set the Z height of an incandescent light or
accessible from the right-click menu of each camera:
camera. When you set a Z height for an incandescent
light or camera, it applies to all the tools on the
Procedures Incandescent, Fluorescent, Low-Pressure Sodium,
To add a lighting fixture into a scene: High Intensity Discharge, and Cameras palettes.
You can add a lighting fixture using one of four 1. Right-click on a light or camera tool and select
methods: Active Height.
• Drag the luminaire tool from the palette and 2. Select a preset height from the flyout list. To
drop it into a viewport. specify a custom height, see Customize Heights
• CTRL+drag and select File Open to create a
Dialog (page 3–413).
luminaire into a new scene.
See also
• CTRL+drag and select Merge File to merge a
luminaire into an existing scene. Customize Heights Dialog (page 3–413)
• CTRL+drag and select Xref File to xref a
luminaire into an existing scene.
Procedures
To create a custom Z height for a camera or light tool:
1. In the Customize Heights dialog, enter a value
in the Height field, and then press ENTER to
activate the Add Height button.
2. Click Add Height.
3. Click OK.
The custom height is now available on the
Active Height flyout list of heights.
Note: Materials assigned to objects in a model by an omni light that is preset to generate
that is externally referenced do not appear in shadows and use global settings. A target
the palettes. camera is positioned to view the center of the
inside the domed area. The face normals of
If you use the Drag method, or open the material
the dome are inverted so if you apply a texture
studio using Merge File or Xref File, you need to
mapped material, the mapping is visible from
manually change a viewport to a Camera viewport.
the camera.
If you use the Open File method, the studio is
displayed in four viewports, including one or two
Camera viewports, depending on the material • Studio – Ground – 1 Wall: This
studio. studio contains a ground plane and one wall. A
Tip: If you want to modify the studios, they are target camera with a 35mm lens is aimed at the
installed inc:\program files\autodesk viz 2006\ base of the wall, and an omni light is located
default catalogs\tool catalogs\studios\material overhead and centered over the floor.
studios folder. Make the desired changes and save
them using the same file name and location.
You can also access studios from the Studio • Studio – Ground – 2 Walls: This
Catalog found in the Content Browser (page studio contains two walls positioned at a 90
3–124). degree angle to each other and a ground plane.
An omni light is placed overhead near the edge
See also where the two walls meet. Two target cameras,
one with a 35mm lens and the other with a
Studios Palette (page 3–418) 43.456mm lens are placed off the floor and
focused on the corner where the walls and floor
meet.
Studios Palette
Main toolbar > Tool Palettes button > Studios tab
• Studio – Ground – 3 Walls: This
The Studios palette in the Tool Palettes window studio contains three walls and a ground plane.
contains different prebuilt “stages” that you can An omni light is placed directly overhead. Two
easily drag and drop into a viewport to create a target cameras, one with a 35mm lens and one
scene. Depending on the scene you select, you can with a 43.456mm lens, are placed above the
create a ready-made scene that has a floor, walls, walls; each focused on one of the side walls.
reference objects, lights and cameras.
Most studios are 25’ x 25’ x 25’ in size. The
exceptions are the dome and photoshoot studios. • Studio – Ground – 4 Walls: This
studio contains four walls and a ground plane
to create an enclosed space. An omni light
is placed overhead. One target camera with
• Studio – Dome: This scene contains a 35mm lens is focused on the corner of the
a dome structure that measures 45’ in diameter studio where the walls meet the floor; the
and 22’6” high. The dome is lit from within
Luminaire Palettes 419
second target camera with a 43.456mm lens model or objects in the scene already and want to
views the outside of the four wall structure. merge a studio. Choose Xref File if you want to
compile a scene of separate elements.
Dialogs
Palette Properties Dialog (page 3–425)
Tool Palettes Title Bar Right-Click Menu 421
Tool Properties Dialog (page 3–426) Move—When selected, changes the cursor to a
four-direction arrow. Drag the title bar to move
View Options Dialog (page 3–427)
the Tool Palettes Set.
Size—When selected, changes the cursor to a
four-direction arrow. Drag the right edge or the
bottom edge of the tool palette set to change its
Right-Click Menus size.
Note: You can also resize the Tool Palettes Set at all
times along the top or bottom edges, or along the
Tool Palettes Title Bar Right-Click side of the palette opposite the title bar (except in
Menu the area of the individual palette tabs.)
Tool Palettes > Right-click over the title bar on the Tool Close—When selected, closes the Tool Palettes Set.
Palettes Set
Auto-Hide—When turned on, the Tool Palettes Set
Tool Palettes > Right-click over the Properties button on
the bottom of the title bar hides itself, except for the title bar when you move
the mouse away from the palette. The Tool Palettes
This menu’s commands are for managing the Tool Set is displayed once again when you move the
Palettes Set (page 3–403). It displays when you mouse over the title bar. When turned off, the Tool
right-click the title bar of the Tool Palettes Set. Palettes Set is displayed at all times. Default=on.
Palette Tab Right-Click Menu (page 3–424) Delete Palette—Click to delete the active palette.
A warning dialog confirms if you want to
permanently delete the palette and reminds you to
export it to an external file if you want to save it.
Note: You can export the palette from the Tool
Palettes Panel (page 3–520) in the Customize User
Interface dialog.
Note: Deleting a tool palette from the Tool Palettes
Set does not permanently remove it from the Tool
Palettes panel.
Tool Right-Click Menu 423
Rename Palette—Click to rename the active Cut—Removes the tool from the active palette, and
palette. A text field displays where you can enter a place it on the clipboard. To select multiple tools,
new name. Press ENTER to accept it. use the SHIFT or CTRL keys.
Properties—Displays the Palette Properties dialog Copy—Makes a copy of the selected tool, and
(page 3–425) that contains information about the places it on the Clipboard. To select multiple tools,
active palette. use the SHIFT or CTRL keys.
Delete—Deletes the tool from the active palette. To
Note: You can also click the Properties button select multiple tools, use the SHIFT or CTRL keys.
at the bottom of the title bar to open the Palette The tool is not placed on the Clipboard. A warning
Properties dialog. dialog confirms if you want to delete the tool.
Note: When you delete a tool form a tool palette,
objects in the scene that were inserted with this
Tool Right-Click Menu
tool are not deleted.
Main toolbar > Tool Palettes button > Right-click over a
tool or tool name Rename—Renames the tool. A text field displays
where you enter the new name, then press ENTER
Right-clicking on a tool or on a tool’s thumbnail to accept it.
image displays menu with options for managing Properties—Displays the Tool Properties dialog
tools on palettes, including those on the Scene–In (page 3–426) where information about the tool’s
Use and Scene–Unused palettes. properties is displayed.
Apply To Selected—Applies the material to selected Apply To Selected—Applies the material to selected
objects in the scene. objects in the scene.
424 Chapter 17: User Interface
Select Objects—Displays the objects in the scene Help—Displays a context-sensitive topic in the
that are assigned the material. Help system.
Refresh Thumbnail—Updates the thumbnail image
to match the material as it displays in the Material
Editor.
Palette Tab Right-Click Menu
Main toolbar > Tool Palettes button > Right-click over a
Copy—Makes a copy of the selected tool, and palette tab (active or inactive).
places it on the clipboard.
Properties—Displays the material in a sample slot Right-clicking over an active or inactive palette
in the Material Editor (page 2–1039). tab displays a menu with options for managing
palettes and tab names in the Tool Palettes Set.
Help—Displays a context-sensitive topic in the
Help system. See also
Interface – Scene–Unused Tool Palette Right-Click Menu (page 3–422)
Tool Palettes Title Bar Right-Click Menu (page
3–421)
Tool Right-Click Menu (page 3–423)
Interface
Interface
See also
Content Browser (page 3–124)
See also
Animation and Time Controls (page 3–440)
Viewport Controls (page 3–457)
Image Size—Use the sliding scale to adjust the size Open Mini Curve Editor—Click to display a
of tool thumbnail images. To the left, the image version of the Track View Curve Editor (page
becomes smaller. To the right, it becomes larger. 2–826) in place of the time slider and track bar.
View Style—Lets you choose how to display tool When curves are displayed, you can click the Close
thumbnail images and text on palettes: button at upper left to return to a view of the time
• Icon only—Displays the tool thumbnail images slider and track bar.
with no text. Track Bar (page 3–432)
• Icon with text—Displays each tool thumbnail
image with its name beneath it. Status Bar
• List view—Displays each tool thumbnail image
with its name to the right of it.
MAXScript Mini Listener (page 3–428)
Apply to—Lets you adjust the scope of the changes
to: Status Line (page 3–430)
428 Chapter 17: User Interface
Depending on what you are doing, the prompt Right-click either of the Mini Listener lines to
line displays instructions that tell you what the open the floating MAXScript Listener window.
program expects or what you can do next. For It will also display a list of the last 20 commands
example, when you click the Move button, the recorded. You can choose any of these commands
prompt line reads "Click and drag to select and and press ENTER to execute them.
move objects." For more information about the MAXScript
Tooltips are also displayed on the prompt line as Listener window, as well as about creating scripts,
your cursor passes over icons in any toolbar and see the MAXScript Reference: choose Help >
the status bar. MAXScript Reference.
Procedures
Example: To create a sphere using the Mini Listener:
1. Click the tag bar at the left end of the status
bar, and drag it to the right to expand the Mini
Listener.
MAXScript Mini Listener 429
2. In the Scripter (white, lower) line, type sphere 7. Click and highlight the macros.run "Modifier
radius: 50 and press ENTER. Stack" "Convert_to_Mesh" line.
A sphere appears in the viewports. Highlight the command script as you would
highlight a line of text in a text editor by clicking
Example: To redo a command using the Mini Listener: at the start of the line and dragging along the
1. Click the tag bar at the left side of the status entire length.
bar, and drag it to the right to expand the Mini 8. Click and drag the highlighted script from the
Listener. Mini Listener to a toolbar.
2. Right-click the Mini Listener and choose Open
Listener Window. Interface
3. From the MacroRecorder menu, choose Enable.
4. Using the command panel, create a sphere in
the perspective viewport.
5. Convert the sphere to an Editable Mesh. MacroRecorder Line—The pink, upper line displays
the last thing recorded by the MacroRecorder. If
6. Delete the sphere.
the MacroRecorder is not enabled, nothing will
7. Make a box. appear in this line.
8. Right-click the MacroRecorder (pink, upper) Scripter Line—The white, lower line displays the
line and choose macros.run "Modifier Stack" last entry typed into the Scripter window. You
"Convert_to_Mesh" from the list. The box has can type directly into this line and execute the
been collapsed to an editable mesh. commands in the viewports
Example: To make a script and add it to a toolbar: History List—Right-clicking either of the Mini
For this very simple example, you’ll make a script Listener lines displays a history of the last twenty
that collapses an object to an editable mesh, and commands recorded by the Macro Recorder
then create a toolbar icon to run the script. (provided it has been enabled). Click any of these
commands to execute them in the viewports.
1. Right-click the Mini Listener, and choose Open
Listener Window. Open Listener Window—Right-clicking either of
the Mini Listener lines displays a dialog that allows
2. From the MacroRecorder menu, choose Enable.
you to open the MAXScript Listener window. You
Close the listener window.
can also open the Listener using the Utilities panel
3. Create a box in the Perspective viewport. > MAXScript rollout. You can display the Listener
4. Right-click the box and choose Convert to: > window in a viewport by right-clicking the
Editable Mesh from the quad menu. viewport label, then choosing Views > Extended
> MAXScript Listener.
5. Left-click in the MacroRecorder line.
The MacroRecorder line goes blank because
the cursor goes to the last line.
6. Press the upper-arrow key on the keyboard to
move up the list of recorded command scripts.
430 Chapter 17: User Interface
(page 3–655) exists in the scene, it’s played back as selected/unselected state of the key. The frame
you drag the time slider. indicator is a similar bar displayed in blue.
The buttons on either side of the time slider bar A key on the track bar can represent any number
move one frame to the left and one frame to the of animated parameters for the selected objects.
right, like the Previous Frame and Next Frame Transformations, modifiers, and animated
buttons in the time controls. If Key Mode (page material parameters can all have keys at a
3–447) is on, these buttons duplicate the Previous particular frame.
Key and Next Key buttons.
To display a list of all keyed values for a key on
Key Mode can jump to all the keys or only the the track bar, right-click the key. Choose a key
transform keys, depending on the Key steps setting type from the right-click menu to display its key
in the Time Configuration dialog. properties dialog. Delete keys and filter the track
Tip: Right-click the slider bar to open the Create bar display using options on the right-click menu.
Key dialog. This lets you create Position, Rotation, The track bar right-click menu contains a
or Scale keys without using the Auto Key button. submenu that lists any procedural controllers
It also lets you copy keys easily from one frame to (list controllers, noise, and so on) assigned to
another. the current object selection. If you select one of
the controllers from the submenu, the properties
dialog for that controller displays in a modeless
Track Bar dialog.
The track bar is located below the viewports, between the The track bar can display a waveform (.wav file)
time slider and the status bar.
that has already been assigned to the sound object
in Track View. To display this feature, right-click
The track bar provides a timeline showing the
the track bar and choose Configure > Show Sound
frame numbers (or appropriate display units).
Track. If no waveform is currently assigned to
It provides a quick alternative to Track View
the sound object or if you are using a third-party
for moving, copying, and deleting keys, and
sound object plug-in that is not compatible with
changing key properties. Select an object to view
the waveform display, this part of the track bar is
its animation keys on the track bar. The track bar
unavailable.
also displays keys for multiple selected objects.
You can modify the active time segment (page
3–651) by pressing CTRL and ALT while dragging
the track bar. Hold the left mouse button to slide
the start of the range, the right mouse button to
slide the end of the range, and the middle mouse
button to change both the start and end frames
The displayed keys use color coding, so you together. A tooltip at the cursor and a status bar
can easily determine what kind of key exists message will indicate the range you are setting.
at that frame. Position, rotation and scale
Note: While the Auto Key button is depressed,
keys are red, green, and blue, respectively, and
the time slider background is highlighted red,
non-transformational keys are gray. You can
to indicate that Autodesk VIZ is in automatic
customize the colors in the Customize User
keyframing mode.
Interface dialog (page 3–511), and depends on the
Track Bar 433
To hide or show the track bar: • During a move or clone operation, short,
• Choose Customize > Show UI > Show Track vertical, gray lines represent the original key
Bar. locations.
This menu item is a toggle: a check mark shows • The cursor changes to a cross when over
that the track bar is currently displayed. unselected keys.
• The cursor changes to a two-sided arrow over
To show curves on the track bar: selected keys, signifying a move operation is
possible.
• Click the Open Mini Curve Editor button
at the left hand side of the track bar. • Right-click anywhere on the track bar to display
the track bar right-click menu. Right-click
The track bar keys are replaced with a menu bar,
over a key to access its keyed values from
toolbars and the controller and key windows.
the right-click menu, as well as other track
bar-related commands.
Interface
Track Bar • Click the Open Mini Curve Editor button
to expand the track bar. When the track bar
is expanded it displays the Track View menu,
toolbars, controller and key windows. You can
hide or unhide UI Elements such as scroll bars
as well when this is expanded.
Status bar > Selection Lock Toggle To avoid accidentally canceling a selection:
• Your selection is locked. Turn off the Selection coordinates for the current transform. See
Lock toggle on the status line. “Interface,” below.
• You’ve set the Selection Filter in the toolbar to • While a transform button is active and multiple
a specific category of object, so you can’t select objects are selected, these fields are blank.
any of the other categories. To fix this, choose • When no object is selected and the cursor is not
All in the Selection Filter list. over the active viewport, these fields are blank.
Procedures
Coordinate Display
To display the position of the mouse in feet or metric
Status bar > Coordinate Display area units:
1. Choose Customize > Units Setup.
The Coordinate Display area shows the position of
2. Turn on one of the main categories (Metric,
the cursor or the status of a transform, and allows
US Standard, Custom, or Generic Units) and
entry of new transform values.
choose from the drop-down list.
The coordinate display is now in labeled units.
The information in these fields varies, depending Example: To move the position of an object to the
on what you are doing: center of the world:
• When you are simply moving the mouse in a 1. Select an object in the viewport.
viewport, these fields show the current cursor 2. Right-click and choose Move from the quad
location in absolute world coordinates (page menu
3–748).
3. Select the value in the x coordinate field, then
• While you are creating an object, these fields enter 0. Press TAB.
also show the current cursor location in
4. Type 0 in the Y coordinate field, and press TAB.
absolute world coordinates.
5. Type 0 in the Z coordinate field.
• While you are transforming an object by
dragging in a viewport, these fields always show Tip: Right-clicking the spinner arrows for a
coordinates relative to the object’s coordinates coordinate sets the value to zero.
before the transformation was started.
Interface
While you are transforming an object, these
fields change to spinners (page 1–12), and you
can type values directly in them, as described
below in “Using the Coordinate Display for When you are transforming an object, you can
Transform Type-In.” This is an easy alternative type coordinates directly in the Coordinate
to using the Transform Type-In dialog (page Display fields. You can do this in two modes,
1–352). Absolute or Offset.
• While a transform button is active and a single • Absolute sets the exact coordinates of the
object is selected, but you are not dragging object in world space.
the object, these fields show the absolute
438 Chapter 17: User Interface
When you transform an object, the information • Right-click the Snap Toggle on the main toolbar
shown by these fields depends on the type of to display the Grid and Snap Settings dialog.
transform: Alternately, you can choose Customize menu >
Grid and Snap Settings.
• Move displays the offset XYZ coordinates
based on the current coordinate system. For • On the Home Grid tab, in the Grid Dimensions
example, if you’re moving an object and you’re group, change the Grid Spacing value.
constrained to the X axis, only the X readout The new value is displayed in the grid setting
will change, displaying the offset of the move display.
along the local X axis.
• Close the dialog by clicking the X at the upper
• Rotate displays the offset angle in degrees right corner of the Grid and Snap Setting
about the axis or axes the rotation is performed dialog.
around. This is dependent on both the axis
coordinate system, and the local/center toggle
button. Time Tag
• Scale displays the offset XYZ scale in
Status bar > Add Time Tag
percentages.
You can get the absolute as well as offset Time tags are text labels that you can assign to any
information through the Transform Type-In point in time in your animation.
dialog (page 1–352) available from the Tools menu
or by right-clicking a transform button that has
been selected on the toolbar.
They let you easily jump to any point in your
See also animation by selecting its tag name. The tags can
be locked to be relative to other time tags so that
Units Setup Dialog (page 3–581) the movement of one time tag will update the time
position of another.
Grid Setting Display The time tags are not attached to keyframes. They
are simply a way to name events that occur in your
Status bar > Grid Setting Display animation and navigate to them. If you move your
keyframes, you will need to update your time tags
The grid setting display shows the size of one grid accordingly.
square.
Add Time Tag Dialog 439
Interface Interface
Left-click or right-click the Time Tag box to
display a menu with the following items:
Add Tag—Displays the Add Time Tag dialog (page
3–439) that lets you define a tag name for the
current location in time.
Edit Tag—Displays the Edit Time Tag dialog (page
3–440) that lets you rename, delete, or edit any
defined tag.
The remainder of the menu displays frame
numbers and their tag names. Choose a tag name Tag Time—Displays the current frame, to which
to jump to the spot in time defined by the tag. the tag will be assigned.
Tag Name—Enter the name of the tag. You can
create a long tag name in this field, but the tag slot
Add Time Tag Dialog will display only 15 characters.
Status bar > Click in the Time Tag box. > Add Tag Lock Time—Locks the tag to the current frame,
regardless of subsequent scaling of time.
Use the Add Time Tag dialog to define a time tag
For example, with Lock Time off, if you have a tag
(page 3–438) for the current spot in time.
named "Forty" at frame 40, and you scale time up
200 percent, the Forty tag will be at frame 80. If
Procedure Lock Time is on, the Forty tag remains at frame 40.
To use time tags:
Relative To—Lets you assign another tag to which
1. Move to the spot in time where you want to the current tag will maintain a relative offset.
add a tag.
For example, if you have a tag at frame 10 called
2. Click in the Time Tag box, and choose Add Tag
First and you create a second tag at frame 30 called
from the menu.
Second, if you move the position of First to frame
3. In the Add Time Tag dialog, enter the name of 25, Second will move to frame 45 to maintain the
the tag. Choose whether to lock it to time and 20-frame offset between the two tags.
whether to make it relative to another tag, and
click OK. This is a one-way offset. If you change the time
position of the second tag in the example, the first
The name of the tag appears in the tag slot, and tag is not affected. Circular dependencies are not
will reappear whenever you go to that spot in allowed: you can’t have First relative to Second and
time. Second relative to First.
To jump to a defined tag, click the Time Tag slot
and choose the tag name from the list.
To rename, delete, or change the properties of
a tag, click the Time Tag field and choose Edit
Tag (page 3–440).
440 Chapter 17: User Interface
Animation Controls
• Change an animatable parameter. type used by the controller. Right-click the keys
For example, assume you start with a cylinder in the track bar and select the transform key to
that has not been animated yet and therefore see the controls for adjusting the timing of the
has no keys. You then turn on the Auto Key in-betweens.
button, and on frame 20 you rotate the cylinder 8. Turn off the Auto Key button.
90 degrees about its Y axis. This action creates
Rotation keys at frames 0 and 20. The key at To remove the animation from a scene and start
frame 0 stores the original orientation of the again:
cylinder, while the key at frame 20 stores the 1. Choose File menu > New.
animated rotation of 90 degrees. When you
play the animation in the viewport, the cylinder If the scene has been modified, you are asked
rotates 90 degrees about its Y axis over 20 if you want to save it. After you make that
frames. decision, a New Scene dialog is displayed.
2. In the New Scene dialog, turn on Keep Objects
4. Turn off the Auto Key button when And Hierarchy and click OK.
you are done.
All the objects remain in the scene but all
Example: To animate an object between three points keyframes have been removed.
using Auto Key: 3. To remove the animation from just certain
objects, delete their keys in Track View.
1. Turn on the Auto Key button.
2. Drag the time slider (to frame 25, for example). To animate a hierarchy with IK interactively:
3. Move the object from point A to point B. 1. Select any hierarchy that does not already have
A Move key is created at frames 0 and 25. an IK Solver applied.
The establishing key at frame 0 describes the 2. Click IK on the Hierarchy panel.
object’s position at point A. The key at frame 25
describes the object’s position at point B. 3. Turn on the Auto Key button.
4. Drag the time slider (to frame 50, for example). 4. On the Inverse Kinematics rollout, turn on
Interactive IK.
5. Move the object from point B to point C.
5. Select and move objects in the IK structure on
A Move key is created at frame 50 that describes
different frames.
the object’s position at point C.
Note: This will work on linked hierarchies that
6. Click the Playback button. do not already have an HD Solver applied. This
The object moves from point A to point B over technique allows you to animate hierarchies
frames 0 to 25, then proceeds to point C over using IK methods (page 2–781) without
frames 26 to 50. applying any IK solver (page 2–784).
4. Move the time slider to the frame where you Selection List—Gives quick access tonamed
wish to set keys selection sets (page 1–81) while working with
Set Key. Lets you easily swap among different
selection sets.
5. Click the Set Keys button. Note: Choosing a selection set from the list does
Keys will be added to all keyable parameters. not select objects in the viewports. To accomplish
this, use the Named Selection Sets (page 1–81).
To move a position in time without update:
Set Key Filters dialog—Turn on the tracks you want
1. Turn on Set Key. to key. Default=Position, Rotation, Scale and IK
2. Move to a particular frame (let’s say frame 20). Parameters.
3. Position your object(s).
4. Move your cursor over the time slider, then
press the right mouse button down and drag.
The time slider moves, but the position does
not change. The position is maintained and
transferred to the new point in time.
5. When you are at the appropriate frame, press
Set Keys to set the position keys. The following options are available:
• All— allows for a quick way to key all tracks.
Interface When All is turned on, the other toggles are
unavailable. Clicking Set Keys with the All
Set Key—Turns on Set Key Mode.
filter turned on will result in a key placed on
all keyable tracks.
• Position— allows for position keys to be created.
Set Keys—Click this to set a key. This
button will create a key on tracks for the selection • Rotation— allows for rotation keys to be created.
set. It checks that the tracks are keyable, and that • Scale— allows scale keys to be created.
Key filters allow the tracks to be keyed. If both
• IK Parameters— allows inverse kinematic
these are satisfied, a key is set. Set Keys also sets
parameters to be keyframed.
keys in Auto Key mode, and in Layout mode (the
mode when neither Auto Key nor Set Key is turned • Object Parameters— allows object parameters
on). Keyboard shortcut default for this command to be keyframed.
is K. • Other—allows for other parameters that don’t
fall in the above categories to be keyframed
Key Filters—Displays the Set Key
using the Set Key technique. This includes
Filters dialog where you can define which type of such things as helper properties and look-at
tracks will be allowed or disallowed keys. controller tracks for target cameras and lights.
Go To Start 445
If Key Mode (page 3–447) is on, the time 3. Click Stop to end the playback.
slider moves to the previous keyframe (page The speed of the animation playback is
3–690). Keyframe options are set in the Key Steps determined by the settings in the Time
group of the Time Configuration dialog (page Configuration dialog, the complexity of the
3–447). scene and the speed of the graphics card and
If Time Configuration dialog > Use TrackBar is processor.
on, Previous Key jumps to the previous key of any
To play the animation looped backward:
kind. If Use TrackBar is off, Previous Key jumps
to the previous transform key, ignoring any other 1. Click the Time Configuration button on
type of keys. the status bar.
2. In Time Configuration dialog > Playback
group, turn off Real Time.
446 Chapter 17: User Interface
2. Click Play Selected on the Play/Stop flyout. If Time Configuration dialog > Use TrackBar is
on, Next Key jumps to the next key of any kind. If
Only the selection is animated in the viewport. Use TrackBar is off, Next Key jumps to the next
3. Click the Stop button or press ESC to end transform key, ignoring any other type of keys.
playback.
Interface Go To End
The Play/Stop flyout contains two buttons. Both
Status bar > Time controls > Go To End
buttons become a Stop button when in use.
Keyboard > END
Play—Plays the animation in the currently
active viewport. Go To End moves the time slider (page 3–430)
to the last frame of the active time segment
Play Selected—Plays the animation for (page 3–651). The active time segment is set in
selected objects only in the currently active the Start Time and End Time fields of the Time
viewport. Configuration dialog (page 3–447).
Procedure
2. Use the Previous Key (page 3–445)
To move to a particular frame, do one of the and Next Key (page 3–446) buttons to move
following:
from one keyframe to the next.
• Type the frame number and press ENTER to go If you are not jumping to the keys, be sure the
to the specified frame. object is selected in the viewport.
• Move the time slider and observe the frame If you are still not jumping to the keys, configure
number updating on the time slider. Key Mode to Use TrackBar, as described in the
• Click or drag the spinner to change the value in following procedure.
the frame number field.
To configure Key Mode:
rates of 30 fps for video, 24 for film, and lower rates an animation control button or the time slider
for web and media animations. channel. When off, the animation plays once and
then stops. Clicking Play rewinds to the first frame
Time Display group and plays again.
Specifies the method for displaying time in the Direction—Set the animation to play forward,
time slider and throughout the program. Choices reverse, or ping-pong (forward and then reverse,
are Frames or in minutes, seconds and ticks. repeating). This affects only the playback in
Specifies the method for displaying time in the the interactive renderer. It does not apply when
time slider and throughout the program (in rendering to any image output file. These options
frames, in SMPTE, in frames and ticks (page are available only when Real Time is off.
3–738), or in minutes, seconds, and ticks). These settings can be recalled by saving to a
For example, if the time slider is at frame 35, and vizstart.max file.
the Frame Rate is set to 30 fps, the time slider
Animation group
would display the following numbers for the
different Time Display settings: Start Time/End Time—Sets the active time segment
• Frames: 35 (page 3–651) displayed in the time slider. Choose
any time segment before or after frame 0. For
• SMPTE: 0:1:5 example, you can set an active time segment from
• FRAME: TICKS: 35:0 -50 to 250.
• MM:SS: TICKS: 0:1:800 Length—Displays the number of frames in the
SMPTE is the Society of Motion Picture Technical active time segment. If you make this greater than
Engineers standard used to measure time for video the total frames in the active segment, the End
and television production. Time field increases accordingly.
Frame Count—The number of frames that will
Playback group render. Always the length plus one.
Real Time—Real Time (page 3–721) causes Current Time—Specifies the current frame for the
viewport playback to skip frames to keep up with time slider. As you adjust this, the time slider
the current Frame Rate setting. A choice of five moves accordingly and the viewport updates.
playback speeds is available: 1x is normal speed,
1/2x is half speed, and so on. The speed settings Re-scale Time—Stretches or shrinks the animation
affect only the playback in the viewports. for the active time segment to fit into the new time
segment you specify. Relocates the position of all
When Real Time is off, viewport playback occurs keys (page 3–690) in all tracks. As a result, the
as rapidly as possible and displays all frames. animation plays over a greater or lesser number of
Active Viewport Only—Causes playback to occur frames, making it faster or slower.
only in the active viewport. When off, all
viewports display animation. Key Steps group
Loop—Controls whether the animation playback Controls in this group let you configure the
occurs only once, or repeatedly. When on, method used when you turn on Key Mode (page
playback repeats until you stop it by clicking 3–447).
Viewports 451
Use TrackBar—Allows key mode to honor all keys You can choose different views to display in these
in the track bar. This includes any parameter four viewports as well as different layouts from the
animation in addition to transform keys. viewport right-click menu (page 3–453).
To make the following controls available, turn off
Viewport Layouts
Use TrackBar.
You can choose from other layouts different
Selected Objects Only—Considers only the
from the default configuration. To choose a
transforms (page 3–742) of selected objects when
different layout, right-click the viewport label,
you use Key Steps mode. If you turn this off, the
and click Configure. Choose the layout tab of the
transforms of all (unhidden) objects in the scene
Viewport Configuration dialog to see and select
are considered. Default=on.
the alternative layouts.
Use Current Transform—Disables Position,
Rotation, and Scale and uses the current transform Note: When choosing a new viewport layout,
in Key Mode. For example, if the Rotate button is be sure first to click the Maximize Viewport
selected in the toolbar, you stop at each rotation Toggle. Changes you make to the viewport layout
key. If none of the three transform buttons are on, might not be apparent when you have a single,
Key Mode considers all transforms. maximized viewport.
Viewports and Viewport Note: The viewport layout is saved with your MAX
Controls file.
Tip: You can change the default viewport layout by
saving a vizstart.max file with the desired viewport
Viewports
configuration and placing it in the \defaults folder
When you start Autodesk VIZ, the main screen (page 3–510).
contains a single Perspective viewport. The major
grid lines are marked to show distance from the Active Viewport Borders
origin at the center.
When four viewports are visible, one viewport,
You can change from a single viewport to four marked with a highlighted border, is always active.
viewports by choosing Maximize Viewport Toggle This is where commands and other actions take
from the viewport controls. effect. Only one viewport at a time can be active.
Other viewports are set for observation only;
452 Chapter 17: User Interface
unless disabled, they simultaneously track actions world space, regardless of the current reference
taken in the active viewport. When the Auto Key coordinate system.
button is on, the active viewport border changes
The world-space tripod is on by default. To turn off
from yellow to red.
this feature, see “To turn off the world-space tripod
In general, a viewport becomes active as you work in all viewports” in the following procedures.
in it. You can move an object in one viewport,
then drag the same object in another viewport Viewport Tooltips for Object Names
to continue the move. Right-click viewport to
When you’re working with objects in a viewport
activate it without changing the selection. If you
and pause the cursor over any unselected object,
left-click a viewport, the viewport is activated
a tooltip appears with the name of that object. If
and whatever you click is selected. The previous
you need to select something or link to something,
selection is discarded.
wait until you see the tooltip to be sure you have
selected the object you want. These tooltips are
Viewport Labels disabled when you work in sub-object mode.
Viewports are labeled in the upper-left corner.
Tooltips (page 3–537) are on by default. To turn
You can control many aspects of a viewport by
off this feature, see To turn off object name tooltips
right-clicking the viewport label to display the
(page 3–453), below.
viewport right-click menu (page 3–453).
See also
Dynamic Resizing of Viewports
Viewport Controls (page 3–457)
You can resize the four viewports so they are not
of equal proportions. To resize the viewports,
Procedures
press and drag in the center of the four viewports
on the splitter bars. Move the center to change To make a viewport active, do one of the following:
the proportions. To return to the original layout, • Click any viewport.
right-click the intersection of the dividing lines
If you click an object in the viewport, it is
and click Reset Layout from the right-click menu.
selected. If you click a space where there are no
The new viewport proportions are saved in the objects, any selected objects are deselected.
scene. However, they always reset when you • Right-click any viewport.
change the viewport layout (page 3–588).
Right-click activates a viewport without
changing the selection state of objects. (You can
World-Space Tripod
also do this by left-clicking the viewport label.)
• Turn on Viewport Clipping. This interactively Tip: You can also press C on the keyboard as a
sets a near and far range for the viewport. shortcut to change any active viewport to an
Geometry within the viewport clipping range existing camera view.
is displayed. Faces outside the range are not
displayed. To change a viewport to a shape view:
Tip: If the viewport right-click menu becomes This procedure requires at least one shape object
disabled, you can restore it by refreshing the UI in your scene.
scheme. Use Customize menu > Load Custom 1. Right-click a viewport label.
UI Scheme (page 3–527) to load a different .cui
2. Choose Views > Shape from the menu.
file, then reload the original .cui file again. The
right-click viewport menu will become available To use viewport clipping:
after either the new or original UI scheme is
1. Right-click a viewport label.
loaded.
2. Choose Viewport Clipping (page 3–586).
Procedures The viewport displays the viewport clipping
To hide or show the home grid, do one of the controls.
following:
3. Move the lower slider up until the geometry is
• Choose Views menu > Grids, and click Show clipped in the viewport by the near clipping
Home Grid. plane.
• Right-click a viewport label. 4. Adjust the upper slider to clip the geometry
Click Show Grid to reverse the current display with the far clipping plane.
of the home grid in that viewport.
To display the Asset Browser or MAXScript Listener
• Keyboard > G (for single viewport); in a viewport:
To change a viewport to Camera view: 1. Right-click any viewport label to access the
Views flyout menu.
Note: This procedure requires at least one camera
object in your scene. 2. Click Extended > Asset Browser or MAXScript
Listener.
1. Right-click a viewport label.
The tool is displayed in a dedicated viewport.
2. Click Views.
3. Choose one of the cameras in the Views list. To access the Layout panel, do one of the following:
This assigns the camera to the viewport and • Choose Customize menu > Viewport
changes the label to the camera name. Configuration, then click the Layout tab.
A camera viewport tracks the view through the • Right-click a viewport label, and choose
perspective of that camera. As you move the Configure, then click the Layout tab.
camera (or target) in another viewport, you see
the scene swing accordingly. If you alter the To turn on safe frame display, do one of the following:
camera’s field of view (page 3–463), you see the • Right-click a viewport label, and then choose
changes as they are applied. Show Safe Frame.
• Keyboard > SHIFT+F
Viewport Right-Click Menu 455
• Choose Customize menu > Viewport Views—Displays a secondary menu that allows you
Configuration > Safe Frames panel, and turn to choose another view to display in the viewport
on Show Safe Frames In Active View. (Front, Top, Back, etc.).
See Safe Frames (page 3–589). Available views included are:
label as the keyboard shortcut (F for Front, for • Bounding Box—Displays objects as a bounding
example. The exception is K for back). box (page 3–663) only.
Note: This menu appears at the mouse cursor, but Edged Faces—Available only when the current
it controls the view for the active viewport, even if viewport is in a shaded mode. Displays the
the mouse cursor is over a different viewport. wireframe edges of objects along with the shaded
Smooth+Highlights—Displays the smoothness and surfaces. This is helpful for when you want to edit
lighting of objects. You can also display maps on meshes in a shaded display.
the surface of objects. See Show Map in Viewport Edges are displayed using the object wireframe
(page 2–1074). This happens on a map-by-map color, while surfaces use material colors (if
basis, but you can display as many maps as you assigned). This lets you create contrasting colors
want simultaneously in the viewport. Maps only between the shaded surfaces and the wireframe
display on objects that have mapping coordinates. edges. You can switch these assignments in the
Also Show Map In Viewport must be turned on Display Color rollout (page 1–49).
for each map individually in the Material Editor.
Transparency—Sets the quality of transparency
Note: This and other shaded viewport options display in the selected viewport:
support self-illuminated materials and 32 lights
(depending on display mode and graphics card). • Best—Highest quality transparency display;
longer redraw time.
Wireframe—Displays objects as edges only, as
• Simple—Less accurate transparency display,
if they were made from wire. Wire color is
however viewport redraw is considerably faster
determined by object color (default).
with Simple.
Other—Displays a cascading menu of other • None—Transparency is not displayed in the
shading modes. These include: viewport.
• Smooth—Displays smoothing, but doesn’t show Note: The Transparency setting only affects
highlights. viewport display, and does not affect renderings.
• Facets+Highlights—Displays highlights, but
Show Grid—Turns on and off the display of the
doesn’t show smoothing.
home grid. Does not affect other grid display.
• Facets—Shades faces, but doesn’t display
smoothing or highlights. Keyboard > G
• Flat—Renders each polygon in its raw, Show Background—Turns on and off the display of
unshaded diffuse color, disregarding any any viewport background image (or animation).
contribution from ambient lighting or light To specify an image, choose Views menu >
sources. This rendering method is useful when Viewport Background.
it’s more important to see each polygon than to Tip: The keyboard shortcut for the Viewport
see its shading. It’s also a good way to check Background dialog is ALT+B.
the results of bitmaps created with Render to
Show Safe Frame—Turns on and off the display
Texture (page 2–1437).
of safe frames (page 3–744). You define the safe
• Lit Wireframe—Displays edges as wireframe, frames in the Viewport Configuration dialog (see
but shows lighting. Configure, below). The safe frame proportions
Viewport Controls 457
Zoom Extents / Zoom Extents Selected (page Light Viewport Controls (page 3–471)
3–462)
Dolly Light, Target, or Both (page
Field-of-View Button (page 3–463) 3–472)
(Perspective) or Zoom Region (page 3–464)
Light Hotspot (page 3–473)
Pan View (page 3–465)
Roll Light (page 3–475)
Walk Through (page 1–28)
Light Falloff (page 3–475)
Arc Rotate, Arc Rotate Selected, Arc Rotate
Sub-Object (page 3–466) Truck Light (page 3–476)
Interface
Controls Available in All Zoom Extents All—Centers and magnifies
Viewports views so all the visible objects in the scene are
shown in all viewports.
Zoom Extents All, Zoom Extents Zoom Extents All Selected—Centers and
magnifies views so just the selected objects or
sub-object selections in the scene are shown in all
All Selected viewports. If no objects are selected, the effect is
Activate any viewport. > Viewport Navigation controls
the same as Zoom Extents All.
> Zoom Extents All flyout
• Walk Through
Perspective and
• Pan or Truck Orthographic Viewport
The Walk Through button (page 3–460) is one way Controls
to turn on walkthrough navigation (page 1–28).
Right-click any viewport label. > Views > Choose a
The use of the Pan or Truck button depends on perspective or orthographic view.
which kind of viewport you are in: Right-click any viewport label. > Views > Grid > Choose
any grid view.
• Perspective viewports (Pan) (page 3–465)
Select a shape. > Right-click any viewport label. > Views
• Camera viewports (Truck Camera) (page > Shape
3–470)
Keyboard > V (to open the Viewports quad menu), then
This flyout doesn’t appear for orthographic P (Perspective), U (User), F (Front), K (Back), T (Top), B
(Bottom), L (Left)
viewports or spotlight viewports. These viewports
don’t provide walkthrough navigation.
Perspective, orthographic, user, grid, and shape
viewports all share the same viewport controls.
Procedure Procedures
To undo changes to a perspective or orthographic To zoom a view:
viewport, do one of the following:
1. Activate a Perspective or Orthographic
• Right-click the viewport label and choose viewport.
Undo. The type of Undo is specifically named
on the menu (for example, Undo Zoom 2. Click Zoom.
Extents). The button highlights when it is on.
• Press SHIFT+Z. 3. Drag in a viewport to change magnification.
Note: This is different from camera and light
• Drag up to increase magnification.
viewports, which require the use of Undo on
the main toolbar, or CTRL+Z. • Drag down to decrease magnification.
4. Press ESC or right-click to turn off the button.
Zoom Extents / Zoom Extents The viewport displays the selected object.
Selected To exclude an object from Zoom Extents:
Activate a Perspective or Orthographic viewport. > Use this procedure, for example, to ignore lights
Viewport Navigation controls > Zoom Extents flyout
that are far away from the other objects in the
scene.
1. Click an object to select it.
2. Right-click the object and choose Properties.
3. In the Display Properties group, make sure
properties are set to By Object.
The Zoom Extents flyout displays the Zoom
Extents button and the Zoom Extents Selected 4. Turn on Ignore Extents.
button. The object will now be excluded by Zoom
Extents and Zoom Extents Selected.
Zoom Extents centers all visible objects in an
active Perspective or Orthographic viewport. This
Field of View Flyout 463
The Field of View flyout is available only for Although the effect of Field-of-View appears
Perspective viewports. The flyout has two options: similar to a zoom, the perspective is actually
changing, resulting in increased or decreased
• Field of View (FOV) (page 3–463): Adjusts distortion in the viewport.
the amount of the scene that is visible in a
In a Perspective viewport, Field-of-View defines
viewport and the amount of perspective flare.
the width of your view as an angle with its apex
• Zoom Region (page 3–464): Magnifies a at your viewpoint and the ends at the sides of the
rectangular area you drag within a viewport. view.
In a Camera viewport, Field-of-View controls the
width of the area a camera views, and represents
Field-of-View Button the arc of the camera’s horizon in degrees. For a
selected camera, you can adjust its FOV and Lens
Activate a Camera viewport. > Viewport controls >
Field-of-View parameters (page 2–1003) directly to fine-tune the
FOV you set in the viewport. See “To use FOV with
Activate a Perspective viewport. > Viewport controls >
Field-of-View (on Field-of-View flyout) Camera parameters” in the following procedures.
• Press CTRL+P.
Pan View • Press the middle mouse button.
Activate a Perspective or Orthographic viewport. > 3. Drag in the viewport in the direction you want
Viewport Navigation controls > Pan View to move, or use the arrow keys.
Keyboard > CTRL+P; I pans so the cursor location
becomes the center of the viewport. To accelerate panning:
Middle mouse button > Drag in the viewport with the • Hold down the CTRL key as you pan.
middle mouse button for instant access to pan the
viewport.
To constrain panning to a single axis:
Pan moves the view parallel to the current • Hold down the SHIFT key as you pan.
viewport plane. The pan is constrained to the first axis you use.
Pan is modal (page 3–701): it stays active until you If you drag vertically at first, the pan or orbit
right-click or select another command. is constrained to be vertical; if you drag
horizontally at first, the constraint is horizontal.
To constrain panning of any viewport to a single
axis, hold down the SHIFT key. The pan is
constrained to the axis you first move while the
Arc Rotate Flyout
SHIFT key is down.
Activate a Perspective or Orthographic viewport. >
To accelerate panning, hold down the CTRL key. Viewport Navigation controls > Arc Rotate flyout
You can also pan by dragging in a viewport while Keyboard > ALT+middle mouse button
pressing the middle button of a three-button
mouse. This lets you pan without turning on the
Pan button.
Procedures
To pan a viewport:
The Arc Rotate buttons, on the Arc Rotate flyout • Drag the handles to keep the rotation either
(page 3–465), spin the viewpoint freely around a horizontal or vertical. Drag horizontally on
center. the side handles, or vertically on the top or
bottom handle.
Three Arc Rotate variants are available: Arc Rotate,
• Drag inside the trackball to rotate the view
Arc Rotate Selected, and Arc Rotate Sub-Object.
freely within the viewport. The free rotation
Arc Rotate is modal (page 3–701): it remains active continues while dragging even if the cursor
until you right-click or choose another command. crosses outside the trackball.
• Drag outside the trackball to rotate the view
about the depth axis that is perpendicular
Arc Rotate respects Angle Snap (page
to the screen. When the cursor crosses
2–653). If you turn on Angle Snap, the Arc Rotate
inside the trackball during dragging, free
mouse pointer displays a magnet, and the rotation
rotation occurs. When the cursor crosses
snaps by the Viewport Arc Rotate Snap Angle
back outside the trackball, spinning rotation
setting.
is again in effect.
Arc Rotation used a hidden “virtual target” as
4. Press ESC or right-click to end Arc Rotate.
the point which is used for the center of rotation.
Holding the CTRL key down in Arc Rotate To constrain rotation to a single axis:
mode has a special behavior: It does a rotation
• Hold down the SHIFT key as you rotate.
of the scene around the screen’s X and Y axis
(at the position of the virtual target). Move the The rotation is constrained to the first axis you
mouse horizontally yields rotation around world use.
coordinates referential Z-axis. User moves the
mouse vertically yields rotation around screen To rotate with keyboard and mouse:
coordinates referential X-axis. This differs from • Hold down the SHIFT key as you rotate.
standard Arc Rotate, when horizontal mouse
The rotation is constrained to the first axis you
movement rotates around screen coordinates
use.
referential Y-axis.
Interface
Procedures
To use Arc Rotate: Arc Rotate—Uses the view center as the center
of rotation. If objects are near the edges of the
1. Activate a Perspective or Orthographic
viewport, they may rotate out of view.
viewport.
2. Click any of the three Arc Rotate buttons.
Camera Viewport Controls 467
Procedure
To undo changes to a Camera viewport, do one of
Camera Viewport Controls the following:
Right-click any viewport label. > Views > Choose a • Click Undo on the main toolbar.
camera.
Keyboard > C
• Press CTRL+Z.
Note: This is different behavior from
A Camera viewport shows the view from a camera, orthographic viewports, which require the use
looking in the direction it’s aimed. of Views menu > Undo, or SHIFT+Z.
Interface
Roll Camera
Activate a Camera viewport. > Viewport navigation
controls > Roll Camera
Orbit/Pan Camera
Activate a Camera viewport. > Viewport navigation
controls > Orbit Camera
Trucking a camera
To truck a camera:
1. Activate a Camera viewport.
Note: This button replaces the Arc Rotate button • Press SHIFT and drag horizontally to lock
when a Camera viewport is active. view rotation about the world Y axis. This
produces a horizontal orbit.
You can constrain the rotation to a single axis by
first pressing SHIFT before beginning the rotation. • Press SHIFT and drag vertically to lock
The rotation is constrained to the axis you begin rotation about the world X axis. This
rotating about. produces a vertical orbit.
To accelerate panning, hold down the CTRL key 4. Press ESC or right-click to turn off the button.
before you pan.
Interface
Procedures
Orbit Camera—Rotates a target camera about
To pan a camera: its target. Free cameras use the invisible target,
1. Activate a Camera viewport. set to the target distance specified in the camera
Parameters rollout.
2. Click Pan Camera.
Pan Camera—Rotates the target about a target
The button highlights when it is on.
camera. For a free camera, rotates the camera
3. Drag to rotate the view about the camera. about its local axes.
• Dragging rotates the view freely using the
world X and Y axes.
• Press SHIFT and drag horizontally to lock
view rotation about the world Y axis. This
produces a horizontal pan. Light Viewport Controls
• Press SHIFT and drag vertically to lock Right-click any viewport label. > Views > Choose a light.
rotation about the world X axis. This
Keyboard > $
produces a vertical pan.
4. Press ESC or right-click to turn off the button. A Light viewport shows the view from a spotlight
or directional light, looking at its target.
To pan with the middle mouse button:
• Hold down the middle mouse button and drag.
Pan mode is automatically switched on.
The buttons on this flyout replace the Zoom button This option is available only if the viewport’s light
when a Light viewport is active. is a target light.
Interface
Dolly Light—Moves only the light to and from The floodlight has a narrow hotspot but a wide falloff area.
its target. If you go past the target, the light flips
180 degrees and moves away from its target.
Procedure
To change a light’s hotspot:
1. Set up a Perspective viewport so you can see
the light in 3D space.
2. Activate a Light viewport.
3. Press H to display the Select Objects dialog.
Select the light.
The light and its cones should be visible in the
Perspective viewport.
Roll Light rotates the light about its own line of Light Falloff adjusts the angle of a light’s falloff
sight (the light’s local Z axis). (page 3–686). This button replaces the Zoom
Region button when a light viewport is active.
Although Roll does change the light view, it affects
the light object only if the light casts a rectangular
beam or is a projector (page 3–718).
Rolling a light
Procedure
To roll a light:
1. Activate a Light viewport.
You can’t adjust the hotspot larger than the falloff, decrease in size as you decrease the size of
because that would change the falloff value. the falloff cone.
Likewise, when you reduce the falloff, it stops at • Hold down CTRL as you drag to lock the
the hotspot size (in both cases, separated by the initial angle separation of the hotspot and
angle separation (page 3–540), specified on the falloff cones.
Rendering page of the Preferences dialog).
6. Press ESC or right-click to turn off the button.
To override the separation of the hotspot and
falloff parameters and cause the parameters to
affect each other, hold down the SHIFT key.
Truck Light
For more information on the hotspot and falloff
Activate a light viewport. > Viewport navigation controls
parameters, see Spotlight Parameters (page 2–969) > Truck Light
and Directional Parameters (page 2–978).
Truck Light moves a target light and its target
Procedure parallel to the light view, and moves a free light
To change a light’s falloff: along its XY axis.
1. Set up a Perspective viewport so you can see
the light in 3D space.
2. Activate a Light viewport.
3. Press H to display the Select Object dialog.
Select the light.
The light and its cones should be visible in the
Perspective viewport.
To pan a light:
1. Activate a Camera or Light viewport. Command Panels
2. Click Pan Light.
The button highlights when it is on. Command Panel
3. Drag to rotate the view about the camera or The command panel comprises six user-interface
light. panels that give you access to most of the
modeling features of Autodesk VIZ, as well as
• Dragging rotates the view freely using the
some animation features, display choices, and
world X and Y axes.
miscellaneous utilities. Only one panel is visible at
• Press SHIFT and drag horizontally to lock a time. To display a different panel, you click its
view rotation about the world Y axis. This tab at the top of the command panel.
produces a horizontal pan.
These are the six panels:
• Press SHIFT and drag vertically to lock
rotation about the world X axis. This
produces a vertical pan. • Create panel (page 3–479)
4. Press ESC or right-click to turn off the button. Contains controls for creating objects:
geometry, cameras, lights, and so on.
To pan with the middle mouse button:
• Hold down the middle mouse button and drag. • Modify panel (page 3–480)
Pan mode is automatically switched on. Contains controls for applying modifiers (page
3–701) to objects and editing editable objects
Interface such as meshes and patches.
Orbit Light—Rotates the light about its target. • Hierarchy panel (page 3–494)
Free lights use the invisible target, set to the target
Contains controls for managing links in a
distance specified in the Modify panel > Spotlight
hierarchy, joints, and inverse kinematics.
Parameters or Directional Parameters rollout.
Pan Light—For a target light, rotates the target • Motion panel (page 3–495)
about the light. For a free light, rotates the light Contains controls for animation controllers
about its local axes. and trajectories.
of which models different types of lighting in the object, modifiers do not change its underlying
the real world. creation parameters. See the list of available
modifiers (page 2–27).
• Cameras (page 2–995)
You use the Modify panel to:
Camera objects provide a view of the scene.
The advantages of cameras over the views in • Change the creation parameters for existing
the standard viewports are that cameras have objects.
controls similar to real-world cameras, and that • Apply modifiers to adjust the geometry of an
you can animate a camera’s position. object or a set of objects.
• Change the parameters of modifiers and select
• Helpers (page 2–618) their components.
Helper objects are aids to constructing a scene. • Delete modifiers.
They help you position, measure, and animate
• Convert a parametric object to an editable
the scene’s renderable geometry.
object; see Modifier Stack Controls (page
3–481).
• Systems (page 1–334)
Contains the Sunlight and Daylight systems The Modify panel stays in view until you dismiss
(page 1–335), which simulate sunlight in your it by clicking the tab of another command panel.
scenes. Might also contain third-party plug-in The contents of the panel with its options and
systems that combine objects, controllers, and controls update when you select an object, giving
hierarchies to provide geometry associated you access only to what you can modify about that
with some kind of behavior. object.
What you can modify depends on whether an
object is classed as a geometric primitive like a
sphere, or as another kind of object, such as a light.
Each category has its own range of possibilities.
Modify Panel The contents of the Modify panel are always
specific to the category as well as to the selected
Command panels > Modify panel
object. When you make a change from the Modify
panel, you immediately see the results transferred
From the Create panel of Autodesk VIZ, you
to the object.
place basic objects in your scene, including 3D
geometry, 2D shapes, lights and cameras, and You can change or delete modifiers by using the
helpers. As you do this, you give each object its Modifier Stack Controls (page 3–481).
own set of creation parameters, which define its
geometry and other characteristics depending on See also
the type of object. Once placed in a scene, objects List of Available Modifiers (page 2–27)
carry their creation parameters with them. You
can change these parameters on the Modify panel. Procedure
You also use the Modify panel to assign modifiers To use the Modify panel:
(page 3–701). Modifiers are tools for reshaping an 1. Select an object.
object. While they mold the final appearance of
Modifier Stack Controls 481
• If a modifier is applied to two or more pipelines, Top: Object reference shows a bar in the pipe
it is called an instanced modifier. Its name Bottom: Modifier applied to reference is not bold, as it is
appears in italic. unique to this reference
the modifier unique but not the entire pipeline • Choose the name of the modifier from the
(the modifier’s name is no longer italic, but it is drop-down modifier list.
still bold). • Drag the name of the modifier from the
stack display or the drop-down modifier list
See also to the object in a viewport. SHIFT+drag
How Instanced Modifiers Work (page 2–39) from the stack display moves the modifier,
removing it from the original object and
Transforms, Modifiers, and Object Data Flow
applying it to the new one. CTRL+drag
(page 2–24)
from the stack display copies the modifier,
creating an instanced modifier applied to
Most-Recently-Used Modifiers
both the original object and the new one.
Autodesk VIZ caches the results of evaluating • If the modifier buttons are visible and the
most-recently-used modifiers. This means that in modifier you want is one of them, click the
general, you can see results more quickly as you button.
move among modifiers on the stack.
• Choose the modifier from the Modifiers
To conserve memory use, the list of menu.
most-recently-used modifiers has a fixed
length. Once the list is full, adding a new modifier To remove a modifier:
removes the oldest modifier in the list. By default, 1. Choose the modifier by clicking its name in
the list length is 1. You can increase it by adding an the stack.
MRUModSize entry to the [Performance] section
of the 3dsviz.ini file. For example: The modifier’s name is highlighted, and its
control rollouts appear below the modifier
MRUModSize=10 stack.
A good rule of thumb for this value is 10, but 2. Do one of the following:
results will vary depending on how much main
memory your system has. • Click Remove Modifier From The
Stack. This button is one of the tools beneath
Procedures the display of the modifier stack.
To adjust an object’s creation parameters: • Right-click the modifier’s name in the stack,
1. Choose the object by clicking its name in the and choose Delete.
stack.
To turn the effect of a modifier off, do one of the
Primitive objects have a Parameters rollout. following:
Other kinds of objects (such as meshes or
NURBS) have a variety of rollouts. • Click to turn off the light-bulb icon to the
left of the modifier’s name in the stack.
2. Use the controls in the rollouts to adjust the
object. When you apply a modifier, the light-bulb icon
is on by default.
To apply a modifier to an object: • Right-click the modifier in the stack display,
1. Select the object. and choose Off.
2. Do one of the following:
484 Chapter 17: User Interface
To turn the effect of a modifier back on, do one of To turn the modified object into an editable mesh,
the following: do one of the following:
• Click to turn on the dark light-bulb icon to • Right-click the modifier stack, and choose
the left of the modifier’s name in the stack. Collapse All.
• Right-click the modifier in the stack display, A warning dialog is displayed that reminds you
and choose On. that the collapse operation cannot be undone,
and gives you the option of performing a hold
To change the size of the modifier stack display: (page 1–91) before creating the mesh.
1. Move the cursor over the shaded bar below the
tool buttons beneath the stack list.
The cursor changes to an up-and-down resize
arrow (as it does on the borders of a resizable
window).
2. Drag the bar up or down to change the size of
the stack display in the Modify panel.
• Right-click the object in a viewport, and choose
To change a modifier’s position in the stack: Convert To > Convert to Editable Mesh in the
1. Right-click the modifier’s name in the stack, quad menu.
and choose Cut. Tip: You can also turn a modified object into an
2. Right-click the name of the modifier you want editable patch or editable polygon surface. Use
the modifier to appear after (that is, above), the quad menu to do this.
and choose Paste.
To adjust a modifier’s component such as its gizmo
You can also drag-and-drop the modifier to a or center point:
different location in the stack.
1. Click the plus-sign icon to display the
Note: The original object is always at the bottom modifier’s hierarchy.
of the stack, and world-space modifiers are
2. Choose the component you want to adjust,
always at the top.
such as the Gizmo.
To use the modifier buttons: The component highlights to show it is active.
3. Adjust the component.
• Click Configure Modifier Sets, and choose
Show Buttons. For example, you might use transforms to move
This menu item is a toggle. It is either on or off. a gizmo or a center point.
When you turn on Show Buttons, the current 4. When done, you can click the minus-sign
button set appears between the drop-down icon to hide the hierarchy display. The modifier
modifier list and the stack display. itself is highlighted again.
See Configure Modifier Sets Dialog (page Tip: You can also right-click the stack and use
3–493) for more information. Show All Subtrees to view the entire hierarchy,
and Hide All Subtrees to view only objects and
modifiers.
Modifier Stack Controls 485
Modifier Buttons
Between the modifier list and the stack display,
you can display up to 32 buttons. The buttons are
a shortcut way to add modifiers to the stack.
Collapsing the stack removes modifiers from To copy one or more modifiers:
the object. Collapsing a stack typically converts
1. Select one or more modifiers in the modifier
an object into an editable version of the original
stack display.
object (unless the object was editable to begin
with). Collapse To is unavailable unless you select To select multiple modifiers, click to select one
one or more modifiers in the stack. Using Collapse modifier, then hold down CTRL and click to
To removes all stack items from the creation select the others. Holding down SHIFT selects
parameters to and including the uppermost the two modifiers you click and all modifiers
selected stack item. in between them.
Following are suitable reasons to collapse a stack: 2. Right-click and choose Copy.
• To simplify the scene geometry. 3. Select an item above which to paste the cut
modifiers.
• To discard applied modifiers, and convert the
object to an editable object while retaining the 4. Right-click and choose Paste. The copied
results of any applied modifiers. modifiers are pasted above the current
selection. Choose Paste Instanced to make the
• To conserve memory.
pasted modifiers instances of those you copied.
After you collapse an object’s stack, you can no
longer parametrically adjust either its creation To copy modifiers from one object to another:
parameters or its individual modifiers. Animation 1. Select one or more modifiers in the modifier
tracks that were assigned to such parameters also stack display of the first object.
disappear.
To select multiple modifiers, click to select one
modifier, then hold down CTRL and click to
select the others. Holding down SHIFT selects
Modifier Stack Right-Click Menu 489
the two modifiers you click and all modifiers Delete—Deletes the modifier from the stack. The
in between them. modifier is not available for pasting.
2. Right-click and choose Copy. Cut—Cuts the modifier from the stack. The
3. Select the second object. modifier is removed, but is available for pasting.
4. In the second object’s modifier stack display, Copy—Makes a copy of the modifier that is
select an item above which to paste the copied available for pasting.
modifiers.
Paste—Pastes the modifier into the stack. The
5. Right-click and choose Paste. modifier appears above the currently selected
The modifiers from the first object are pasted object or modifier, unless it is a world space
above the current selection in the second modifier, in which case it is pasted at the top of the
object. Choose Paste Instanced to make the stack.
pasted modifiers instances of those you copied. You can paste a modifier from one object into the
stack of a different object.
Interface
Paste is unavailable when more than one modifier
is selected in the stack.
Paste Instanced—Pastes an instance of the modifier
into the stack. The modifier instance appears
above the currently selected object or modifier,
unless it is a world space modifier, in which case it
is pasted at the top of the stack.
You can paste a modifier instance from one object
into the stack of a different object.
Paste Instanced is unavailable when more than one
modifier is selected in the stack.
Make Unique—Converts an instanced modifier to
a copy that’s unique to the current object. This
button is unavailable unless the modifier you
right-clicked is instanced. See Make Unique (page
3–491).
Collapse To—Collapses a portion of the stack.
Collapse To is unavailable unless you select one
Rename—Lets you change the name of the or more modifiers in the stack. Using Collapse
modifier. For example, you might change the To collapses all stack items from the object itself,
name Bend to the more specific "First 45-degree up to and including the uppermost selected stack
bend." After choosing Rename, enter the new item. If there are modifiers above the uppermost
name in the stack display, and then press ENTER. selection, they are not changed.
Pressing ESC cancels the name change. The resultant object type depends on the
uppermost modifier that outputs a specific
490 Chapter 17: User Interface
geometry type, if any. If the stack contains no Off in Renderer—Turns off the currently selected
such modifier, the result is an editable mesh modifiers in renderings only. The effect of
(page 2–350). If the collapsed portion of the the modifiers is visible in viewports but not in
stack contains a modifier that outputs a specific renderings.
geometry type, and no other such modifier is
The light-bulb icon to the left of the modifier
above it, the result is that type of object. For
name shows "off in Renderer."
example, if the topmost such collapsed modifier is
Edit Poly, the resultant object is Editable Poly. Off—Turns off the currently selected modifiers
without deleting them. This can help you see the
Collapse All—Collapses the entire stack.
object without the effect of its modifiers.
The resulting stack list shows a single entry:
Editable Mesh, unless any modifiers on the stack The light-bulb icon to the left of the modifier
output a different type of geometry. For example, name shows "off."
if the topmost such modifier is Edit Poly, the Make Reference—If the object is an instance,
resultant object is Editable Poly. converts it to a reference. This option is available
Note: World-space modifiers (page 2–41) don’t only when the base object is selected, and only
collapse along with the rest of the stack. when the base object is a reference.
Convert To—This menu item appears if no When you make an instanced object into a
modifiers are applied to the object. Choose one of reference, a heavy, "derived object" bar appears at
the Convert To options: the top of the stack. You can select this bar and
• Editable Mesh apply modifiers above it. Modifiers applied above
the bar affect the reference object only, and not its
• Editable Spline parent object.
• Editable Patch
• Editable Poly
• NURBS
Note: Depending on the object type, not all
Convert To options might be available.
Gray bar denotes a reference object at the base of the stack
On—Turns on the effect of modifiers in both
viewports and the renderer. Show All Subtrees—Expands the display of every
hierarchical item in the stack display, so that all
The light-bulb icon to the left of the modifier items in the stack are visible, including sub-objects.
name shows "on."
Hide All Subtrees—Hides the subtree of every
Off in Viewport—Turns off the currently selected hierarchical item in the stack display, so that only
modifiers in viewports only. Allows you to work in objects and modifiers are visible.
the viewport without the effects of the modifiers.
You see the effects when you render.
When you change the Bend Angle setting or the selected objects, but become unique from
cylinder base parameters for one of the objects, other objects not in the selection.
the other doesn’t change.
Note: When you instance an object/modifier
combination, all duplicates are instances of Modifier Sets Menu
a single master node containing the original
Modify panel > Configure Modifier Sets button
object and modifier. In such cases, you cannot
selectively make the object or its modifier
unique. Clicking Make Unique for one or the The button sets menu gives you options for
other, makes both unique. managing and customizing shortcut buttons for
applying modifiers.
Interface
Procedures
Make Unique—Detaches objects and To display the current button set on the Modify
modifiers (and combinations) logically from panel:
the master node of which they’re instances or
references. • Click Configure Modifier Sets, and then
choose Show Buttons to turn on this item.
Go to the object or modifier level in the stack for
an instanced or referenced object or modifier This item is a toggle. Choosing Show Buttons
(respectively), and click Make Unique. a second time turns off the button display, and
so on.
For instanced object/modifier combinations, in
the modifier stack, choose either the modifier or To configure a new modifier set:
the object itself.
• Click Configure Modifier Sets, and then
Make Unique is unavailable when a selected object
choose Configure Modifier Sets (page 3–493).
is not an instance or reference, when it doesn’t
contain an instanced modifier, or when all objects To change from one button set to another:
in the selection don’t have an instanced modifier
in common. • Click Configure Modifier Sets, and then choose
the modifier set name from the lower part of
Making New Instances the menu.
Interface
Configure Modifier Sets Dialog
Modify panel > Configure Modifier Sets button >
Configure Modifier Sets
Procedures
To choose a modifier and button set to edit:
• Choose a button set from the Sets drop-down
list.
Saved button sets—The bottom part of the Button To customize the current modifier and button set:
Sets menu lists the names of saved button sets.
1. Use Total Buttons to choose the number of
Choose one of these sets to make it the current
buttons in the set.
button set. The current set is displayed as buttons
when Show Buttons is on. The Modifier List 2. Assign buttons by dragging the names of
drop-down is organized by sets when Show All modifiers in the dialog’s Modifiers list to
Sets In List is on. buttons in the Modifiers group box.
3. Click OK.
Autodesk VIZ updates the Modifiers list. You
can customize the set without saving it, but if
494 Chapter 17: User Interface
you save a new set under a new name, you can Modifiers group
use it later.
Previews how the button set will appear on the
Modify panel. Because the box shows only 16
Interface buttons at a time, a scroll bar on the right lets you
see any remaining buttons.
To change a button, drag the name of a modifier
from the Modifiers list to a button in this group
box, or click the button (its border highlights) and
then double-click the modifier name.
Hierarchy Panel
Command panels > Hierarchy panel
• Simulating jointed structures. can be changed, the trajectories will reflect all the
• Providing the basis for inverse kinematics. adjustments you make. You can also convert to
and from splines and collapse transforms using
The Hierarchy panel is divided into three areas: trajectories.
Pivot (page 2–805)
Interface
IK (page 2–808)
Parameters
Link Info (page 2–816)
Provides an alternative to Track View (page
Note: For important background information on 2–818) for adjusting transform controllers and key
hierarchies and kinematics, see Animating with information.
Forward Kinematics (page 2–772) and Inverse
Kinematics (IK) (page 2–781). Assign Controller Rollout (page 3–495)
PRS Parameters Rollout (page 2–694)
Key Info (Basic) Rollout/Dialog (page 2–694)
Key Info (Advanced) Rollout/Dialog (page 2–696)
Motion Panel
Trajectories
Select an object. > Command panels > Motion panel
Provides tools for working with objects’
The Motion panel provides tools to adjust the trajectories.
motion of the selected object. Key timing and Trajectories (page 2–691)
easing in and out of a key are parameters that
you can adjust with tools on the Motion panel,
for example. The Motion panel also provides an Assign Controller Rollout
alternative to Track View for assigning animation
controllers. Select an object. > Motion panel > Parameters > Assign
Controller rollout
Additional rollouts display in the Motion panel if
an assigned animation controller has parameters. The Assign Controller rollout assigns and appends
If a Path constraint is assigned to the position different transform controllers to individual
track of an object, then a Path Parameters rollout objects. You can also assign controllers in Track
is added to the Motion panel. A Link constraint View.
displays a Link Parameters rollout, a Position XYZ Animation controllers (page 2–697) are plug-ins
controller displays a Position XYZ Parameters that handle all of the animation tasks in
rollout, and so on. Autodesk VIZ. For a complete list of available
Animation controllers, see Assign Controller
Trajectories (Track View) (page 2–857).
Click Trajectories to chart a path that an object will
travel along in the viewports. Yellow dots along Procedure
the path represent frames, giving you an idea of To assign a TCB Rotation controller:
velocity and easing. By turning on Sub-Object
1. Select an object.
Keys, keys can be moved in space, key properties
496 Chapter 17: User Interface
Interface
The Display floater has two panels: Hide/Freeze
and Object Level.
Display Floater 497
Unhide group
All—Unhides all hidden objects. The unhide
buttons are only available when you have
specifically hidden one or more objects. They
won’t unhide objects hidden by category.
By Name—Displays a dialog in which you can
unhide objects you select from a list.
Note: You cannot unhide objects on a hidden layer.
If you select an object on a hidden layer, you will
be prompted to unhide the object’s layer.
Freeze group
Selected—Freezes the selected object(s) so they
cannot move in the viewport.
Unselected—Freezes all visible objects except the
selected ones. Use this to quickly freeze all the
objects except the one you’re working on.
By Name—Lets you select the objects to freeze by
name.
By Hit—Causes any object you click in the viewport
to be frozen. If you hold the CTRL key while
selecting an object, that object and all of its
children are frozen. To exit Freeze by Hit mode,
right-click, press Escape, or select a different
Hide group
function. This mode is automatically turned off if
Selected—Hides the selected object(s). you freeze all objects in the scene.
Unselected—Hides all visible objects except the
selected ones. Use this to hide all the objects except Unfreeze group
the one you are working on. All—Unfreezes all frozen objects.
By Name—Lets you select the objects to hide by By Name—Displays a dialog in which you can
name. unfreeze objects you select from a list.
By Hit—Causes any object you click in the viewport By Hit—Causes any object you click in the viewport
to be hidden. If you hold the CTRL key while to be unfrozen. If you hold the CTRL key while
selecting an object, that object and all of its selecting an object, that object and all of its
children are hidden. To exit Hide by Hit mode, children are unfrozen.
right-click, press ESCAPE, or select a different
498 Chapter 17: User Interface
Note: You cannot unfreeze objects on a frozen the All, None, and Invert buttons to change the
layer. If you select an object on a frozen layer, you settings of the check boxes.
will be prompted to unfreeze the object’s layer.
Display Properties group
Hide Frozen Objects—Toggles display of frozen
objects on and off. You don’t have to unfreeze Provides controls that alter the display of selected
objects to hide them; you can use Hide Frozen objects.
Objects instead to hide or unhide frozen objects Display as Box—Toggles the display of selected
in a single step. objects, including 3D objects, 2D shapes,
as bounding boxes (page 3–663). Produces
Object Level panel
minimum geometric complexity.
Backface Cull—Toggles the display of faces with
normals (page 3–704) pointing away from view.
When selected, you see through the wireframe to
the back faces.
Edges Only—Toggles the display of hidden edges
and polygon diagonals (page 3–668). When on,
only outside edges appear. When off, all mesh
geometry appears. Applies to Wireframe viewport
display mode, as well as other modes with Edged
Faces turned on.
Vertex Ticks—Displays the vertices in the selected
geometry as tick marks.
If the current selection has no displayed tick
marks, the check box is clear. If some of the
vertices in the current selection display tick marks,
the check box contains a gray X. If all vertices in
the current selection display tick marks, the check
box contains a black X.
Trajectory—Toggles trajectory display (page
3–741) for the selected object so you can display
its trajectory wherever you are in the software.
See-Through—When turned on, this toggle makes
the object or selection translucent in viewports.
This setting has no effect on rendering: it simply
Hide by Category group lets you see what’s behind or inside an object
Toggles the display of objects by their category in a crowded scene, and especially to adjust
(objects, cameras, lights, and so on). Choose the the position of objects behind or inside the
check boxes to hide objects of that category. Use see-through object. Use this when you need to see
inside an object. Default=off.
Utilities Panel 499
This option is also available from the Display panel See also
(page 3–496) and the Object Properties dialog Interface
(page 1–107).
You can customize the color of see-through
objects by using the Colors panel (page 3–519)
of the Customize > Customize User Interface
dialog (page 3–511). Choose Geometry from the
Elements list, and then choose See-Through.
Ignore Extents—Allows an object to be excluded
from a zoom extents operation. Choose this when
you have lights or other distant objects that you
don’t want to use when you do a Zoom Extents
(page 3–462).
Show Frozen in Gray—When on, the object turns
gray in viewports when you freeze it. When off,
viewports display the object with its usual color or
texture even when it is frozen. Default=on.
Utilities Dialog
Utilities panel > Utilities rollout > More... button
Procedures
To customize the current button set:
1. Use Total Buttons to choose the number of
buttons in the set.
2. Assign buttons by dragging the names of
utilities in the Utilities list to buttons in the
Utilities group box.
New Script 501
3. Clear buttons by dragging them to the Utilities NURBS, Radiosity, Strokes, MAXScript Tools,
list on the left. Internet Extensions, and Realviz Products. To add
4. Click OK. a utility to the current button set, drag the utility’s
name from this list to the Utilities group box.
Autodesk VIZ updates the Utilities rollout. You
can customize the button set without saving it, Sets edit field and drop-down list—Lets you choose
but if you save a new button set under a new the button set to modify. By default, there is a
name, you will be able to use it later. single button set called VIZ Default.
Tip: Don’t alter the Default button set. Create a Tip: Don’t alter the Default button set. Create new
new one instead. sets as the need arises.
Save—Saves the current button set.
To create a new button set:
Delete—Deletes the current button set.
1. Create a custom button set as described in the
previous procedure. Warning: You can’t undo the deletion of a button set.
2. Enter a new button set name in the Sets edit Total Buttons—Sets the number of buttons in the
field. button set. A button set can have up to 32 buttons.
3. Click Save.
Utilities group
To choose a button set to modify:
This group previews how the button set will appear
• Choose a button set from the Sets drop-down in the Utilities rollout. A scroll bar on the right
list. lets you see other buttons when the set has more
than eight.
Interface
To change a button, drag the name of a utility from
the Utilities list to a button in this group.
MAXScript Interface
New Script
MAXScript menu > New Script
The MAXScript Listener window is an interactive The MAXScript Mini Listener on the Status Bar.
interpreter for the MAXScript language and works
similar to a DOS command prompt window. You You can install the Listener into any viewport by
enter MAXScript commands in this window, right-clicking the viewport label, choose Views >
and when you press ENTER they are executed Extended, and then MAXScript Listener.
immediately. For detailed information about the MAXScript
The Listener window is appropriate for performing utility, open the MAXScript Reference, available
interactive work and developing small code from Help menu > MAXScript Reference.
fragments. Each command you execute in the
Listener is actually an expression with a result
Macro Recorder 503
commands to be executed from a command Launch scripts need not be batch scripts as in
line, and the execution to be suspended using this example, but may be used to condition
method calls from inside the MAXScript code. Autodesk VIZ for interactive use, for example by
The debugger also lets you stop or continue the loading a scene file and setting some user-interface
execution of the suspended code. options.
For detailed information about the MAXScript The normal startup scripts, startup.ms and those
debugger, consult the MAXScript Reference, in the \scripts\startup directory, are run before the
available from Help menu > MAXScript Reference. launch script. It is also possible to install scripts
into individual scene files that run automatically
when that scene is open or closed or at certain
Running Scripts from the other events.
Command Line Note: Command line -U MAXScript startup scripts
Autodesk VIZ allows you to enter MAXScript are run after Autodesk VIZ has completely booted
commands directly on the command line. When and the standard scripts and startup scripts have
you launch Autodesk VIZ from a DOS command been run.
line, you can have it run a specified launch script.
This can be useful for tasks such as unattended MAXScript Command-Line Switches
batch-rendering. This capability uses the existing The following switches work specifically with
-U command line switch that names a utility to MAXScript files and functions.
be run when Autodesk VIZ is started. The -U
switch allows an optional extra argument which, Switch Effect
for MAXScript, is taken to be the name of the -mip Starts Autodesk VIZ in a minimized mode –
but never allows you to open the window
launch script to run. The case (capitalization) of
for interactive usage.
MAXScript must be as shown in the following
-mxs This switch is essentially the same as -U
example (entered after you CD to the program MAXScript file.ms, but avoids the need for
directory): the .ms file. You can follow the switch with
MAXScript commands.
See the online User Reference to view this code
sample. Examples of desired syntax usage:
This example command line would launch See the online User Reference to view these code
the Autodesk VIZ executable in c:\Program samples
Files\Autodesk VIZ 2006, start MAXScript, and
then have it run the launch script rendercams.ms.
The following example launch script loads two
scenes, renders frames from each of the cameras in
them, and then quits Autodesk VIZ:
See the online User Reference to view this code
sample.
This example makes use of the quitMax() method
to exit Autodesk VIZ when the script is finished.
Customizing the User Interface
Procedures
Customizing the User Interface To switch between a single-viewport and
You can rearrange the components of the multi-viewport layout:
Autodesk VIZ user interface, including the menu
bar, toolbars, and command panel. You can also • By default, Autodesk VIZ starts with a
dynamically resize the viewport windows. You can single viewport. To switch to a multi-viewport
specify which toolbars should appear and which layout, click the Min/Max Toggle (page 3–459).
should be hidden, and create your own keyboard
To resize the windows in a multi-viewport layout:
shortcuts, custom toolbars, tool palettes, and quad
menus. You can also customize the colors used in • With your cursor, click the splitter bar between
the User Interface. any two viewports, or at the intersection of all
four viewports, and drag to a new location.
The procedures in this topic tell how to rearrange When you release the mouse, the new viewport
and resize UI components. Various other layout is defined.
customization options are available from the
Customize menu (page 3–393). The dividers are saved in the scene, but are reset
when you change the layout. This feature does
See also not allow you to define new layouts, only to
adjust the proportions of the currently existing
Customize Display Right-Click Menu (page ones.
3–507)
To reset the viewport windows to the default layout:
Customize User Interface Dialog (page 3–511)
1. Right-click the splitter bar between the
Saving and Loading Custom User Interfaces (page
viewports.
3–525)
The Reset Layout button is displayed.
Revert to Startup Layout (page 3–529)
2. Click this button to restore the viewports to the
Configure Paths (page 3–529) default multi-viewport layout.
Preferences (page 3–536)
506 Chapter 18: Customizing the User Interface
To rearrange the order of rollouts in the command To resize the floating command panel horizontally:
panel:
• Move the cursor over the left or right edge of the
• Click the rollout title bar, and drag to another floating command panel. The cursor changes
location on the command panel. A thick line to a double arrow. Drag the cursor to increase
indicates where the rollout will be placed. or decrease the width of the command panel.
When you release the mouse button, the rollout
The command panel grows or shrinks in
is moved to the indicated location, and the
column increments. Unless the command
other rollouts are shifted appropriately.
panel is hidden, there is always at least one
The order of rollouts is saved in the text file column. When the command panel is floating,
rolluporder.cfg, which is located in the \ui you can display as many columns as you want.
subdirectory.
To resize the floating command panel vertically:
To float a toolbar, do one of the following:
• Move the cursor over the top or bottom edge
• Click a docked toolbar’s tag bar (a narrow line of the floating command panel. The cursor
displayed when the toolbar is docked) and drag changes to a double arrow. Drag the cursor to
it away from its location. The toolbar is now increase or decrease the height of the command
floating; you can reposition, resize, or dock it. panel as you do for other windows on the
• Right-click a docked toolbar’s tag bar (a narrow desktop.
line displayed when the toolbar is docked), and
To dock a floating UI element, do one of the
then choose Float.
following:
To float the command panel, do one of the following: • Drag the panel by its title bar to the top, bottom,
• Right-click the blank area at the upper-right left, or right edge of the program window. The
corner of the command panel, and then choose mouse cursor and the panel outline change
Float. shape at a docking location. Release the mouse.
• Click a corner of the upper portion of the • Right-click the title bar, choose Dock from the
command panel and drag it into the viewport. pop-up menu, and then choose Top, Bottom,
Left, or Right.
To resize the docked command panel horizontally: • Double-click the handle or title bar.
• Move the cursor over the edge of the docked A UI element docks automatically when it
command panel that is nearest the viewports. approaches a "dockable" location. The toolbars
The cursor changes to a double arrow. Drag the and menu bar can dock at the top or bottom,
cursor to increase or decrease the width of the left or right of the viewports. They can also
command panel. dock on either side of the Command panel.
The command panel grows or shrinks in
column increments. Unless the command panel To hide a panel or toolbar, do one of the following:
is hidden, there is always at least one column. • When a panel or toolbar is floating, you
When the command panel is docked, the can hide it by clicking the X control in the
columns must fit within the main Autodesk VIZ upper-right corner.
window.
Customize Display Right-Click Menu 507
Full Path—The disk location of the plug-in file. Artists and designers in different industries use
Autodesk VIZ in different ways. The Custom UI
Plug-in Directories and Defaults Switcher lets you quickly change your
These are the plug-in directories listed in program defaults and UI scheme to more closely
plugin.ini. You can also configure these paths via match the type of work you are doing.
the Plug-Ins panel (page 3–535) of the Configure The Initial settings for tool options control
Paths dialog. You can display or hide all the the default settings for various features in
plug-ins in a directory by toggling the check box. Autodesk VIZ, while the UI Schemes control how
Description—Shows directory description from
the Autodesk VIZ interface will look.
plugin.ini file.
510 Chapter 18: Customizing the User Interface
The dialog displays a detailed explanation for For information on creating or editing defaults
each of the default sets and the default UI Scheme sets, see Market-Specific Defaults (page 3–510).
that ships with Autodesk VIZ. If you create your Note: You must restart Autodesk VIZ before new
own defaults or UI Scheme, they will also appear defaults are applied.
in the list, however you cannot edit the general
description of custom default sets or UI schemes. UI Schemes—This list contains all of the UI
schemes defined in the \UI folder. Autodesk VIZ
See also ships with one UI scheme: DefaultUI. Highlight
the name of the UI scheme in the list to see a
Market-Specific Defaults (page 3–510) description (and image) of the interface.
Market-Specific Defaults
Autodesk VIZ offers two sets of defaults, tailored
specifically for design visualization projects, both
with and without the use of the mental ray renderer
Initial settings for tool options—This list contains
(page 2–1377). The sets are each located in their
different sets of default settings for various tools in
own sub-directories of the \defaults directory.
Autodesk VIZ. Highlight the set that corresponds
These sub-directories each contain an INI file
to the tools you are using.
(currentdefaults.ini), which contains the global
Autodesk VIZ ships with two default sets: parameter defaults, a default material library
• DesignVIZ contains the set for design (medit.mat), which populates the Material Editor
visualization use without the mental ray at startup, and a startup file (vizstart.max), which
renderer. is the file that opens when Autodesk VIZ is started
or when you reset. You can edit any of these files,
• DesignVIZ.mentalray contains the set for and you can also create your own sets, however
design visualization use with the mental ray each set must be in a separate sub-directory of
renderer. \defaults. in addition, each file in the directory
Highlight any of these sets to see detailed should have the same names (currentdefaults.ini,
explanations of the affected settings. medit.mat, and maxstart.max). If one of these
files is not present in a custom defaults directory
Customize User Interface Dialog 511
Tool Palettes Panel (page 3–520) 3. Click action in the Action list to highlight it.
4. In the Hotkey field, enter the keyboard shortcut
See also you want to assign to the action.
Customizing the User Interface (page 3–505) 5. Click Assign.
Saving and Loading Custom User Interfaces (page
3–525) Interface
Keyboard Panel
Customize menu > Customize User Interface > Keyboard
tab
• Right-click a viewport label, and then Toolbars List—Displays the Axis Constraints,
choose Views > Extended > MAXScript Extras, and Layers toolbars, and any additional
Listener. toolbars you’ve created using the New button.
2. Choose MAXScript menu > Macro Recorder. New—Displays the New Toolbar dialog. Enter the
3. Perform the actions you want to record. name of the toolbar you want to create and click
OK. The new toolbar appears as a small floater.
4. Select the lines in the script that you want. Drag
those lines directly onto the toolbar. Once you’ve created a new toolbar, there are three
Note that your macro might require some ways to add commands:
minor editing to remove extraneous steps or to • Drag actions from the Action Window in the
refine the procedure. Toolbars panel of the Customize User Interface
dialog onto your toolbar.
You can edit the appearance of the text or icons
on your toolbars with the Edit Button Appearance • CTRL+drag buttons from any toolbar onto
(page 3–524) command, which is available when your toolbar. This creates a copy of the button
you right click the toolbar button. on your toolbar.
• ALT+drag buttons from any toolbar onto
Interface your toolbar. This moves the button from the
original toolbar onto your toolbar.
Delete—Deletes the toolbar item displayed in the
Toolbars list.
Rename—Displays the Rename Toolbar dialog.
Select a toolbar from the Toolbars list to activate
the Rename button. Click Rename, change the
name of the toolbar, and click OK. The toolbar
name changes in the toolbar floater.
Hide—Toggles the displays of the active toolbar in
the toolbars list.
Load—Displays the Load UI File dialog. Allows
you to load custom user interface files into your
scene.
Save—Displays the Save UI File As dialog. Allows
Group—Displays a drop-down list that lets you
you to save any changes you’ve made to the user
select the context you want to customize, such as
interface to a .cui file.
Main UI, Track View, Material Editor, and so on.
Reset—Resets any changes you’ve made to the user
Category—Displays a drop-down list of all the
interface to the default setup (defaultUI.cui).
available categories of user interface actions for the
selected context.
Action Window—Displays all the available actions
for the selected group and category.
Quads Panel 515
1. Choose Customize menu > Customize User To move a command in a quad set:
Interface > Quads tab.
• Choose the command in the quad set list and
2. Choose the quad set you want to edit from the drag it to a new position in the list.
upper-right drop-down list.
If you want to change the name of the quad
set, click Rename and enter a new name in the
Rename Quad Set dialog.
3. Select the quadrant where you want to place the
command.
You can edit the name of the quadrant by
changing the text in the Label area.
516 Chapter 18: Customizing the User Interface
Group—Displays a drop-down list that lets you Quad Shortcut—Allows you to define a keyboard
select the context you want to customize, such as shortcut for displaying the quad set. Enter the
Main UI, , Material Editor, and so on. shortcut and click Assign to make the change.
Category—Displays a drop-down list of the Show All Quads—When on, a viewport right-click
available categories of user interface actions for the shows all four quad menus. When off, a viewport
selected context. right-click shows only one quad at a time.
Action Window—Displays all the available actions Label—Displays the label for the highlighted
for the selected group and category. To add an quadrant (shown in yellow to the left of the Label).
action to a specific quad set, select it and drag it Quad Menu Window—Displays the menu options
to the quad menu window on the right side of for the currently selected quad menu and quad set.
this dialog. Right-click an action in this window To add menus and commands, drag options from
to edit the macro script that defines the action (if the Action and Menus windows to this window.
there is one).
Items included in the quad menu are displayed
Separator Window—Displays a separator line that only when they are available. For example, if
can be used to separate groups of menu items in your quad menu contains Track View Selected,
a quadrant. To add a separator line to a specific the command will display only if you have an
quad set, select it and drag it to the quad menu object selected when you open the quad menu.
window on the right side of this dialog. The quadrant will not be displayed if none of the
Menus Window—Displays the names of all commands are available when you open the quad
Autodesk VIZ menus. To add a menu to a specific menu.
quad set, select it and drag it to the quad menu There are several actions available when you
window on the right side of this dialog. Right-click right-click any item in the quad menu window:
a menu in this window to delete the menu, rename
it, or create a new, empty menu. Delete Menu Item—Removes the selected action,
separator, or menu from the quad menu.
Menus Panel 517
Edit Menu Item Name—Opens the Edit Menu Item The new menu appears in the menu list.
Name dialog. The Customize Name check box
must be on to edit the name. Enter the desired To add a command to a menu:
name in the name text field and click OK. The 1. Choose Customize menu > Customize User
item’s name is changed in the quad menu, but not Interface > Menus tab.
in the quad menu window.
2. Choose the menu you want to edit from the
Flatten Sub-Menu—Displays contents of selected drop-down list.
submenu on top level of quad. When this is If you want to change the name of the menu,
selected, the menu name will be followed by the click Rename, and enter a new name in the
string: [FLAT]. Rename Menu dialog.
Edit MacroScript—Opens the macro script for the 3. Choose the appropriate Group and Category
selected action in a MAXScript editor window. from the respective drop-down lists.
Advanced Options—Opens the Advanced Quad 4. Choose a command from the action list and
Menu Options dialog (page 3–522). drag it into the Menu window.
Load—Displays the Load Menu File dialog. Allows Use the same procedure to add menus and
you to load custom menu files into your scene. separators to your menu.
Save—Displays the Save Menu File As dialog. UI Elements List—Displays a list of the available
Allows you to save any changes you’ve made to the elements for the selected user interface category.
menus to a .mnu file.
Color—Displays the color for the selected category
Reset—Resets any changes you’ve made to the and element. Click to display the Color Selector
menus to the default setup (defaultui.mnu). where you can change the color. After selecting
a new color, click Apply Colors Now to make the
change in the interface.
Colors Panel Reset—Resets the color to the default value.
Customize menu > Customize User Interface > Colors tab
Intensity—Sets a grayscale value for the display of
the grid lines. 0 is black and 255 is white.
The Colors panel allows you to customize the look
of the software interface. You can adjust the colors This control is available only when you select the
for almost every element in the interface, giving Set By Intensity element from the Grids element.
you the freedom to design your own unique style. This affects the intensity of the grid lines in the
viewports.
The quad menu colors cannot be customized from
the Color panel. To customize quad menu colors, Invert—Inverts the grayscale value for the display
use the Advanced Quad Menu Options dialog of grid lines. Dark gray becomes light gray and
(page 3–522). vice versa.
This control is available only when you select the
Interface Set By Intensity element from the Grids element.
Scheme—Allows you to select whether the main
UI colors are set to the default Windows colors or
whether they can be customized. If Use Standard
Windows Colors is selected, all of the elements in
the UI Appearance list are disabled, and you are
unable to customize the UI colors.
UI Appearance List—Displays all the elements in
the user interface that can be changed.
Color—Displays the color for the selected UI
appearance item. Click to display the Color
Selector where you can change the color. After
selecting a new color, click Apply to make the
change in the interface.
Elements—Displays a drop-down list that lets you Reset—Resets the selected UI appearance item.
select from the following high-level groupings:
Saturation—Sets a saturation scale of enabled or
Geometry, Gizmos, Grids, HSDS Controls,
disabled icons in the UI. The higher the saturation,
Manipulators, Material Editor, Objects, Rollouts,
the less gray the color. See Red, Green, Blue / Hue,
Schematic View, Track View, Track bar, Unwrap
Saturation, Value (page 3–722).
Colors, UVW Map, Vertex Paint and Viewports.
520 Chapter 18: Customizing the User Interface
Load—Displays the Load Color File dialog. Allows 2. Select Rename from the right-click menu.
you to load custom color files into your scene. 3. Enter a new name, and press ENTER.
Save—Displays the Save Color File As dialog. The palette name is updated in the Palettes
Allows you to save any changes you’ve made to the window and in the Tool Palettes window.
user interface colors to a CLR file.
To delete a palette from the Palettes window:
Reset—Resets any changes you’ve made to the
1. Right-click on the palette you want to
colors to the default setup (defaultui.clr).
permanently delete.
2. Select Delete from the right-click menu.
The palette is removed from the Tool Palettes
window.
Tool Palettes Panel 521
To create a new palette group: Note: A palette group must contain one or more
1. Right-click on an empty area of the Palette palettes to be made current.
Groups window.
To import a palette group:
2. Select New Group from the right-click menu.
1. Right-click in an empty area of the Palette
The new palette group is added to the list of Groups window.
palette groups in the Tool Palettes tool palettes
2. Select Import from the right-click menu.
title bar right-click menu (page 3–421).
3. In the Import Group dialog, browse to the .xpg
To add a palette to a palette group: file you want to import.
1. Drag a palette from the Palettes window to a 4. Click Open.
palette group in the Palette Groups window. The palette group is displayed in the Palette
2. When the cursor displays a + sign, release the Groups window.
mouse button.
To export a palette group:
The palette now displays below the palette
group name. 1. Right-click on the palette group or nested
group you want to export.
Note: You can only drag one palette at a time.
2. Select Export from the right-click menu.
To remove a palette from a palette group: 3. In the Export Group dialog, enter a file name.
1. Right-click on the palette you want to remove. 4. Click Save.
2. Select Remove from the right-click menu. The palette group is exported as an .xpg file.
To create a nested palette group: To export all palette groups:
1. In the Palette Groups window, right-click on a 1. Right-click on an empty area in the Palette
palette group. Groups window.
2. Select New Group from the right-click menu. 2. Click Export All from the right-click menu.
A new group is created below the palette group 3. In the Export Group dialog, enter a new file
you selected. name or accept the default which is the first
palette group name that is displayed in the
To make a palette group current in the Tool Palettes
Palette Groups window.
window:
4. Click Save.
1. In the Palette Groups window, right-click on
the palette group you want displayed in the Tool The palette groups are exported to an .xpg file.
Palettes window.
2. Select Set Current from the right-click menu.
The palettes in the selected palette group are
now available in the Tool Palettes window. The
title bar is updated to display the name of the
current palette group.
522 Chapter 18: Customizing the User Interface
Palettes—Lists the palettes in the order in which Advanced Quad Menu Options
they appear on the Tool Palettes window.
Customize menu > Customize User Interface > Quads
panel > Advanced Options
There are several actions available when you
right-click any item in the Palettes window:
The Advanced Quad Menu Options dialog lets
Rename—Renames the selected palette. you customize the size and colors of your quad
menus. You can also customize other quad menu
New Palette—Creates a new blank palette and adds
behaviors such as repositioning, type font, and
it to the Tool Palettes window.
cursor behavior.
Delete—Deletes the selected palette from the Tool
Palettes window. Interface
Palette Groups—This window displays in a tree Save group
view the organization of your tool palettes. You
can create user-defined palette groups by dragging
palettes from the Palettes windows to a group. By
right-clicking on a group, you can export a palette Load—Lets you load a quad options (.qop) file.
group to an .xpg file as well as import an .xpg file
Save—Saves your settings to a .qop file.
into a palette group.
Save as Startup—Saves your current settings as the
These are the available options when you
right-click any item in the Palette Groups window startup settings.
except for those noted those where right-clicking Reset to Startup—Resets options to default settings
in an empty space makes an additional option (defaultui.qop).
available:
New Group—Creates a new group.
Advanced Quad Menu Options 523
Move Cursor When Repositioned—Moves your • Stretch—Quad menus open by expanding one
cursor to the new location of the quad menu when quadrant at a time, in a clockwise manner.
it is repositioned. They close similarly; contracting one quadrant
at a time, in a counterclockwise manner.
When this is turned off, you must hold down the
mouse button when you right-click to display the • Fade—Quad menus open by fading in from
quad menu. Once you move the cursor over the transparent to opaque, and close by fading out
menu, you can release the mouse button. from opaque to transparent.
Return Cursor After Repositioned—After you have Steps—The number of frames used to complete
selected an action from the quad menu, the cursor the animated display of the quad menu.
is returned to the location on the screen where the As this value becomes larger, the transition (small
original right-click was made. to large, transparent to opaque, etc.) becomes
more gradual.
Fonts group
Pause—The time between frames during the
animated display of the quad menu.
As this value becomes larger, the animated display
of the quad menu slows down.
Size—Sets the font size of the quadrant titles. Use this dialog to change the appearance of the
Menu Font—Sets the font of the text inside the
selected button. You can substitute a different icon
quadrants. for the button, or change to a text button instead.
You can also customize the tooltip.
Size—Sets the font size of the text inside the
quadrants. Custom Icons
• A 16x15 image for use when small icons are Group—Displays a list of button categories.
displayed. Suffix: _16i.bmp. The groups of icons change with each category
• A 16x15 grayscale image showing transparency selection.
of the 16x16 image. Suffix: _16a.bmp Odd Only—Certain icon sets, like Internal, Classic,
Each file can contain more than one icon, but if Main toolbar and others, are designed in pairs that
so, the icons must be arranged in series one after show what the tool looks like when the button
the other. For example, if you want three icons to is enabled, and what it looks like when disabled.
appear, the file that ends in _24i.bmp would be 72 When Odd Only is turned on, only the odd
pixels wide and 24 pixels high, and contain the numbered icons (enabled) are displayed, when
three icons in series with no space between them. Odd Only is turned off, all of the icons, enabled
and disabled, are displayed.
After you create the icon files, copy them to
the UI/icons folder and restart Autodesk VIZ.
This will enable the software to find and display
the group when you access the Edit Button
Appearance dialog. Saving and Loading Custom
Tip: Look at some of the existing .bmp files in the
User Interfaces
UI/icons folder as a guide to arranging custom
icons in your .bmp files. You can customize your workspace by saving and
loading custom user interface (UI) schemes.
Interface A custom UI scheme is saved as a set of six files:
• .cui: Stores toolbar, tool palette and panel
layouts.
• .clr: Stores all color settings (except quad
menu colors).
• .mnu: Stores menu bar and quad menu
contents.
Tooltip—You can add your own tooltips to the • .qop: Stores quad menu colors, layout, and
buttons. This is the tooltip that displays when the behavior.
mouse is over the tool button. You can edit this to • .kbd: Stores keyboard shortcut assignments.
describe the tool. • .ui: Stores the icon scheme (Classic or 2D Black
Text Button—Lets you assign text to the button. and White).
You can enter whatever text you like for the button. You can load and save each of these files
Image Button—Lets you assign an image (icon) to individually from their respective panels in the
the button. You can use any predefined icon that Customize User Interface dialog (page 3–511).
you want by selecting it from the display on the You can also load an entire set of UI scheme files
right. at once with the Load Custom UI Scheme dialog
(page 3–527), and you can save the current UI
scheme as a complete set with the Save Custom UI
Scheme dialog (page 3–527).
526 Chapter 18: Customizing the User Interface
By default, two sets of UI schemes are present 2. From the Load UI File dialog that displays,
in the autodesk viz 2007/ui folder: vizstart and choose defaultui.cui, and click Open.
defaultUI. Upon startup, Autodesk VIZ uses the All the default UI files begin with the base
vizstart file series if it exists; if not, it uses the file name defaultui. When you choose
defaultui series. defaultui.cui, all default UI scheme files will
You cannot load 3ds Max UI files in Autodesk VIZ. load.
Warning: Do not save over any files that begin with To start the software with a custom user interface:
defaultUI, as doing so will permanently overwrite the
1. Arrange the user interface as you would like it
default UI scheme.
to appear when you start Autodesk VIZ.
Procedures 2. Choose Customize menu > Save Custom UI
To load a custom UI scheme: Scheme, and save your custom UI scheme with
the base file name vizstart.
1. Set up the custom UI scheme within
Autodesk VIZ using the options on the The next time you start Autodesk VIZ, the
Customize menu > Customize User Interface software will start with the current UI scheme.
dialog (page 3–511). Note: If the Save UI Configuration On Exit
2. Save the custom UI scheme with Customize option on the Customize menu > Preferences >
menu > Save Custom UI Scheme. General tab (page 3–537) is turned on (which
it is by default), the state of the user interface
3. During your current Autodesk VIZ session or
when you close the program will overwrite the
any later session, choose Customize menu > vizstart UI scheme files.
Load Custom UI Scheme.
4. In the Load Custom UI Scheme dialog, select a To start the software with a custom user interface
type of customization file (.cui, .mnu, .clr, .kbd, from the command line:
.qmo, or .ui) from the Files of Type drop-down 1. Save your custom UI scheme with a descriptive
list. base file name with the Save Custom UI Scheme
5. Choose any file with the appropriate extension. dialog (page 3–527).
The software will search for (and load) any 2. Right-click the Autodesk VIZ icon on the
other type of UI scheme file with the same base Windows desktop, and choose Properties.
file name.
3. In the Target field, change 3dsviz.exe to
If you choose a UI scheme for which one of 3dsviz.exe -c, followed by the name of your
the six file types is not present, the part of the .cui file.
user interface for which there is no file will not
Example: 3dsviz.exe -c myfile.cui. Be sure to
be changed.
leave a space both before and after the -c.
To return to the default UI scheme: If you want to move the UI scheme to a different
If you start Autodesk VIZ and its user interface has computer, copy all the files in the autodesk viz
an unfamiliar layout, you can always return to the 2007\ui folder that start with the custom UI
default UI scheme. scheme base name to the new autodesk viz 2007\ui
folder. Alternately, you can add the path name to
1. Choose Customize > Load Custom UI Scheme.
the command line.
Load Custom UI Scheme 527
Interface
After you enter a file name and click Save, the
Custom Scheme dialog opens, letting you define
which parts of the UI scheme will be saved.
All—Turns on all of the above controls. Customize menu > Configure System Paths
projects organized and work efficiently by using This description subsequently appears in the
the same paths. path list.
4. If you want to include subdirectories in this
See also path, turn on Add Subpaths.
Configure System Paths (page 3–531) 5. Click Use Path.
The new path takes effect immediately.
Procedures
In general, these procedures are common to all To delete a path:
panels on the Configure User Paths dialog. When This procedure is not available on the File I/O
you change a setting, it’s written to the 3dsviz.ini panel. In addition, it’s not available on the 3rd
file, and is effective immediately. Party Plug-ins panel if only one plug-ins path
exists. In other words, you can’t delete the last
To modify a path:
plug-ins path.
1. Click a path entry to highlight it.
1. On the External Files panel, choose a path entry.
2. Click Modify.
2. Click Delete.
3. Use the Choose Directory dialog to do one of
The path location is removed.
the following:
3. If you want to restore the path, click Cancel.
• Enter a path in the Path field.
This closes the Configure User Paths dialog
• Navigate to locate a path.
without saving any path changes.
4. Optional step (3rd Party Plug-Ins panel only):
Edit the description of the path in the Label To share User paths with team members:
field. 1. Use the Configure User Paths dialog to set up
This description subsequently appears in the all necessary user paths.
path list. 2. Click the Save As button and then use the
5. Click Use Path. Save Paths To File dialog to save the path
The new path takes effect immediately. configuration as an .mxp file.
3. Make the path configuration file available to
To add a path: other team members.
This procedure is not available on the File I/O 4. Each team member then opens the Configure
panel. User Paths dialog and uses Load or Merge to
1. Click Add. open the path configuration file.
2. On the dialog that opens, do one of the The new path configuration is now the same on
following: each team member’s machine.
• Enter a path in the Path field. Note: Using Load eliminates the existing
path configuration; using Merge overwrites
• Navigate to locate a path.
only paths that exist in both the current
3. Optional step (3rd Party Plug-Ins panel only): configuration and the new one.
Edit the description of the path in the Label
field.
Configure System Paths 531
Interface that exist only in the new file and replaces any
existing paths.
For example, if your File I/O panel > Scenes path
is set to c:\3dsmax8\scenes and you merge a path
configuration file in which the Scenes path is set
to the UNC path \\scene_server\max\scenes, the
former path is replaced by the latter one.
OK—Exits the dialog and saves any changes.
4. Click Use Path. 1. On the Configure User Paths dialog, click File
I/O, and then choose a path entry.
The new path takes effect immediately.
2. Click Modify.
To delete a file’s path: 3. In the Choose Directory dialog, do one of the
1. On the External Files panel, choose a path entry. following:
2. Click Delete. • Enter a path in the Path field.
The path location is removed. • Navigate to locate a path.
3. Click Cancel to restore the path. 4. Optional step: Enter a description of the path
in the Label field.
This closes the Configure Path dialog without
saving any path changes. This description subsequently appears in the
path list.
To move a path up or down in the list:
5. Click Use Path.
1. On the External Files panel, choose a path entry.
The new path takes effect immediately.
2. Do one of the following:
• Click Move Up to move the entry closer to
the top of the list, giving it a higher priority
in the search process.
• Click Move Down to move the entry closer
to the bottom of the list, giving it a lower
priority in the search process.
534 Chapter 18: Customizing the User Interface
To add an XRef path: directories and use this panel to add the paths of
1. On the XRefs panel, click Add. those directories. Changing the list order specifies
the search order. Put the most frequently used
2. On the Choose Directory dialog, do one of the
plug-ins at the top.
following:
Path information is stored in the plugin.ini file.
• Enter a path in the Path field.
Note: To change the path for standard plug-ins
• Navigate to locate a path.
included with Autodesk VIZ, use the Configure
3. If you want to include subdirectories in this System Paths (page 3–531) function.
path, turn on Add Subpaths.
For descriptions of the general dialog controls, see
4. Click Use Path.
Configure User Paths (page 3–529).
The new path takes effect immediately.
Procedures
To delete an XRef path:
To modify a plug-in path:
1. On the XRefs panel, choose a path entry.
1. On the 3rd Party Plug-Ins panel, choose a path
2. Click Delete. entry.
The path location is removed. 2. Click Modify.
3. Click Cancel to restore the path. 3. On the Choose Directory dialog, do one of the
This closes the Configure Path dialog without following:
saving any path changes. • Enter a path in the Path field.
On the 3rd Party Plug-Ins panel of the Configure 5. Click Use Path.
User Paths dialog, you can add or modify the The new path takes effect immediately.
directory paths of plug-ins (page 3–716) supplied
by third parties and independent software
developers. You can also store plug-ins in separate
536 Chapter 18: Customizing the User Interface
To delete a path: You can add as many remote INI files as you
1. On the 3rd Party Plug-Ins panel, choose a path need, making it easy to organize groups of
entry. plug-ins.
2. Click Delete.
The path location is removed.
Preferences
Network Plug-In Configuration
Customize menu > Preferences
You can include path annotations to additional
INI files within the local plugin.ini and the Autodesk VIZ offers many options for its display
software will process the files as if they were and operation. These options are available on the
part of the original plugin.ini. This can be very Preference Settings dialog in a series of tabbed
helpful in settings where several systems on a panels.
network are using the same plug-ins. The network
administrator need only maintain a single remote
INI file, rather than having to update each machine
individually.
Procedure
Example: To add remote INI files to your local
plugin.ini :
1. Open your local copy of plugin.ini with your
preferred text editor.
2. At the bottom of the file, type [Include] and
press ENTER.
3. Below [Include], type these two lines:
myremote=\\remote_dir\remote_plugin.ini
anotherdir=d:\test\extra_plugin.ini
Note: You can give any title to the directory The Preference Settings dialog contains the
(myremote or anotherdir, in this case) and the following panels:
directory can be any local or remote directory. General Preferences (page 3–537)
In addition, the INI file can have any name.
File Preferences (page 3–548)
4. Save plugin.ini and exit the text editor.
The next time you start the software, it will Viewport Preferences (page 3–551)
load plug-ins from the directories defined in Gamma Preferences (page 3–550)
plugin.ini, as well as those in any remote INI
file that has been included in plugin.ini.
Rendering Preferences (page 3–540)
Animation Preferences (page 3–546)
General Preferences 537
Inverse Kinematics Preferences (page 3–542) 2. Change the value of Scene Undo Levels.
Gizmos Preferences (page 3–554) The higher the value of Undo Levels, the more
system resources are required. The default
MAXScript Preferences (page 3–556) value is 20.
Radiosity Preferences (page 3–543)
Interface
GCS Preferences (page 3–544)
mental ray Preferences (page 3–545)
General Preferences
Customize menu > Preferences > Preferences dialog >
General tab
Procedures
To set and toggle spinner snap:
Scene Undo group
1. Do one of the following:
Levels—Sets the number of operations you can
• Choose Customize menu > Preferences > undo. You can see the operation that will be
Preference Settings dialog > General tab. undone by looking at Undo on the Edit menu.
the viewports if you are not in sub-object mode. Use Large Toolbar Buttons—Toggles between large
Tooltips show the names of objects. and small toolbar buttons.
AutoPlay Preview File—Starts the Media Player Horizontal Text in Vertical Toolbar—Ensures text
automatically at the end of a Make Preview (page buttons are displayed horizontally.
2–1451).
If you create a custom toolbar positioned vertically,
Display Cross Hair Cursor—Displays the mouse and you’re using text rather than image buttons,
cursor as full-viewport cross hairs, vertical and you can choose to display either horizontal or
horizontal lines extending the full extent of the vertical text with this option.
active viewport.
Fixed Width Text Button—Specifies the maximum
Each movement of the mouse is redrawn, so the width of text buttons.
cross hairs are relatively slow. If you want to create
You must turn on the Horizontal Text in Vertical
a keyboard shortcut, find Cross Hair Cursor toggle
Toolbar option, turn this option on, and then set a
in Customize menu > Customize User Interface
maximum display size for the text button in pixels.
> Keyboard panel and specify the keys to use for
For custom vertical toolbars with text buttons, this
the shortcut. If you want to change the color of the
option will limit the size of the text display.
cross-hairs cursor, Customize menu > Customize
User Interface > Colors panel > Viewports > Cross Flyout Time—Sets the pause, in milliseconds,
Hair Cursor and use the color selector to change between the mouse click and the flyout popping
the cursor color. up from the button. Increase this setting only if
you need an extra-long delay. Don’t decrease the
Display Topology Dependence Warning—Turns of
setting much or you may not be able to execute
the topology dependence warning. A warning is
button commands before the flyout takes over.
displayed if an object has modifiers and sub-object
selections, and you choose to edit a modifier or Color Selector—Choose the default color selector
the base object at the bottom of the modifier stack, (page 1–132), or a third-party plug-in color
which can adversely affect the object’s topology. selector in the list. The color selector you choose
You can also turn off the warning in the warning here is used throughout Autodesk VIZ whenever
dialog. Default=on. you specify a color.
Display Stack Collapse Warning—Turns off the
Plug-In Loading group
stack collapse warning. A warning is displayed if
an object has modifiers and sub-object selections, Load Plug-Ins When Used—When turned on, loads
and you choose to delete a modifier, which can plug-ins on demand, when they are needed.
adversely affect the object’s topology. You can
also turn off the warning in the warning dialog. Sub-Materials group
Default=on. Assign Automatically—Enables the automatic
assigned to the face selection. When off, the Snap—Sets the click increment and decrement
assigned material is assigned to the entire object. values for all of the spinners in Autodesk VIZ.
Note: If the face selection comprises faces with Use Snap—Toggles spinner snap on and off.
different material IDs, assigned a material to the
Wrap Cursor Near Spinner—Limits cursor wrapping
selection with Assign Automatically turned on
results in the software assigning the first unused to an area close to the spinner when you drag to
material ID to all selected faces, thus changing adjust spinner value.
their IDs.
Command Panel group
See also Drag and Drop Sub-Object Material
Rollout Threshold—Determines the number of
Assignment (page 2–1055).
pixels in a rollout that should be scrollable in the
command panel before the rollout is shifted into a
Scene Selection group
separate command panel column.
Auto Window/Crossing by Direction—When this is
enabled, the direction that you drag a selection This option is applicable only when the command
area determines whether it is a window or crossing panel displays multiple columns.
selection (page 1–84). This works for any selection
Layer Defaults group
area (rectangle, circle, fence, or lasso).
Default to By Layer for New Nodes—When on, all
You can select which direction causes a window
new objects will have their rendering, motion blur,
selection and which causes a crossing selection
display, and advanced lighting properties set to By
in the Scene Selection group. When you drag a
Layer (page 3–663).
window selection, the selection region is displayed
with a solid line, however when you drag a crossing New Lights Renderable By Layer—When on, the
selection, the selection region is displayed with Renderable setting (found on the Object Properties
dashed lines. dialog (page 1–108)) of new lights is determined
by the setting of the layer they are created on.
Right-> Left => Crossing—When you drag a
selection region from right to left, it is a crossing Propagate Unhide/Unfreeze Commands to
selection. Conversely, when you drag left to right, Layers?—When a layer is hidden or frozen, and
it is a window selection. you unhide or unfreeze an object in that layer, this
choice determines whether the command affects
Left-> Right => Crossing—When you drag a
the object or its layer.
selection region from left to right, it is a crossing
selection. Conversely, when you drag right to left, • Propagate—Unhiding or unfreezing an object
it is a window selection. in a layer unhides or unfreezes the layer.
Play Sound—Plays a sound file when the rendering On—When turned on, the software creates a series
has finished. of temporary “page” files on the drive where it is
installed for use in rendering bitmaps.
Choose Sound—Opens the Open Sound browser
dialog, select a sound file using the browser. You Page Size (kB)—Sets the size of the bitmap page. If
can test sound files with the Play button in the textures are smaller than the page size, the system
Open Sound dialog. Press ESC to turn off the allocates only the memory required.
sound.
Bitmap Size Threshold (kB)—Sets the minimum size
(in kilobytes) that a bitmap must be in order to
GBuffer Layers group
be paged.
Maximum Number—Limits the number of layers
Memory Pool (kB)—Controls the amount of
that are stored in the G-buffer during rendering.
Default=10; Range=1 to 1000. memory used by the pager. All pages remain in
memory until this limit is reached. When the limit
Memory requirements may dictate that you limit is reached, the pager begins saving pages to disk.
the number of G-buffer layers. The RLA and RLF Pages that are not frequently used are paged out;
image formats, used for compositing, can store more frequently used pages are kept in memory.
many G-buffers for object Z buffer information,
material ID, transparency and so on.
Inverse Kinematics Preferences
Multi-threading group
Customize menu > Preferences > Preference Settings
On—Causes the software to treat the rendering dialog > Inverse Kinematics tab
task as separate threads. This option works with
multiprocessor systems. Each processor in your On the Inverse Kinematics panel of the Preference
computer handles a different thread, which makes Settings dialog, you set options for both applied
full use of available processing power and speeds and interactive inverse kinematics (page 3–689).
up rendering to its maximum level. When off,
Autodesk VIZ treats a rendering task as a single Procedure
processing task and won’t divide it up. To prevent transforming unlinked objects while
working in IK mode:
Bitmap Pager group
1. Choose Customize menu > Preferences >
The Bitmap Pager can help with the rendering of Preference Settings dialog > Inverse Kinematics
scenes that have very large textures, a large number tab.
of textures, or when rendering a high-resolution
2. On the Inverse Kinematics panel, turn off the
image.
option labeled Always Transform Children Of
Tip: You can access a Bitmap Pager Statistics dialog The World.
(page 3–129) with useful pager information such
Single, unlinked objects are hierarchies of one
as memory usage: Go to Customize menu >
object. An unlinked object is its own root and
Customize User Interface, find the Bitmap Pager
also a child of the world, so turning off Always
Statistics item in the Main UI list, and then assign
Transform Children Of The World prevents you
it as a keyboard shortcut or other UI element.
from transforming single objects in IK mode.
Radiosity Preferences 543
Start/Reset Behavior
Display Reset Warning—When on, a warning
message is displayed whenever you reset the
radiosity solution in your scene.
Update Data When Required on Start—When
on, the radiosity engine must be reset and then
recalculated if the solution is invalidated. In this
mental ray Preferences 545
Interface
2. Click Set Defaults in the Controller Defaults If you decide that you want to revert to
group. the original Autodesk VIZ defaults for all
The Set Controller Defaults dialog appears. controllers, you can click Restore To Factory
Settings.
Interface
become active when Use Current Transform is Restore To Factory Settings—Prompts you to verify
turned off. if you want to reset all controllers to the program’s
default settings. If you choose Yes, the defaults are
Animate group reset for all controllers currently in the system.
Local Center During Animate—Locks the center
method to local (page 3–692). Turn off if you
want to animate around a non-local center such as File Preferences
world or selection. Customize menu > Preferences > Preference Settings
dialog > Files tab
MIDI Time Slider Control group
On the Files panel of the Preference Settings
Enables use of a MIDI device to control the time
dialog, you set options relating to file handling.
slider. Choose On to use the MIDI device specified
You also select the program used for archiving.
in the MIDI Time Slider Control Setup dialog
This is where you control the options for log file
(page 3–567), which is displayed with the Setup
maintenance. You can enable Auto Backup in this
button.
dialog to save your work automatically at defined
Sound Plug-In group intervals.
This check box is linked to the Convert file paths Save File Properties—When on, any data entered
to UNC switch on the Asset Tracking dialog > in the File Properties dialog (page 3–112) is saved
Paths menu. Toggling either one toggles both. with the scene file and can be accessed with
Note: This switch affects only newly added paths. Windows Explorer and File Finder (page 3–126).
Toggling it has no effect on existing paths. For When off, the file properties information is not
example, if you load an image file into a Bitmap stored with the file. Default=on.
map (page 2–1205) from a mapped drive with the Display Obsolete File Message—Turns off the
switch on, turning it off does not change the file "Obsolete data format found - Please resave file"
path to the mapped version. alert that is displayed when you load a MAX file
Backup on Save—Creates a backup file if a file of created in an earlier version of Autodesk VIZ.
the same name already exists. The existing file is Default=on.
renamed maxback.bak and placed in the autoback There is a matching "Do not display this message"
directory before the save occurs. You can edit the check box in the alert itself, and you can also turn
automatic backup settings in the Auto Backup off the alert from there.
group (page 3–549). Default=on.
Reload textures on change—When on, reloads
Increment on Save—Creates a new copy of the bitmapped textures if the date of the bitmap file
file in the same directory whenever you save the has been updated. Default=on.
file. The name of the new file is incremented by
Recent Files in File Menu—Sets the maximum
1 (filename01.max, filename02.max, and so on).
Default=off. number of recently edited MAX files to display
in the list File > Open Recent. Range=0 to 50.
Compress on Save—Saves the Autodesk VIZ file in Default=9.
a compressed format. Depending on the details
of the file, the compressed file can be as small as Auto Backup group
one-fifth the size of its uncompressed equivalent.
Auto Backup saves your work periodically. In the
Default=off.
event of a power failure, if you have not saved your
You can determine whether a Autodesk VIZ file is work, you can load in an auto backup (autoback)
compressed or not by bringing up Properties for file from the autoback subdirectory in the program
the file in Windows Explorer. On the Contents directory and continue working with little lost
panel, under General, you’ll see whether the file is work.
compressed or uncompressed.
Auto Backup creates auto backup files based on a
Save Viewport Thumbnail Image—Saves a 64-pixel time interval. The name of an auto backup file is
thumbnail of the active viewport when you autobakn., where autobak is the main part of the
save each MAX file. The Asset Browser reads name (autobak is the default), and n is an integer
thumbnails. Saving thumbnails adds about 9K to from 1 to 9.
each MAX file. Default=on.
For example, if you’ve set Auto Backup to create
Save Schematic View—When on, the active three auto backup files at one-minute intervals,
schematic view is saved with the MAX file. Auto Backup will create autobak1.max, and
Default=on. then a minute later autobak2.max, and then
autobak3.max. At the fourth minute, the system
overwrites autobak1.max, and so on.
550 Chapter 18: Customizing the User Interface
Enable Gamma Correction—Makes available the example, when you are rendering a scene to an
controls for adjusting gamma adjustments you image file.
make and applies the adjustments. Turn off to
disable gamma correction. Bitmap Files group
Load Enable State with MAX Files—Loads the Input Gamma—The system input gamma that the
state of Enable Gamma Correction with each software uses to process bitmaps if that bitmap
Autodesk VIZ file. type doesn’t override the gamma with its own
gamma value. In the case of Targa files, the file’s
When you choose Load Enable State, and load inherent gamma will override the system input
a scene file whose Enable Gamma Correction gamma. You use the Input Gamma to invert the
state differs from the current state, you can make gamma of bitmaps coming into Autodesk VIZ
the correction correspond with the setting in the (for example, texture maps) so that when they
current file or leave the setting as is. are processed by the renderer and re-output, the
If you have a vizstart.max file and you choose this bitmaps aren’t gamma corrected twice.
option, new sessions of Autodesk VIZ use the Tip: If you have gamma enabled when loading
Enable Gamma Correction state in the file. If you texture maps, set your input gamma to the same
turn this option, off, the file doesn’t affect the state value as your display gamma, or your maps will
of Enable Gamma Correction. be too bright.
(page 3–252) file updates on each frame when you Grid Nudge Distance—Sets the nudge distance for
click the Play button. Turn off the real-time (page the Nudge Grid Down and Nudge Grid Up keys,
3–721) switch in the Time Configuration dialog which you can use to move selected objects into
(page 3–447) to use this feature. position.
In Autodesk VIZ, the viewport updates not only Non Scaling Object Size—Sets the display size of
when you click Play, but also when you drag the cameras, lights, and other nonscaling objects.
time slider. Default=1.
Filter Environment Backgrounds—Affects the
Display Drivers group
background displayed in the viewport only when
the Viewport Background parameter (page 1–36) Currently Installed Driver—Displays the name of
is turned on in the Viewport Background dialog. the currently installed driver.
When you turn on Filter Environment Choose Driver—Displays the VIZ Driver Setup
Backgrounds, the environment background is dialog (page 3–558). Use this dialog to select
filtered in the viewport, resulting in an antialiased a different software display driver, or to switch
image. When you turn it off, the background drivers if you installed a hardware accelerator card.
image is not filtered, resulting in an aliased, Configure Driver—Displays the Configure Driver
pixelated image. dialog (page 3–560), where you can change the
• Filtering slows down the recalculation of the driver options for your currently selected driver.
viewport background image about 30 to 40
percent. Unless you really need that smooth Ghosting group
display, it’s best to leave the option turned off. Ghosting Frames—Specifies the number of ghost
• This option doesn’t affect the rendered images that appear before and after the current
background image, and doesn’t effect the frame when you choose Show Ghosting from the
viewport backgrounds when you turn on Use Views menu. If you display ghosts both before and
Environment Background. after the current frame, the total number of ghosts
is twice this number.
Low Res Environment Background—Reduces the
size of the environment background map by half, Display Nth Frame—Specifies the number of frames
and then magnifies it to the size needed for the between the appearance of each ghost. The smaller
viewport. This results in a chunkier, pixelated this number, the closer the ghost images appear
appearance, but speeds the rendering in the to each other.
viewport by four times (because it halves the width
Ghost Before Current Frame—Displays only ghost
and the height of the original image).
images that occur before the current frame. This
Tip: Unless you need fine detail in your makes the ghosts trail the object.
environment background, it’s best to leave this
Ghost After Current Frame—Displays only ghost
item turned on.
images that occur after the current frame.
Display World Axis—Displays a world axis in the
Ghost Before and After—Displays ghosts both
lower-left corner of all viewports when turned on.
Default=on. before and after the current frame.
554 Chapter 18: Customizing the User Interface
Ghost in Wireframe—Displays ghosts in black When this option is turned off; you can right-click
wireframe in shaded viewports. When turned anywhere in the viewports to display a menu.
off, the ghosts appear as shaded objects, using the
Wheel Zoom Increment—Determines the
same colors as the wireframe ghosts.
sensitivity of the zoom when you use the wheel on
Show Frame Numbers—Displays a frame number the mouse. Increase sensitivity up to a maximum
in the upper-left corner of each frame. value of 100 or reduce it to a minimum of 0.01.
Default=1.0.
Mouse Control group
Middle Button Pan/Zoom—Sets the middle mouse
button to pan in the viewport if you have a Gizmos Preferences
three-button mouse. If you have a Microsoft Customize menu > Preferences > Preference Settings
Intellimouse, you can also roll the middle wheel dialog > Gizmos tab
to zoom the viewport.
You set the display and behavior of the Transform
To Zoom with a three button mouse, press
gizmos (page 1–348) on the Gizmos panel of the
CTRL+ALT and drag the center button.
Preference Settings dialog.
Note: By default, the Intellimouse slows the speed
of the mouse when you hold down the wheel Interface
button. You can increase the mouse speed in the
Mouse Properties dialog in the Windows Control
Panel. Choose the Wheel tab, click the Settings
button in the Wheel Button group, and turn the
slider up to Fast.
Stroke—Assigns command shortcuts to stroke
patterns applied by dragging with the middle
mouse button. See Strokes (page 3–593).
Zoom About Mouse Point (Orthographic)—When
this control is turned on, viewports zoom about
the point where you click the mouse. With it
turned off, viewports zoom about the center of the
view. This applies to orthographic viewports only.
Zoom About Mouse Point (Perspective)—When this
Transform Gizmos group
control is turned on, viewports zoom about the
point where you click the mouse. With it turned On—When on, Autodesk VIZ uses the Transform
off, viewports zoom about the center of the view. gizmo to enable more powerful move, rotate, and
This applies to perspective viewports only. scale options. When turned off, a basic tripod is
displayed, with no axis specificity.
Right Click Menu Over Selected Only—Limits the
right-click menu display over a selected object. Show Axis Labels—Toggles the display of the axis
Default=off. labels on the Transform gizmo.
Gizmos Preferences 555
Planar Angle Threshold—Determines when the difficult to move objects when the plane is not
Circular Crank rotation method will automatically parallel to the screen.
switch to Linear Roll to prevent loss of control over
Persp Sens—Sets mouse sensitivity for projection
the gizmo.
transforms.
This occurs when a Primary axis is nearly 90
Rotation Increment—Specifies the amount of
degrees to the view plane, making it different to
rotation generated by moving the mouse 1 pixel.
circle around. Any angle to the view plane that
Lower this value for angular rotations smaller than
is higher than this setting will use Crank mode,
the default .5 degrees. The lower this value, the
but any angle equal to or less than this setting will
more mouse movement is needed to rotate objects.
always function as a Linear Roll.
Viewport Arc Rotate Snap Angle—Sets the amount
Scale Gizmo group of rotation in degrees.
Relative Size (%)—Sets the size of the Move gizmo,
relative to the Size value of the Transform gizmo. Turn on Angle Snap on the main toolbar,
Range= 0.0 to 500.0. and then use Arc Rotate (page 3–466) to rotate
Uniform Handle Size (%)—Sets the size of the a viewport. The viewport rotation snaps by the
handle for uniform scaling (the distance from value set here. The Arc Rotate cursor displays a
the transform center to the edge of the uniform small magnet in the upper left to indicate that
handle), as a percentage of the scale gizmo size. Angle Snap is turned on.
2–Axis Handle Size (%)—Sets the size of the handle
for non-uniform scaling along 2–axes (the distance
MAXScript Preferences
from the edge of the uniform handle to the edge
of the 2–axis handle), as a percentage of the scale Customize menu > Preferences > Preference Settings
dialog > MAXScript tab
gizmo size.
Uniform 2–Axis Scaling—Forces scaling using a On the MAXScript panel of the Preference Settings
2–axis plane handle to be uniform. dialog, you set MAXScript and Macro Recorder
preferences, enable or disable auto-loading of
Move/Rotate Transforms group scripts, set the initial heap size, change font
Controls the way you can move selected objects style and size used in the MAXScript editor, and
with the mouse in a non-orthographic (page manage all the settings for the Macro Recorder.
3–710) view such as Perspective (page 3–713). You can also change these settings by editing the
Intersection—Shoots a ray from the mouse point [MAXScript] section of the 3dsviz.ini file.
into the screen. This makes moving objects easier, Note: Two paths to support auto-startup scripts
but as you move toward the horizon (page 3–685), are on the Configure User Paths dialog (page
the object moves great distances. 3–529) and Configure System Paths dialog (page
Projection—Projects the motion of the mouse 3–531): ..\scripts and ..\scripts\startup. If you
onto the plane. This ensures that there are no prefer to start scripts from a different directory,
singularities at the horizon, and that motion is you can change these default directories with the
always smooth and stable. However, it can become corresponding Customize menu commands.
MAXScript Preferences 557
Choose Help > MAXScript Reference for details Load/Save Scene Scripts—Enables Scene Script
on MAXScript. loading and saving.
Load/Save Persistent Globals—Enables load and
Interface
save Persistent Globals.
MAXScript supports a limited form of variables.
You declare that a particular global is persistent
and the value it contains is always saved to and
restored from scene files as they are opened
and closed. In this way you can, for example,
keep direct references to objects in the scene in
variables. Those references will move across scene
save and reload.
allocates. You can add to the heap at any time by Explicit Sub-object Sets—Uses explicit sub-object
increasing the value here. sets in the code.
Selection-relative Sub-object Sets—Uses selection
Macro Recorder Group
relative sub-object sets in the code. Default=on.
Enable Macro Recorder—Enables the Macro
Absolute Transform Assignments—Uses absolute
Recorder.
transforms in the code.
Autodesk VIZ starts with the macro recorder
Relative Transform Operations—Uses selection
disabled and a minimized Macro-Recorder pane
in the MAXScript listener window. relative transform operations in the code.
Direct3D Driver Setup Dialog (page 3–564) Because OpenGL is most efficient when run on
systems with at least rasterization acceleration,
Interface the software display driver/SZB option may work
best on systems with an ordinary 2D display card.
However, with a 3D-enabled card, you may see
dramatic acceleration using the OpenGL driver.
The disadvantages of the Open GL driver are as
follows:
• All potentially visible scene data must be
transferred to the driver, and this can cause a
communication bottleneck across the system
bus. In particular, this slows down the display
of individual primitives (as opposed to strips or
polylines, like wireframe displays).
• Because the OpenGL design supports a wide
On the Display Driver Setup dialog, some options variety of display systems, there is no guarantee
are unavailable if the corresponding driver is not that either incremental scene update methods
installed in the system. The currently installed (partial window blits (Block Image Transfers)
driver is listed in the Display Driver group. or dual planes) will work with a particular
implementation of OpenGL.
Software Display Driver • Because lighting and texturing are restricted
Choose this if you’re using software rather than to OpenGL-specified semantics, mismatches
hardware acceleration. This choice is always between Autodesk VIZ scene lighting and
available. texturing and what appears in an OpenGL
viewport can occur. This applies especially to
OpenGL attenuated lights and non-tiled texture display.)
Custom
Choose this if you have a custom driver installed
on your system. Such custom drivers don’t use
the software display driver (Heidi), OpenGL, or
Direct3D. If you don’t have such a driver installed,
this option is not available.
Configure Software Display Driver Dialog 561
choosing Views > Redraw All Views (the default Background Texture Size—Unlike the Software
keyboard shortcut for this is the ‘ [accent grave] Display driver, which uses bitmaps to display
key). viewport backgrounds directly, the OpenGL driver
uses a texture-mapped background rectangle.
Use BGRA Pixel Format—When on, sends bitmaps
This allows for smoother zooms and pans in
using BGRA (blue-green-red-alpha) ordering for
orthographic views and can take less memory than
pixels. This is the default order for Windows.
the direct bitmap method. However, background
By default, OpenGL expects RGBA ordering.
bitmap resolution may be lost. Increase the
Because of this, under default conditions, loading
resolution if you’re using a maximized viewport
textures or backgrounds requires the pixels to be
to digitize.
reordered. OpenGL supports an extension that
allows it to receive pixels in BGRA order. This Download Texture Size—Lets you choose the size of
means that bitmaps can be displayed directly, the texture map that’s downloaded to the driver
without reordering each pixel. Thus, assuming for texture-mapped scene objects. Larger maps
the OpenGL driver has efficient hardware support look better, but use more display card memory.
for BGRA pixels, turning on this option makes Note: When Match Bitmap Size As Closely as
loading textures and background images much Possible is on, these buttons are overridden,
faster. Default=on. however they are still available. The value is still
Use Generalized Vertex Arrays—When on, enables used when procedural textures are converted to
Autodesk VIZ to use custom driver code to bitmaps for viewport texture display.
render smoothly shaded objects. Typically this Match Bitmap Size as Closely as Possible—To allow
is much faster than using standard OpenGL the viewport to show actual texture resolutions,
code, but has an effect only when the driver has bitmaps are individually resized before they are
hardware-specific custom code. Default=on. downloaded to the driver. This means that small
Use Wireframe Faces—When on, makes wireframe bitmaps don’t get overexpanded and large bitmaps
display accessible to hardware acceleration. retain their resolution (but potentially use a lot
Default=on. more video RAM).
This option is intended to allow display-card Note: Bitmaps can be no larger than 4000 x 4000
manufacturers to accelerate Autodesk VIZ pixels (or they will be scaled down to this size) and
wireframe displays in a way that is specific to the no smaller than 32 x 32 (or they will be scaled up
underlying display hardware. Check with your to this size). Default=off.
display-card manufacturer to see if enabling this Texel Lookup—Specifies whether to use the nearest
option will yield faster wireframe rendering with pixel (page 3–715) or to linearly interpolate the
your display card. pixel value from the four closest texels (page
3–738). Using the nearest pixel is faster, but
Appearance Preferences group using texels produces a higher-quality display.
Enable Anti-Aliased Lines in Wireframe Default=Nearest.
Views—Draws lines slightly thicker and much MipMap Lookup—Specifies whether to use one
smoother. This is best used for wireframe-only version of the texture map (None) or to interpolate
views, and especially if you’re making a preview of between a pyramid of progressively smaller maps.
wireframe objects. With Nearest chosen, the texel lookup is done
564 Chapter 18: Customizing the User Interface
on the map level nearest the ideal one, and with Interface
Linear, the texel values from the two closest map
levels are interpolated. Default=None.
Note: When both Texel and MipMap lookup are
set to Linear, a true trilinear weighting of 8 texel
values is used for a single pixel display. This is very
accurate and helps eliminate aliasing, but it is time
consuming if the texture-mapping hardware is not
accelerated.
Customize menu > Preferences > Preference Settings Display All Triangle Edges—When on, all triangle
dialog > Viewports tab > Display Drivers group > edges are displayed in shaded viewports. When
Configure Driver button (when Direct3D is the current
driver) off, triangle edges are not displayed. Default=on.
Turning off this option can improve viewport
The Direct3D display driver provides options
appearance, but at a cost of display performance.
that support DirectX 8 drivers. You can
download D3D drivers from this location: Use Cached D3DXMeshes—When on, enables
www.microsoft.com/windows/directx/. Autodesk VIZ to use custom driver code to
render smoothly shaded objects. Typically this
Interface is much faster than using standard Direct3D
code, but has an effect only when the driver has
hardware-specific custom code. Default=on.
Use Wireframe Faces—When on, makes wireframe
display accessible to hardware acceleration.
Default=on.
This option is intended to allow display-card
manufacturers to accelerate Autodesk VIZ
wireframe displays in a way that is specific to the
underlying display hardware. Check with your
display-card manufacturer to see if enabling this
option will yield faster wireframe rendering with
your display card.
Use Triangle Strips—Strips all geometric data out
before sending it to the driver. In some cases, such
as when topology is constantly changed, the time
taken to strip the geometry can cause a slowdown
instead. In such cases, turn off this option.
Otherwise, leave it on for speed. Default=on.
This option has one subordinate option:
• For Wireframe Objects—When on, uses triangle
strips for wireframe objects. Default=off.
dialogs such as the Material Editor or Track View. object. When turned off, the entire scene is
However, redrawing takes some time. Default=on. redrawn for each new frame. Default=on.
If your Autodesk VIZ display easily becomes If your Autodesk VIZ display becomes messy or
messy or "corrupted," turn this option on and then "corrupted" as a result of incremental updates,
redraw viewports by choosing Views > Redraw All turn this option off and then redraw viewports by
Views (the default keyboard shortcut for this is the choosing Views > Redraw All Views (the default
1 key on the numeric keypad). keyboard shortcut for this is 1 on the numeric
keypad).
This option has two subordinate options. How
you should set them depends on how the display
Appearance Preferences group
card handles its back buffer, which is used for
refreshing the screen. Turn on one or the other, Enable Antialiased Lines in Wireframe Views—Draws
as appropriate. lines slightly thicker and much smoother. This is
best used for wireframe-only views, especially if
• Redraw In Maximized Viewport—If, after
you’re making a preview of wireframe objects.
updating the screen, the display card destroys
the back buffer only when there’s a single Background Texture Size—Unlike the software
viewport, turn on this sub-option. The display driver, which uses bitmaps to display
Direct3D driver redraws the scene when a viewport backgrounds directly, the Direct3D
single viewport is visible, but doesn’t have to driver uses a texture-mapped background
redraw when multiple viewports are visible. rectangle. This allows for smoother zooms and
Default=off. pans in orthographic views and can take less
• Redraw In UnMaximized Viewports—If, after memory than the direct bitmap method. However,
updating the screen, the display card destroys background bitmap resolution may be lost.
the back buffer when multiple viewports are Increase the resolution if you’re using a maximized
visible, turn on this sub-option. Default=off. viewport to digitize.
Allow Dual Plane Support—Uses the front/back Match Bitmap Size as Closely as Possible—Displays
plane system when redrawing the viewport. The background at full resolution. This allows the
selected object is manipulated in the front plane viewport to behave like the rendered frame
and is redrawn, while other objects remain on window (page 2–1318), in regards to zoom and
the back plane and are not redrawn. This default pan. Default=off.
setting provides the fastest redraws under normal Download Texture Size—Lets you choose the size of
circumstances. If your assigned display driver the texture map that’s downloaded to the driver
doesn’t support dual planes, this option is not for texture-mapped scene objects. Larger maps
available. look better, but use more display card memory.
Turn off this setting to improve redraw speed if you Note: When Match Bitmap Size As Closely as
are rotating the whole scene or moving a camera Possible is on, these buttons are overridden,
through the scene (usually situations in which the however they are still available. The value is still
whole viewport needs to be redrawn anyway). used when procedural textures are converted to
bitmaps for viewport texture display.
Use Incremental Scene Updates—Redraws only
those scene objects that have changed, or that Match Bitmap Size as Closely as Possible—To allow
intersect a region changed by another moving the viewport to show actual texture resolutions,
MIDI Time Slider Control Setup Dialog 567
MipMap Lookup—Specifies whether to use one 1. Choose Customize menu > Preferences >
version of the texture map (None) or to interpolate Preference Settings dialog > Animation tab.
between a pyramid of progressively smaller maps. 2. In the MIDI Time Slider Control group, choose
With Nearest chosen, the texel lookup is done On.
on the map level nearest the ideal one, and with
3. Click Setup.
Linear, the texel values from the two closest map
levels are interpolated. Default=None. 4. Set the MIDI device options and click OK.
Interface
Interface
The Define Ellipsoid dialog enables you to create changes you have made.
an ellipsoid. Help—Displays this topic.
Interface
Define Global Coordinate System
Dialog
Customize menu > Preferences > Preferences Settings
dialog > GCS panel > Global Coordinate System group >
Define > Define
and must not contain spaces. Only the following False Origin group
characters are valid: A-Z (upper or lower case),
Select Northing or Easting to specify the number
0-9, dash, and underscore.
of linear units to add to either Y or X coordinates.
Units—Specifies the units to use in the coordinate
Northing—Specifies the number of linear units to
system.
add to all Y coordinates. If you chose an origin
Description—Specifies a description. This latitude that is south of the mapped area, this
description, not the code, appears in all list boxes, number is zero.
so be sure it is specific and descriptive.
Easting—Specifies the number of linear units to
add to all X coordinates.
Coordinate System Type group
Geodetic—Specifies that the coordinate system is Projection Parameters group
geodetic and is based on datum.
Displays the parameters that you can set for the
Datum—Specifies the datum currently selected projection currently selected in the Projection list.
from the geodetic coordinate system. The contents of this group changes dynamically as
you select a different projection.
Select—Displays the Select Datum dialog (page
3–579), where you can select a datum for the OK—Closes the dialog and saves any changes
coordinate system. you’ve made.
Define—Displays the Datum Manager dialog (page Cancel—Closes the dialog without saving any
3–569), where you can create a new datum or changes you have made.
modify an existing one.
Help—Displays this topic.
Non-geodetic—Specifies that the coordinate system
is non-geodetic and is based only on an ellipsoid.
Edit Category Dialog
Select—Displays the Select Ellipsoid dialog (page
3–580), where you can select a datum for the Customize menu > Preferences > Preferences Settings
coordinate system. dialog > GCS panel > Global Coordinate System group >
Define > Category Manager > Edit
Define—Displays the Ellipsoid Manager dialog
(page 3–573), where you can create a new ellipsoid The Edit Category dialog is used to modify
or modify an existing one. existing coordinate system categories.
Projection panel
Projection—Specifies the projection used for the
coordinate system. The most commonly used
projections are Transverse Mercator (for regions
that are longer than they are wide) and Lambert
Conformal Conic (for regions that are wider than
they are long).
Ellipsoid Manager Dialog 573
Interface
Ellipsoid Manager Dialog
Customize menu > Preferences > Preferences Settings
dialog > GCS panel > Global Coordinate System group >
Define > Click Define or Modify. > Non-Geodetic > Define
Interface
Available Categories—Lists the available coordinate Remove—Deletes the selected Ellipsoid from the
system categories. The last entry, [Uncategorized Ellipsoids list.
coordinate systems], contains any coordinate Close—Closes the dialog and saves any changes
systems that have not been assigned to any you’ve made.
category.
Help—Displays this topic.
Coordinate Systems in Category—Lists the
coordinate systems in the category that is currently
selected in the Available Categories list.
OK—Closes the dialog and saves any changes
you’ve made.
Cancel—Closes the dialog without saving any
changes you have made.
Help—Displays this topic.
574 Chapter 18: Customizing the User Interface
Interface
Projection panel
Projection—Specifies the projection used for the
coordinate system. The most commonly used
projections are Transverse Mercator (for regions
General panel that are longer than they are wide) and Lambert
Code—Specifies a code. The code must be unique Conformal Conic (for regions that are wider than
within a category and across all coordinate they are long).
systems, must comprise of 23 characters or less,
and must not contain spaces. Only the following False Origin group
characters are valid: A-Z (upper or lower case), Select Northing or Easting to specify the number
0-9, dash, and underscore. of linear units to add to either Y or X coordinates.
Units—Specifies the units to use in the coordinate Northing—Specifies the number of linear units to
system. add to all Y coordinates. If you chose an origin
Description—Specifies a description. This latitude that is south of the mapped area, this
description, not the code, appears in all list boxes, number is zero.
so be sure it is specific and descriptive. Easting—Specifies the number of linear units to
add to all X coordinates.
Coordinate System Type group
Geodetic—Specifies that the coordinate system is Projection Parameters group
geodetic and is based on datum. Displays the parameters that you can set for the
Datum—Specifies the datum currently selected projection currently selected in the Projection list.
from the geodetic coordinate system. The contents of this group changes dynamically as
you select a different projection.
Select—Displays the Select Datum dialog (page
3–579), where you can select a datum for the OK—Closes the dialog and saves any changes
coordinate system. you’ve made.
Cancel—Closes the dialog without saving any
changes you have made.
New Category Dialog 579
Help—Displays this topic. systems that have not been assigned to any
category.
Coordinate Systems in Category—Lists the
New Category Dialog coordinate systems in the category that is currently
Customize menu > Preferences > Preferences Settings selected in the Available Categories list.
dialog > GCS panel > Global Coordinate System group >
Define > Category Manager > New OK—Closes the dialog and saves any changes
you’ve made.
The New Category dialog is used to create
Cancel—Closes the dialog without saving any
coordinate system categories.
changes you have made.
Interface Help—Displays this topic.
Interface
Interface
Interface
Cancel—Closes the dialog without saving any Coordinate Systems in Category—Lists all
changes you have made. coordinate systems in the current category.
Properties—Displays the Ellipsoid Properties Ok—Closes the dialog and saves any changes
dialog (page 3–574). you’ve made.
Procedures
To change units to feet and inches:
1. In Units Setup, choose US Standard.
2. For Default Units, choose Feet or Inches.
582 Chapter 18: Customizing the User Interface
For example, if units are in feet and decimal Units In Files is turned on in the System Unit Setup
inches in Customize menu > Units Setup, and you dialog (page 3–582).
type (1’, 1 foot) in the Accuracy field, a value of
22369620’0.0" is displayed in the Distance From
Origin field. If you move an object that’s one foot
across, at this distance away from the origin of
space, a round-off error will occur, and the shape
of the object will be compromised.
Viewport Configuration 585
Viewport Configuration
Customize menu > Viewport Configuration
is changed to match that of the other file. This is Right-click any viewport label. > Configure
the default option.
Choosing Adopt The File’s Unit Scale adds Viewport configuration options are available
two settings to your 3dsviz.ini file: UnitType= in a series of tabbed panels on the Viewport
and UnitScale=. For this reason, this change Configuration dialog:
is persistent between sessions until you reset it Rendering Method (page 3–586)
manually.
Viewport Layout (page 3–588)
To get back the default System Unit Scale, you can
edit your 3dsviz.ini file and remove those settings; Safe Frames (page 3–589)
or go to Customize > Units Setup > System Unit Adaptive Degradation Options (page 3–591)
Setup and change the units back to the default
Regions (page 3–592)
scale, Inches.
Tip: Objects with a UVW Unwrap may lose their
texture coordinate information when you choose
586 Chapter 18: Customizing the User Interface
Interface
Rendering Method
Customize menu > Viewport Configuration > Viewport
Configuration dialog > Rendering Method tab
Procedures
To set the viewport rendering method:
1. Choose Customize menu > Configure > When you open this dialog, the settings reflect the
Viewport Configuration dialog > Rendering current viewport settings.
Method tab.
2. Click to choose the desired rendering level and Rendering Level group
any options available for that level. Determines how the software displays objects.
3. Choose how the rendering level is to be applied
Smooth+Highlights—Renders objects with
to viewports:
smooth shading and displays specular highlights.
• Active Viewport Only applies the rendering Press F3 to toggle between Wireframe and
method to the active viewport. This choice Smooth+Highlights.
is the default.
Smooth—Renders objects with smooth shading
• All Viewports applies the rendering method only.
to all configured viewports.
Facets+Highlights—Renders objects with flat
• All But Active applies the rendering method
shading and displays specular highlights.
to all viewports except the active one.
Facets—Renders polygons as flat surfaces, shaded
Tip: This option lets you work in full detail in
the current view and easily set other views but with no smoothing or highlights.
to Wireframe or Bounding Box for quicker Flat—Renders each polygon in its raw, unshaded
interactive display. diffuse color, disregarding any contribution from
ambient lighting or light sources. This rendering
To enter an FOV value in a perspective view: method is useful when it’s more important to see
1. Activate a viewport with a Perspective view. each polygon than to see its shading. It’s also a
2. Right-click the viewport label and choose
good way to check the results of bitmaps created
Configure to display the Viewport with Render to Texture (page 2–1437).
Configuration dialog > Rendering Method tab. Lit Wireframes—Renders objects as wireframes
3. Enter an angle in the Field Of View field. with flat shading.
Rendering Method 587
objects, or if you’ve imported complex geometry determine where the clipping will occur. Tick
in which the face normals are not properly unified. marks correspond to the extents of the viewport,
the lower tick is the near clipping plane, and the
Default Lighting—Turn on to use default lighting.
upper tick sets the far clipping plane. This does not
Turn off to use the lights created in the scene. If
affect the rendering to output, only the viewport
no lights exist in the scene, the default lighting is
display.
used automatically, even when this check box is
off. Default=on. Fast View Nth Faces—When turned on, speeds
screen redraw by displaying fewer faces. The Nth
Sometimes the lighting you create in the scene
Faces spinner sets the number of faces that are
makes the objects difficult to see in the viewport.
displayed when the Fast View mode is active. For
The default lighting displays the objects under
example, a setting of 3 displays every third face.
an even illumination. You can select either 1 or
2 lights (default).
Perspective User View group
• 1 Light—Provides an over-the-shoulder light
Field Of View—Sets the field of view angle for a
with 20% faster redraws at the expense of less
Perspective viewport. This spinner is not available
natural illumination.
when any other viewport type is active. You can
• 2 Light—Provides more natural illumination, change the Camera field of view in the Modify
but slower viewport performance. panel.
Shade Selected Faces—Faces selected in the
viewport are displayed in a red semitransparent
state when this is turned on, letting you see the Viewport Layout
faces you’ve selected when the Shading Mode is Customize menu > Viewport Configuration > Viewport
Smooth+Highlighted. Press F2 to toggle Shade Configuration dialog > Layout tab
Selected Faces.
Right-click a viewport label. > Configure > Viewport
Configuration dialog > Layout tab
Use Selection Brackets—Toggles the display of
white selection brackets in the viewport display.
You specify the division method of viewports, and
Turn this off in complex scenes when the display of
assign specific types of views to each viewport on
multiple selection brackets obscures the required
the Layout panel of the Viewport Configuration
view of selected objects.
dialog.
Display Selected with Edged Faces—Toggles the
The layout is saved with the .max file, so you can
display of highlighted edges for selected objects
store different layouts in separate scene files. Load
when the viewport is in a shaded mode, such as
the file you want, then merge in the contents of
Smooth, Smooth+Highlights, Facets+Highlights,
other files to maintain the layout.
or Facets. When on in these modes, the wireframe
edges of selected objects appear along with the Tip: Through MAXScript, there are commands
shaded surfaces. This is helpful when selecting to set the current layout to any of the 14 available
multiple objects or small objects. setups. You can also activate any viewport and set
the view type. This enables you to create macros
Viewport Clipping—When turned on, interactively
and custom user interface buttons to set any layout
sets a near and far range for viewport display. Two
you choose.
arrows at the edge of the viewport allow you to
Safe Frames 589
Interface
Safe Frames
Customize menu > Viewport Configuration > Viewport
Configuration dialog > Safe Frames tab
Note: After choosing a new viewport You toggle the status of the video safe frame
layout, click the Min/Max Toggle to show the (page 3–744) for the current viewport and adjust
multi-viewport display. Changes you make to the its parameters on the Safe Frames panel of the
viewport layout might not be apparent when you Viewport Configuration dialog.
have a single, maximized viewport.
Video Safe Frame displays a series of concentric
rectangular frames in the viewport. Use Safe
Frame to see the proportions of your rendered
output within the viewport. This is particularly
useful when you are rendering to output that
doesn’t match the viewport’s aspect ratio.
The primary purpose of Safe Frames is to suggest
safe areas for work intended for display on TV
monitors. It is likely that the bezel will cover about
10% of the image so you don’t want important
objects or action to fall outside the Action Safe
area. High contrast titles falling outside the Title
Safe area are likely to bleed or be obstructed by the
bezel of the TV screen.
590 Chapter 18: Customizing the User Interface
When Safe Frames are displayed in the viewport Live Area(yellow)—The area that will actually be
and a bitmap image is assigned as a viewport rendered, regardless of the size or aspect ratio of
background using either the Match Viewport the viewport.
or Match Rendering Output (page 1–36)
Action Safe(green)—The area in which it’s safe to
options, the image is confined to the Live area
include your rendered action. The Lock check box
of the safe frames and matches the rendered
lets you lock the aspect ratio of the Action frame.
background. This assumes that the same bitmap
When Lock is turned on, use the Both spinner to
is assigned to the Environment background using
set the percentage of the live area that’s trimmed
Environment/Screen coordinates.
within the safe frame. When Lock is off, you can
You can toggle the status of safe frames (page use the Horizontal and Vertical spinners to set
3–744) on or off for the current viewport, and these parameters independently. Default=10%.
use the Safe Frames panel of the Viewport
Title Safe(cyan)—The area where it’s safe to include
Configuration dialog to adjust the parameters.
titles or other information. When used correctly,
When Safe Frame is displayed in the viewport this is smaller than the Action frame. The Lock
and a bitmap image is assigned as a background, check box lets you lock the aspect ratio of the
and Show Background is turned on, the image is Title frame. When Lock is turned on, use the
confined to the Live area of the safe frame. If you Both spinner to set the percentage size of the title
are using a background image in your rendering, frame relative to the action area. When Lock is
make sure your rendering output size matches the turned off, you can use the Horizontal and Vertical
background image size. This will avoid distortion. spinners to set these parameters independently.
Default=20% of Live Area.
Interface
User Safe—Displays an additional safe frame that
you can use for any custom requirements. The
Lock check box lets you lock the aspect ratio of
the User frame. When Lock is turned on, use the
Both spinner to set the percentage size of the user
frame relative to the action area. When Lock is
turned off, you can use the Horizontal and Vertical
spinners to set these parameters independently.
Default=20% of Live Area.
12-Field Grid—Displays a grid of cells (or fields) in
the viewport. In this case, "fields" are cells in the
grid, and not scanline fields.
The "12-field grid" is a method used by video
directors to refer to specific areas of the screen.
Setup group A director might ask you to move an object two
fields to the left and four fields down. The 12-field
The Safe Frames panel contains settings for the
grid is a reference for this type of placement.
following frame types:
4 x 3/12 x 9—Lets you choose between two matrices
of either 12 or 108 cells.
Adaptive Degradation Options 591
Procedure
Regions To use the virtual viewport:
Customize menu > Viewport Configuration > Viewport 1. Make sure you’re using an OpenGL driver
Configuration dialog > Regions tab
(page 3–558) for your display.
Right-click a viewport label. > Configure > Viewport
Configuration dialog > Regions tab 2. Activate the viewport to convert to a virtual
viewport (typically a camera viewport that is
On the Regions panel of the Viewport displaying a bitmap background).
Configuration dialog, you specify default selection 3. Choose Customize menu > Viewport
rectangle sizes for the Blowup Region and the Sub Configuration and click the Regions tab.
Region, and the parameters for setting up a virtual 4. Click Use Virtual Viewport. A reduced image
viewport. of the viewport displays in the dialog, along
The rectangular selection region appears when with a white zoom rectangle representing the
you render with either Blowup or Region selected virtual viewport.
in the Render Type List (page 2–1326). You can 5. Use the Zoom, X Offset, and Y Offset spinners
change the size of the region by dragging its to adjust the size and position of the virtual
handles. window, or drag the white window anywhere
The Virtual Viewport options let you zoom in on within the image.
a sub-region of the current viewport, creating a 6. Click OK.
“virtual viewport” where you can perform any The viewport is converted to a virtual viewport
standard navigation, but in a zoomed-in area. and displays the area of viewport represented
This function works only when you’re using an by the white rectangle. All viewport navigation
OpenGL driver. If you’re using the software driver, methods work the same, except that you’re
these controls are disabled. seeing only the zoomed portion of the viewport.
You can use the virtual viewport on any type of 7. To close the virtual viewport, go to Viewport
viewport, but it’s primarily designed for zooming Configuration > Region Tab and turn off
in on camera views. This lets you perform close-up virtual viewport. You can get to the Viewport
work, such as tracing, without distorting the configuration menu by right-clicking any of
relationship between the geometry and a bitmap the viewport navigation tools or by going to
background. (See Lock Zoom/Pan in Viewport Customize menu > Viewport Configuration.
Background (page 1–36) for similar functionality
in orthographic views.)
Because you’re actually zooming the viewport
image itself, the viewport label might be hidden
from display, but you can still right-click in the
upper-left area of the viewport to display the
menu. This takes advantage of zooming features in
the Open GL driver so that the software does not
compute the display change internally.
Strokes 593
Reviewing and Editing Strokes (page 3–597) 2. Hold down CTRL, and drag from top to bottom
and then back up to the starting point.
Stroke Preferences Dialog (page 3–598)
3. The Define Stroke dialog appears, and the
Strokes Utility (page 3–599) name of the stroke is "HKKH."
6. Click OK. of the grid are assigned unique letters. Where the
7. Load a scene containing several objects, and stroke crosses a segment, the letter associated with
select two or more objects. that segment is added to the stroke name. Thus,
the direction and the shape of the stroke matter,
8. Drag vertically from top to bottom in the
but the size of the stroke has no effect.
viewport.
The stroke is always centered within the grid. If
The selected objects are all hidden.
you draw a stroke vertically from top to bottom,
the stroke is named HK because it crossed the
segments labeled H and K, in that order. Had you
Defining Strokes
drawn the stroke from bottom to top, it would
Hold down CTRL and the middle mouse button and drag have been named KH.
in a viewport to create the shape of an unused stroke. >
Define Strokes dialog Tip: You can define more than one stroke for the
same command. For example, you might assign
Hold down the middle mouse button alone or with SHIFT,
ALT, or both, and drag in a viewport to create the shape of a U-shape stroke to Undo, but find that you
an unused stroke. > Define > Define Strokes dialog sometimes draw a J shape when attempting the U.
Utilities panel > Utilities rollout > More button > Utilities By assigning both the U and the J strokes to Undo,
dialog > Strokes > Draw Strokes > Hold down the left you don’t have to worry about missing that stroke.
mouse button alone or with SHIFT, ALT, or both, and drag
in a viewport to create the shape of an unused stroke. > The Command Should Operate On group of
Define > Define Strokes dialog
options is important. If the command applies to
You define a stroke by creating the stroke in a selections, leave this option set to Single Object at
viewport, then choosing the command that the Start of Stroke, or change it to All Objects in the
stroke defines. The next time you perform the Selection Set. However, if the command doesn’t
stroke, the command will be executed. You can apply to selections, such as Arc Rotate or Activate
define strokes to work in conjunction with the Grid Object, change it to No Objects Just Execute
SHIFT key, the ALT key, or both SHIFT and ALT. the Command.
You can define strokes with either the left or middle See also
mouse button. If you want to use your middle
mouse button to define and use strokes, you must Reviewing and Editing Strokes (page 3–597)
first turn on Customize menu > Preferences > Stroke Preferences Dialog (page 3–598)
Preference Settings dialog > Viewports tab (page
Viewport Preferences (page 3–551)
3–551) > Mouse Control group > Stroke. To define
and use strokes with the left mouse button, choose Strokes Utility (page 3–599)
Utilities panel > Utilities rollout > More button
> Utilities dialog > Strokes (page 3–599) > Draw Procedures
Strokes, then draw the strokes. To define a stroke using the CTRL key:
In the Define Stroke dialog, you can see how the 1. Hold down the CTRL key while drawing a
strokes are analyzed by examining the grid under stroke.
Stroke to Define. When you complete the drawing
2. If the stroke already exists, a message asks you
of a stroke, a nine-square grid is centered around
if you want to replace the old stroke. Click Yes.
the stroke and fit to its extents. The inner segments
596 Chapter 18: Customizing the User Interface
3. In the Define Stroke dialog that appears, assign command. Depending on the type of command
the stroke. you choose in this list, various options become
available in the Command Should Operate On
To define a stroke by example: group.
1. Draw a stroke that doesn’t exist. Currently assigned to stroke—Displays the name
2. A Stroke Not Found message appears. Click of the stroke currently assigned to the selected
Define. command. If you pressed SHIFT or ALT when the
3. In the Define Stroke dialog that appears, assign stroke was drawn, they’re added to the name. For
the stroke. example: "SHIFT + HK" or "ALT + HK."
Window/Crossing—When you choose either of the 2. Click Change. The Define Strokes dialog
previous two options, these two options become appears.
available. Window selects only those objects 3. Select the new stroke to assign.
entirely within the rectangular or circular region.
4. Click OK in the Define Strokes dialog to assign
Crossing selects all objects within or crossing the
region. the selected stroke to the command currently
highlighted in the Review Strokes dialog.
Current Stroke Set group—Displays the name
of the current stroke set, so you can review the Interface
strokes defined in that set. You can create and
save a number of different stroke sets. See Stroke
Preferences (page 3–598).
Review—Click to display the Review Strokes dialog
(page 3–597), in which you can choose from a list
of defined strokes and then see the stroke itself.
You cannot edit strokes this way. To view, change,
and delete strokes, draw the Review Strokes stroke
(by default, a horizontal line from left to right).
Move Mode (Set Constraints)—Switches to Move Note: This command is only available when the
transform mode and displays a small dialog dialog is accessed by drawing the Review Strokes
with the available axis constraints. Double-click stroke.
to change the axis constraints for the current
transform mode. Information on Selected Stroke
Rotate Mode (Set Constraints)—Switches to Select Displays the name and shape of the stroke selected
and Rotate mode and displays a small dialog in the list window.
with the available axis constraints. Double-click
to change the axis constraints for the current
transform mode. Stroke Preferences Dialog
Scale Mode (Set Constraints)—Switches to Select Set up a stroke to access the Stroke Preferences dialog
> Use the stroke
and Scale mode and displays a small dialog
with the available axis constraints. Double-click
With the Stroke Preferences dialog you can save
to change the axis constraints for the current
sets of strokes and set other stroke properties.
transform mode.
Note: By default, the Strokes Preferences dialog is
Review Strokes—Displays the Review Strokes
available only if you assign a stroke to it, then use
dialog.
the stroke to access the dialog. See the following
Stroke Preferences—Displays the Stroke procedure.
Preferences dialog (page 3–598).
Procedure
Show As To access the Strokes Preferences dialog:
Provides two options that specify how commands 1. Set up strokes for your left or middle
are displayed in the list. mouse button. See Strokes (page 3–593) for
Command Name—Displays the assigned strokes by information how to do this.
command name (for example, Play Animation). 2. To define the stroke, hold down CTRL and
drag an inverted L shape (drag vertically from
Stroke Name—Displays the assigned strokes by
bottom to top, and continue from left to right).
their stroke name (for example, HK).
The name of this stroke is JGAB.
Change—Assigns a different stroke to the
command, or vice versa, depending on whether 3. On the Define Strokes dialog, choose Stroke
commands or strokes are displayed in the list. Preferences from the list.
Note: This command is only available when the 4. Click OK to close the dialog.
dialog is accessed by drawing the Review Strokes 5. Drag an inverted L shape to access the Strokes
stroke. Preferences dialog.
Delete—Removes the selected command (or
stroke) from the list, and the command is no
longer assigned to the stroke.
Strokes Utility 599
Procedures
Example: To define a stroke pattern for Arc Rotate:
1. On the Utilities panel, click the More button,
and choose Strokes from the list.
2. On the modeless dialog, click Draw Strokes.
3. Hold down the left mouse button and drag the
mouse straight down from top to bottom, then
release the mouse button. The length of the
stroke doesn’t matter, but the direction does.
A dialog appears asking you to define the
pattern or continue.
4. Click Define to display the Define Stroke dialog.
5. Choose Arc Rotate from the Command To
Execute list and then click OK.
The pattern is now defined for Arc Rotate.
Main User Interface Shortcuts (page 3–605) such as Editable Meshes, Track View, NURBS, and
so on.
Material Editor Shortcuts (page 3–608)
When the Override toggle is off, only the Main
NURBS Shortcuts (page 3–608)
User Interface shortcuts (page 3–605) are
Schematic View Shortcuts (page 3–610) recognized. When Override is on, both Main
UI and functional area shortcuts are recognized;
Tool Palettes Shortcuts (page 3–610)
however, if there is a conflict between a shortcut
Track View Shortcuts (page 3–611) assigned to a feature and one assigned to the Main
UI, when Override is on, the feature’s shortcut
Unwrap UVW Shortcuts (page 3–611)
takes precedence.
Procedure You can customize keyboard shortcuts on the
To create a keyboard shortcut: Keyboard panel (page 3–512) of the Customize
User Interface dialog (page 3–511). The lists in the
1. Choose Customize menu > Customize User
keyboard panel show which shortcuts have been
Interface > Keyboard panel.
assigned to which command or feature.
2. Use the Group and Category lists to find the
action for which you want to create a shortcut. See also
3. Click an action in the Action list to highlight it. Default Keyboard Shortcuts (page 3–601)
4. In the Hotkey field, enter the keyboard shortcut
you want to assign to the selected action.
Note: If the keyboard shortcut you enter is
Communication Center Shortcuts
already assigned to an action, that action’s To use keyboard shortcuts for Communication
name will appear in the Assigned To field. Center, the Keyboard Shortcut Override Toggle
5. Click Assign. (page 3–602) on the Extras toolbar must be turned
on.
Note: To use keyboard shortcuts other than the
Main User Interface shortcuts, the Keyboard Note: By default, no keyboard shortcuts are set in
Shortcut Override Toggle (page 3–602) on the the Communication Center group.
Extras toolbar must be turned on.
See also
Communication Center
Keyboard Shortcut Override
Default Keyboard Shortcuts (page 3–601)
Toggle
Keyboard Panel (page 3–512)
Extras Toolbar > Keyboard Shortcut Override Toggle
Customize User Interface Dialog (page 3–511)
The Keyboard Shortcut Override Toggle lets
you toggle between using only the "Main User
Interface" shortcut keys and using both the main
shortcuts and shortcut keys for functional areas
Edit Poly Shortcuts 603
These are the keyboard shortcuts for Edit Poly Select Edge Loop Down
Substract
objects; that is, objects to which the Edit Poly
modifier (page 2–76) is applied and active. The Select Edge Loop Up
table shows only the default keyboard shortcuts Select Edge Loop Up Add
for commands and menu entries. Select Edge Loop Up Subtract
To use keyboard shortcuts for Edit Poly objects, Select Edge Ring ALT+R
the Keyboard Shortcut Override Toggle (page Shrink Selection Ctrl+PageDown
3–602) on the Extras toolbar must be turned on.
Unhide All Alt+U
Edge Level 2
See also
Element Level 5
Default Keyboard Shortcuts (page 3–601)
Extrude Mode Shift+E
Edit/Editable Mesh Default Keyboard
Grow Selection Ctrl+PageUp
Function Shortcut
Hide Alt+H
Bevel Mode CTRL+V, CTRL+B
Hide Unselected Alt+I (letter “i”)
Chamfer Mode CTRL+C
Object Level 6
Cut Mode ALT+C
Polygon Level 4
Detach CTRL+D
Quickslice Mode Shift+Ctrl+Q
Edge Invisible CTRL+I (letter “i”)
Repeat Last Operation ; (semi-colon)
Edge Level 2
Select Edge Loop ALT+L
Edge Turn CTRL+T
Select Edge Loop Down 5
Element Level
Select Edge Loop Down Add
Extrude Mode CTRL+E
604 Chapter 19: Default Keyboard Shortcuts
Editable Patch Surface (page 2–316) Editable Poly Surface (page 2–377)
Edit Patch Modifier (page 2–74) Default Keyboard Shortcuts (page 3–601)
Default Keyboard Shortcuts (page 3–601) Editable Poly Function Default Keyboard
Shortcut
Keyboard Panel (page 3–512) Bevel Mode SHIFT+CTRL+B
Face Level 4
Note: By default, no keyboard shortcuts are set in
the Edit/Editable Spline group. Grow Selection CTRL+PageUp
Hide ALT+H
See also
Hide Unselected ALT+I (letter “i”)
Editable Spline (page 1–261) Object Level 6
Free-Form Deformation (FFD) Shortcuts 605
Shortcut Override Toggle (page 3–602) on the Numeric Expression CTRL+N while the cursor is
Evaluator in a numeric field
Extras toolbar must be turned on.
FFD Function Keyboard Shortcut User Interface Function Default Keyboard Shortcut
Switch To Control Point ALT+SHIFT+C Adaptive Degradation O (letter "o")
Level Toggle
Switch To Lattice Level ALT+SHIFT+L Advanced Lighting Panel 9
606 Chapter 19: Default Keyboard Shortcuts
User Interface Function Default Keyboard Shortcut User Interface Function Default Keyboard Shortcut
Align ALT+A Hold ALT+CTRL+H
Backup Time One Unit , (comma) Lock User Interface Toggle ALT+0 (zero)
Bottom View B Material Editor M
Camera View C Maximize Viewport Toggle ALT+W
Cap (Poly) ALT+P MAXScript Listener F11
Clone CTRL+V MeshSmooth (Poly) CTRL+M
Collapse (Poly) ALT+CTRL+C Modeling CTRL+RMB
Create Camera from View CTRL+C Move Mode W
Cut (Poly) ALT+C New Scene CTRL+N
Cycle Selection Method CTRL+F Normal Align ALT+N
User Interface Function Default Keyboard Shortcut User Interface Function Default Keyboard Shortcut
Restrict to Z F7 Sub-Object Level 4 4
Sub-Object Level 3 3
608 Chapter 19: Default Keyboard Shortcuts
See also
Material Editor Shortcuts
Working with NURBS Models (page 2–445)
Material Editor features for which keyboard
Default Keyboard Shortcuts (page 3–601)
shortcuts have been set are listed below.
Keyboard Panel (page 3–512)
To use Material Editor keyboard shortcuts, the
Keyboard Shortcut Override Toggle (page 3–602) Customize User Interface Dialog (page 3–511)
on the Extras toolbar must be turned on.
Noncustomizable Keyboard Shortcut
Keyboard Shortcut
See also Function for NURBS
See also
Tool Palettes Set (page 3–403)
Default Keyboard Shortcuts (page 3–601)
Keyboard Panel (page 3–512)
Track View Shortcuts 611
Customize User Interface Dialog (page 3–511) Track View Function Keyboard Shortcut
Scroll Down CTRL+DOWN ARROW
Blend Tiles To Lets you blend the Expand Geom. Grows the face
Background image in the Edit Faces selection in the
UVWs dialog with viewport.
the background
Face to Edge Converts a face
color. At 0 the
Select selection into an
image will be
edge selection.
hidden while at
1 it will be at full Face to Vertex Converts a face
intensity. Select selection into a
vertex selection.
Break Selected CTRL+B Breaks selected
Vertices vertices so no face
shares them; the Filter Selected ALT+F When on, only
same as breaking Faces faces that are
a vertex in Edit selected in the
Mesh. viewport will be
displayed in the
Brightness Affects The brightness Edit UVWs dialog.
Center Tile control for the tile
of image at 0,0 Flatten Map Lays out the UV
of the Edit UVWs space so that
dialog. no texture faces
overlap.
Contract Geom. Shrinks the face
Faces selection in the Flatten Map Opens the
viewport. Dialog dialog for Flatten
Mapping settings.
Copy Copies the current
face selection Flip Horizontal Detaches the
texture data into current selection
the paste buffer. and then mirrors it
in the U direction.
Detach Edge D, CTRL+D Detaches the
Vertices selected vertices Flip Vertical Detaches the
into a separate current selection
element. and then mirrors it
in the V direction.
Display Seams Highlights edges
that are seams Freeform Mode Toggles freeform
in texture space editing tool in the
in the Edit UVWs Edit UVWs dialog.
dialog. A seam
is an edge that Freeze Selected CTRL+F Locks the current
has only one face selection so you
attached to it. cannot select it
anymore.
Edge Snap
Geom. Edge Loop
Edge to Face Converts an edge Selection
Select selection into a
face selection.
Unwrap UVW Shortcuts 613
Command Shortcut
Walkthrough Navigation Right D, RIGHT ARROW
Shortcuts
Up E, SHIFT+UP-ARROW
These are the keyboard shortcuts for use with
Walkthrough Navigation. The table shows all the
valid keyboard shortcuts for commands and menu
entries.
To use keyboard shortcuts for Walkthrough
Navigation, the Keyboard Shortcut Override
Toggle (page 3–602) on the Extras toolbar must
be turned on.
See also
Using Walkthrough Navigation (page 1–28)
Default Keyboard Shortcuts (page 3–601)
Keyboard Panel (page 3–512)
Customize User Interface Dialog (page 3–511)
Command Shortcut
Accelerate Toggle Q
Decelerate Toggle Z
Decrease Rotation
Sensitivity
Decrease Step Size [
Down C, SHIFT+DOWN-ARROW
Forward W, UP ARROW
Increase Rotation Sensitivity
Increase Step Size ]
Invert Vertical Rotation
Toggle
Left A, LEFT ARROW
Level SHIFT+SPACE
• If you use a particular help topic often, you can 2. Click the contents entry, index entry, or search
add it to your favorites list (page 3–624). results entry to display the corresponding topic.
• Right-click the Contents or Favorites tab or the
To copy a help topic:
Topic pane for shortcut menu commands.
1. In the Topic pane, right-click the topic you want
Comments to copy, and then click Select All.
Each topic in the User Reference online ends with 2. Right-click again, and then click Copy. This
a Comments link. When you click Comments, copies the topic to the Clipboard.
the Help Viewer displays a dialog you can use to 3. Open the document you want to copy the topic
send us comments or requests about that topic. to.
We’ll use that information when we revise the
4. Position your cursor where you want the
documentation set for a future release.
information to appear.
1. In the Navigation pane, click one of the • On the toolbar, click Hide or Show to close or
following tabs: display the Navigation pane, which contains the
Contents, Index, Search, and Favorites tabs.
• To browse through a table of contents, click
the Contents tab. The table of contents is an If you close the Help Viewer with the Navigation
expandable list of important topics. pane hidden, it will appear that way when you
open the Help Viewer again.
• To see a list of index entries, click the Index
tab, and then type a word or scroll through To see where the current topic fits in the information
the list. Topics are often indexed under more hierarchy (contents):
than one entry.
• Press ALT+C.
• To locate every occurrence of a word or
The Contents pane displays, with the current
phrase that may be contained in a help file,
topic highlighted.
click the Search tab, and then type the word.
622 Appendix A: Using the Reference Online
To search for words in the titles of HTML files: To repeat an earlier search:
1. Click the Search tab, type the word or phrase
• Click the down arrow on the text-entry field
you want to find, and then turn on Search Titles and choose a previously used search string, and
Only. then click List Topics.
2. Click List Topics, choose the topic you want,
and then click Display.
If you use this option, all HTML topic files will Favorites Tab
be searched, including any that are not listed in Use tools on the Favorites tab to create a set of
the table of contents. topics you use often; you can name them as you
choose.
To find words similar to your search term:
This feature enables you to include minor Procedures
grammatical variations for the phrase you search. To create a list of favorite help topics:
For example, a search on the word "add" will find
1. Locate the help topic you want to make a
"add," "adds," and "added."
favorite topic.
1. Click the Search tab, type the word or phrase
2. Click the Favorites tab, and then click Add.
you want to find, and then turn on Match
Similar Words.
To return to a favorite topic:
2. Click List Topics, choose the topic you want,
1. Click the Favorites tab.
and then click Display.
2. Choose the topic, and then click Display.
This feature only locates variations of the word
with common suffixes. For example, a search To rename a topic in the Favorites list:
on the word "add" will find "added," but it will
not find "additive." • Choose the topic, and then enter a new name in
the Current topic box.
To search only the last group of topics you searched:
To remove a favorite topic:
This feature enables you to narrow a search that
results in too many topics found. You can search • Choose the topic, and then click Remove.
through your results list from previous search by
using this option.
HTML Help Viewer Toolbar
1. On the Search tab, turn on Search Previous
Results. The Help Viewer toolbar contains the following
features.
2. Click List Topics, choose the topic you want,
and then click Display.
If you want to search through all of the files in a
help system, this check box must be off.
Hide/Show—Click this toggle to hide the
If you previously used this feature, the Search Navigation pane when it is displaying, or show it
tab opens with this check box turned on. when it’s hidden.
HTML Help Viewer Right-Click Menus 625
To Press To Press
Hide or show the Navigation ALT+O, and then press T Choose a keyword in the list. UP ARROW and DOWN
pane. ARROW
Print a topic. ALT+O, and then press P, or Display the associated topic. ALT+D
right-click in the Topic pane
and choose Print.
Move back to the previous ALT+LEFT ARROW, or ALT+O, Search Tab
topic. and then press B To Press
Move forward to the next ALT+RIGHT ARROW, or Display the Search tab. ALT+S
topic (provided you have ALT+O, and then press F
viewed it just previously). Type a keyword to search ALT+W, and then type the
for. word
Turn on or off search ALT+O, and then press O
highlighting. Start a search. ALT+L
Return to the home page ALT+O, and then press H Choose a topic in the results ALT+T, and then UP ARROW
(help authors can specify list. and DOWN ARROW
a home page for a help
system). Display the selected topic. ALT+D
Switch between the F6 Search for a keyword in the ALT+U and press ENTER
Navigation and Topic panes. result list of a prior search.
Scroll through a topic. UP ARROW and DOWN Search for words similar to ALT+M and press ENTER
ARROW, or PAGE UP and the keyword. For example,
PAGE DOWN to find words like "running"
and "runs" for the keyword
Scroll through all the links in TAB "run."
a topic.
Search through topic titles ALT+R and press ENTER
only.
Contents Tab
To Press Favorites Tab
Display the Contents tab. ALT+C To Press
Tip: Use this shortcut to Display the Favorites tab. ALT+I
see where a topic fits in the
information hierarchy. Add the currently displayed ALT+A
topic to the Favorites list.
Open and close a book or PLUS SIGN and MINUS SIGN,
folder. or LEFT ARROW and RIGHT Choose a topic in the ALT+P, and then UP ARROW
ARROW Favorites list. and DOWN ARROW
Choose a topic. DOWN ARROW and UP Display the selected topic. ALT+D
ARROW
Remove the selected topic ALT+R
Display the selected topic. ENTER from the list.
• The Match Similar Words check box, on the reference system provides navigation and search
Search tab, will be turned on if you used it for methods to help you to find the MAXScript
your last search. information you want.
Contents—Starting from the topmost topic, you
click to select different levels of topics, proceeding
from more general to more specific. Click a book
icon to see the topics in that book. Click the page
Help Commands icon for the topic you want to display.
Index—Lists keywords for topics alphabetically in
User Reference index format.
Help menu > User Reference Search—All words in all topics are indexed when
the reference was compiled. When you enter the
Click User Reference to display the Autodesk VIZ words you want to search for, the Search engine
User Reference online. This reference provides gives you a list of all topics containing those words.
navigation and search methods to help you to find
the information you want. See also
Contents—Starting from the topmost topic, you About MAXScript (page 1–xiv)
click to select different levels of topics, proceeding
from more general to more specific. Click a book
icon to see the topics in that book. Click the page Tutorials
icon for the topic you want to display. Help menu > Tutorials
Index—Lists keywords for topics alphabetically in
index format. Click Tutorials to display the online tutorials for
Autodesk VIZ. These display as a separate online
Search—All words in all topics are indexed when help syste; a tutorials manual accompanies this
the reference was compiled. When you enter the software package.
words you want to search for, the Search engine
gives you a list of all topics containing those words.
Hotkey Map
See also
Help menu > Hotkey Map
Using the Reference Online (page 3–619)
Finding Information Fast (page 3–620)
MAXScript Reference
Help menu > MAXScript Reference
what might have caused the program termination report, if you turned on “Autodesk can Contact me
can greatly help narrow down what caused the for Additional Information about this Problem.”
error so that we can then make the necessary
Phone Number—If you provide a phone number,
repairs.
Autodesk may contact you by phone to discuss the
Include Personal Data—When on, this switch error, if you turned on “Autodesk can Contact me
controls whether your personal data is sent along for Additional Information about this Problem.”.
with your error report submission. Default=on.
Subscription Contract Number—This field is
Less/More—This button controls access to the reserved for your subscription contract number if
Personal Data group. Clicking the Less button you have one.
closes the Personal Data group and changes the
Autodesk can Contact me for Additional Information
appearance of the button to More. The default
about this Problem—If you turn on this switch, it
state is to display the Personal Data group.
lets Autodesk know that they can contact you if
Report Details—Clicking Report Details opens a more information about the error if necessary.
dialog showing you information about the error Note: The information you supply in the Personal
that occurred and the type of information that is Data group is stored, so that, if you ever run into
being sent with the report. another problem, you won’t need to enter this data
again.
3. Select the first ten objects in the list of 5. In Autodesk VIZ, choose File > Open and
components and click OK. try loading the file you just copied from the
If those ten objects merge successfully, save the \autoback folder.
scene and repeat the Merge operation with the If it opens, save the scene and rebuild what you
next set of ten objects. Eventually, one of the lost in the last five minutes.
sets of objects you try to merge will report the
You can adjust the Auto Backup settings, located
error message.
on the File Preferences (page 3–548) tab of
4. Keep refining the number of objects you are the Preferences Settings dialog found on the
merging until you have singled out the object Customize menu.
that reports the error.
5. Once you’ve found the corrupt object, reset
Autodesk VIZ and merge all the objects and Fixing Boolean Problems
components except for the object you’ve singled Boolean operations are a powerful addition
out. to your modeling toolbox; however, they can
6. After everything is merged, save the scene and sometimes give strange or unexpected results. The
rebuild the object that was corrupt. Boolean button is found on the Create panel in
the Compound Objects list; it allows you to join,
Granted, this can be a long process, but it’s well
subtract, intersect, and cut objects. Following is a
worth it if you can salvage a majority of the model.
list of problem scenarios and steps you can follow
to fix them.
Remember Backup Files
Tip: Before performing a Boolean operation, you
By default, the Autodesk VIZ automatic backup
should save your scene or use Edit > Hold. That
feature is turned on. It is set to store three backup
way, you can quickly recover should anything not
files that are saved every five minutes. The files
appear as expected.
are stored in the \program files\autodesk viz
2006\autoback folder. Using backup files is
Problems and Resolutions
especially good if your file became corrupt due to
a system crash or power outage. Boolean Objects Disappear
1. Start Autodesk VIZ and verify that you cannot If you mistakenly perform an Intersection Boolean
load the scene. operation on two objects that look like they
intersect, but actually don’t, you can end up in a
2. Open Windows Explorer and browse to the
situation where the object completely disappears.
\program files\autodesk viz 2006\autoback
In the Operands group, you see both your objects
folder.
listed but nothing on-screen.
3. Start by selecting autobak1.max and make a
1. Click the Undo button to retract the Operand B
copy of it.
selection.
4. Browse to the \program files\autodesk viz
2. Right-click to exit the Boolean operation.
2006\scenes folder and paste the file.
3. Verify that the objects intersect by checking
If you want, you can rename it.
them in two viewports, like the Top and Left.
Fixing Boolean Problems 633
4. Click Boolean to turn on the operation, and B button and pick the next object, the previous
click Pick Operand B. operation is negated and the previous Operand
5. Click the intersecting object. B disappears.
The most efficient means to use when joining or
Creases or Ridges Show in Boolean Objects subtracting a large number of objects to or from
Creases or ridges might be caused by a Boolean a single object is to attach all the objects before
operation between an object that has very few faces attempting the Boolean operation.
and an object that has considerably more faces, for As an example, let’s say you’re building a metal
example, when you subtract a complex freeform plate that has a circle of bolt holes. So far, you have
object from a simple box. a flat box, Operand A, and ten cylinders, Operand
Autodesk VIZ tessellates the surface of the box B, passing through it.
so there are additional faces for the subtraction.
Unfortunately, the faces are usually generated as
long, slivered faces that sometimes overlap and
form creases or ridges in the resulting scene, when
rendered.
Before attempting the Boolean operation, try these
steps.
1. Select the object that has the lower face count.
In this example, it would be the box.
2. Change the Length, Width or Height Segments
of the surfaces where the subtraction will occur.
3. From the Compound Objects buttons, click
The future metal plate with circle of bolts
Boolean.
4. Perform the subtraction as you originally 1. Select one of the cylinders.
wanted.
By subdividing the surface with more faces, the
Boolean operation has more faces and edges to
work with. This results in fewer long, sliver-like
faces that can produce creases or ridges.
Problems and Resolutions The first thing to check is your system memory
Autodesk VIZ Doesn’t Start Quickly allocation. Per the Autodesk VIZ system
requirements, you should have a minimum of 256
Autodesk Product Support often encounters an MB of physical memory (RAM) and 300 MB of
increase of this situation around the time a new swap space. Recommended RAM is 1 GB with a 2
version or upgrade of the software is released. The GB swap file. Here’s how to check your memory
question usually posed by the customer is, “Why and swap-file allocations.
does the new version take longer to start than the
last version?” There are several reasons. To check RAM and swap-file allocation on Windows
• The size of the executable that starts 2000:
Autodesk VIZ and the additional overhead 1. Right-click the My Computer icon on your
needed to load the new features of a new desktop and choose Properties from the menu.
release can cause a slowdown. Code in a new This opens the System Properties dialog.
executable may use the system processors
in a different way than the last version so a On the General panel, you should see
slowdown may be noticed. The important information about your computer. The amount
thing is how Autodesk VIZ performs once it of RAM should be listed on this panel.
is running. Note: The RAM may be displayed in kilobytes
• Each version of Autodesk VIZ is programmed (KB) instead of megabytes (MB).
and optimized to use newer video technology 2. Open the Advanced panel, and click the
than what was previously available. If you Performance Options button.
haven’t upgraded your video card in the last The Performance Options dialog is displayed.
year, or at least updated video drivers, there is a
3. Check the “Total Paging File Size For All
very good chance Autodesk VIZ will not start as
quickly as in previous versions. You can also try Drives” setting in the Virtual Memory group.
a different Autodesk VIZ video configuration. If you have 256 MB of RAM, you should set the
• If you have not defragmented your system Virtual Memory to approximately three times
recently, Autodesk VIZ could exhibit a slower the RAM, or 768 MB.
start time. Defragmenting the system can also
To check RAM and swap-file allocation on Windows
streamline the loading of large files that tend to XP:
swap to virtual memory.
1. Right-click the My Computer icon on your
Files Take a Long Time to Open desktop and choose Properties from the menu.
The size of a file often defines how quickly This opens the System Properties dialog.
it loads into Autodesk VIZ. However, if you On the General tab, you should see information
notice an increase in load time from one design about your computer. The amount of RAM
session to another, it could be an indication that should be listed on this panel.
Autodesk VIZ is not finding enough memory 2. Open the Advanced tab and click the
to operate efficiently or that the file needs to be Performance Settings button.
optimized.
The Performance Options dialog is displayed.
638 Appendix B: Troubleshooting Autodesk VIZ
3. Click the Advanced tab, and check the “Total 4. If set to OpenGL or Direct3D, click the Choose
Paging File Size For All Drives” setting in the Driver button and choose Software.
Virtual Memory group. The Software setting is a generic driver that
If the physical and virtual memory are set works for all video cards. It doesn’t have any
appropriately, then you’ll have to check the video enhancements but it’s a good place to
model. If the model does eventually open, do the begin diagnostics.
following: Note: If you’re switching from Direct3D, you
• From the File menu, choose Save As and save first have to use Revert From Direct3D before
the scene under a different name. Then try choosing the Software configuration.
opening the new file to see if it loads faster. 5. Click OK to close the Graphic Driver Setup
• Review some of the objects you know have large dialog.
modifier stacks. Performance can be improved You will be informed that you have to restart
if you collapse the stacks of objects that you’ve Autodesk VIZ for the change to take affect.
completed.
6. Close the Preferences dialog and exit
• If the model uses XRefs, make sure the XRefs Autodesk VIZ.
are locally accessible. If they’re located on a
7. Restart Autodesk VIZ.
network server, the long load time could be due
to high network traffic. Try opening or dragging dialogs around to see
if performance has improved. If it has, do the
Slow Response to Open or Drag Dialogs following:
This situation is exhibited when you click a • If the software was originally configured for
command that opens a dialog, like the Material OpenGL, try configuring Autodesk VIZ for
Editor or graph window, like Track View. After Direct3D and see if performance is improved.
you click, you notice an appreciable time lag until Or vice-versa.
the dialog or window opens. If you then attempt • Verify that your graphic card supports your
to drag it to a new location, the dialog or window preferred display configuration choice.
does not smoothly follow your cursor. Some cards do not fully support OpenGL or
The usual cause for this is a video driver conflict Direct3D.
or display configuration issue because opening • Visit the Web site of your graphic card
or dragging a dialog causes your graphic card to manufacturer and see if they have any newer
refresh the screen. Try these steps to diagnose the video drivers that you can download and install.
problem.
1. Start Autodesk VIZ. Sluggish Command Response
2. From the Customize menu, choose Preferences. Sluggish command response is closely related to
the previous situation. If you create an object such
3. Open the Viewports panel and check the
as a Box, you might notice that the cursor suddenly
Current Installed Driver.
slows down when you drag it into a viewport.
Most likely, it will be set to OpenGL or Clicking the corners to set the length, width and
Direct3D. height is equally time-consuming. Once again, the
likely cause is video-related.
Problems Caused by Unit Settings 639
1. Start Autodesk VIZ. have to change the System Unit Scale to metric to
2. From the Customize menu, choose Preferences. work in Metric units; just change the units.
3. Open the Viewports panel and check the There are two solutions that often fix this problem.
Current Installed Driver.
Turn on the manual viewport clipping:
4. Make sure you have Autodesk VIZ configured
for the software display driver. You can turn on the manual viewport clipping and
adjust it to see the entire object. Viewport clipping
5. Click OK to close the Graphic Driver Setup
has a Near and Far range setting, if a camera gets
dialog. closer to an object than the Near Clip value, you
You will be informed that you have to restart will see through that object. Likewise, objects
Autodesk VIZ for the change to take effect. that are located beyond the Far Clip value, will be
6. Close the Preferences dialog and exit invisible to the camera.
Autodesk VIZ. 1. Open the problematic scene and select the
7. Restart Autodesk VIZ. camera.
2. In the Parameters rollout > Clipping Planes
Try using the command that was giving you
group, turn on Clip Manually.
trouble and see if it works correctly now.
3. Adjust the Near or Far Clip value, or both.
When you can see the object again, your
Problems Caused by Unit Settings clipping plane is set properly.
The unit settings of a model can often get you into
Scale the entire scene:
trouble. Understanding some of the common
problems can help you avoid them. If it doesn’t matter what units you work in, scale
the entire scene so objects are not affected by
This section addresses the two most common
viewport clipping.
problems that modelers encounter.
1. Open the problematic scene and select
Problems and Resolutions everything.
Objects Disappear When the Camera Gets Close 2. On the toolbar, click Select And Uniform
This situation can happen when you model Scale.
things on a very tiny scale and then have to get 3. Enlarge the entire scene.
very close to them in a Camera or Perspective
Not only do the objects in the scene get larger
viewport. Architectural walkthrough animations
but the distance between objects increases. So,
are notorious for this kind of behavior. You’ve got
the larger you scale the scene, the further your
a camera moving along a path and at some point it
camera is located from the surrounding objects.
gets too close to a wall and you’re suddenly able to
see through to a room on the other side. If you need to work in real world units, such as
Note: This problem is quite common for designers inches or meters, you should set the scale of the
working with the metric system when you want scene before you begin modeling by changing
to use real world metric units and you change the the System Unit Scale value from the default of 1
System Unit Scale to 1 unit=1 meter. You don’t
640 Appendix B: Troubleshooting Autodesk VIZ
unit=1 inch to something like 1 unit=0.1 inch or done that caused the button, element or dialog to
even 0.01 inch. disappear.
If you change the System Unit Scale after you have This section addresses several of the most common
begun modeling, you will need to use the Rescale user interface situations and how you can fix them.
World Units utility to rescale the scene.
Problems and Resolutions
Zooming and Panning Are Too Fast or Slow Large Fonts and Autodesk VIZ
If zooming and panning are too fast or too slow, While some users like to configure their systems
the most likely cause is the System Unit Scale. to use large fonts, this setting is not recommended
Autodesk VIZ can exhibit round-off errors when with Autodesk VIZ. The Autodesk VIZ user
dealing with extremely large or small distances. interface was designed to operate with your system
These round-off errors can also cause normals set to small fonts. Small fonts are the default setting
to be flipped or strange viewport clipping. for both Windows 2000 and Windows XP.
Autodesk VIZ does not have the numerical
resolution to zoom infinitely from the some If you have your system set to use large fonts, some
remote corner of the solar system down to an ant of the most common anomalies you can expect
on your doorstep. while running Autodesk VIZ are as follows:
If you’re going to change the System Unit Scale, you • Buttons may be missing from the command
should change it before beginning any modeling. panels.
If you do have to set it later, it’s best to rescale • Some text-entry fields may not allow you to
the entire scene with Rescale World Units. For type in them.
example, if working on a tiny scale, like modeling • Garbled text appears in some dialogs.
coins, you might change the System Unit Scale
from the default of 1 unit=1 inch to something like • Text labels in dialogs and rollouts might be cut
1 unit=0.1 or 0.01 inch. For larger scaled scenes, off or overlap other fields.
like an airport, increase the System Unit Scale. • Dialogs show cascading text fields and spinners.
As a rule of thumb, keep the scale such that the To remedy these problems, set your system font
smallest detail is not less than one generic unit. back to small fonts.
If this makes the scene too big to work with 1. Exit Autodesk VIZ.
comfortably and efficiently, you can create separate
2. Go to Start > Settings > Control Panel, and
scenes for models that include cameras for "close"
click Display.
and "far" shots.
You can also right-click anywhere in the open
desktop and choose Properties.
User Interface Problems and 3. Open the Settings panel and click the Advanced
Recovery button.
It’s very aggravating when you can’t find 4. In the Display group, click the arrow to open
something on the user interface, especially when the Font Size list and choose:
you saw it a few minutes ago and now it’s gone • Small Fonts, if running Windows 2000
missing. Of course, you’re so engrossed in your
• Normal Size, if running Windows XP
modeling that you forget what you may have
User Interface Problems and Recovery 641
Thorough Method
It was visible the last time you rendered, but that
In this example, let’s say you’ve got a single monitor was awhile ago and someone else has been using
that’s configured for 1280x1024 resolution and the system.
you’ve lost your Rendering Progress dialog.
1. Make sure Autodesk VIZ is not running.
The 3dsviz.ini file is constantly being updated
while Autodesk VIZ is running.
2. Open a text editor and load 3dsviz.ini.
3. Scroll down the list of entries until you find the
data block:
[RenderProgressDialogPosition]
Dimension=-425 152 379 866
A dialog’s position is based off the location
of the upper-left corner, anchored by the first
pair of digits. Therefore, in this example, the
upper-left corner of the dialog is -425 pixels
from the left edge of the screen and 152 pixels
from the top. The second pair of digits describe
642 Appendix B: Troubleshooting Autodesk VIZ
the horizontal and vertical size of the dialog, so You need to be careful when using this method,
this dialog is 379 pixels wide and 866 pixels tall. because you don’t necessarily know what custom
Since this example assumes a single monitor, settings are saved in the 3dsviz.ini file. Perhaps you
configured for 1280x1024 resolution, this have Autodesk VIZ set to display the command
dialog is off-screen to the left. If the first panel on the left and you’ve changed the viewport
number were greater than 1280, the dialog background color. Furthermore, if you have
would be off-screen to the right. third-party plug-ins installed, they sometimes
write information to the 3dsviz.ini file. If you
4. Place your cursor on the “Dimension” line and
delete the file, you will losing all those settings.
scroll over to the problem number.
If you’re not sure about customized settings that
The problem number is usually the first or
are stored in the 3dsviz.ini file, you can rename the
second, since the last two set the width and
file to something like old3ds.ini. When you restart
height of the dialog.
Autodesk VIZ, you can continue working and, at a
5. Change the problem number to a value that is later time, compare the two files and copy the data
positive and within 1280x1024. you need from the old one to the new one.
6. Save the 3dsviz.ini file and start Autodesk VIZ.
Missing Command Panel
The next time you render, the Rendering Progress
dialog appears appear on-screen. The command panel normally appears along
the right side on the user interface. If you start
This is the preferred method, because it causes no Autodesk VIZ and notice that the command panel
loss to other custom configuration settings that are is missing, there are usually three causes.
stored in the 3dsviz.ini file.
• The command panel is turned off.
Quick Method • You floated the command panel to another
There are really only two reasons you’d use this monitor and attempted to drag it to a new
method: location. When you released the mouse button,
the command panel disappeared.
• You’ve just installed Autodesk VIZ and haven’t
made any customized settings that get stored in • A custom user interface is active that places the
the 3dsviz.ini file. command panel off-screen.
• You’re in a hurry and don’t care about the All of these situations can be quickly fixed by using
customized settings that you have stored in the the following steps.
3dsviz.ini file. 1. Start Autodesk VIZ.
1. Make sure Autodesk VIZ is not running. 2. From the main menu, choose Customize >
2. Open Windows Explorer and browse to the Revert To Startup Layout.
\program files\autodesk viz 2006\ folder. You’ll be warned that all UI settings you’ve made
3. Choose the 3dsviz.ini file and delete it. during the current session of Autodesk VIZ
will be reset.
4. Restart Autodesk VIZ.
A new 3dsviz.ini file is automatically created
using default settings.
Video Driver and Display Problems 643
Direct3D Failed to Initialize Message • Shut down some of the other programs that are
concurrently running with Autodesk VIZ.
Autodesk VIZ supports both DirectX 8.1 and
DirectX 9. When configuring the display settings, • Reduce the size of the Autodesk VIZ interface.
you choose DirectX 9 and start Autodesk VIZ only • Reconfigure Autodesk VIZ to use a different
to receive a message telling you that “Direct3D display driver.
failed to initialize. Please make sure you have the
latest version of DirectX installed.” Dual-Monitor Configuration
This usually means your card doesn’t support Many board manufacturers are building graphic
DirectX 9 or you don’t have DirectX 9 installed. cards that support multi-monitor configurations.
Revert the Direct3D version back to DirectX 8.1 The cards might advertise hardware features
and confirm that you are running the latest version like “Dual Head” or “Multi-Head” that
of DirectX. have two monitor ports built into them.
1. Choose Start > Run. Other manufacturers choose to handle dual
configuration through video drivers that let you
2. In the Open field, type dxdiag and click OK.
configure your system display in “Wide” mode.
3. On the System tab, check the DirectX version. Here are the details of what you need to watch out
If it shows DirectX 8.1, you need to download for when configuring a multi-monitor system.
the newer version from Microsoft. • Hardware “Dual Head” Solution
Many newer video cards offer this hardware
Direct3D Reports a Memory Warning
solution for setting up a dual-monitor system.
You may encounter a memory warning when These graphic cards are usually AGP cards and
starting Autodesk VIZ if you’ve configured the have two monitor ports. Since these boards
program to use the Direct3D driver. have two ports and your system has only one
AGP slot, you can only drive dual monitors.
After installing the card and drivers, you want
to follow the manufacturer’s instructions for
configuring your system. Configuration is
done through your system’s Display Properties
dialog > Settings panel.
You are presented with a diagram for each Spanning Across Monitors
monitor and you can set the resolutions Whenever, you start Autodesk VIZ, the user
independently by selecting a monitor and interface spans across both monitors. You find
adjusting the screen Area slider. You will also yourself constantly resizing the program to fit on
often find utilities included with the drivers that one screen so you can see the programs located
enable special features for the graphics card. on the other screen.
The disadvantage to this configuration is that This is usually a problem on systems that let you
one monitor is a primary while the other configure both monitors as one, in “Wide” mode.
secondary, so performing some tasks can The utility software that loads with the graphic
only be done on applications positioned on card manufacturer’s drivers probably has a feature
the primary monitor. For instance, if you use that forces programs to open across the entire
screen-capture software, you can have that expanse of the display. You can turn off this feature
program open on the secondary monitor, but and programs will open in the last position and
if you want to capture an image, you can only size you gave them.
capture images of applications that are located
on the primary monitor. Viewport Transparency
• Software Driver Solution After starting Autodesk VIZ, the user interface
The software solution to multi-monitor appears but you can see the system desktop
configuration is often found in older graphic through each of the viewports. This problem
cards that fit into your PCI slots. Each board normally occurs if you have the display
has a single port to accept a monitor and the configuration set to either OpenGL or Direct3D
video drivers give you the option to configure and your graphics card does not completely
a single display in “Wide” mode to encompass support OpenGL or Direct3D.
multiple displays. Also, because you have four
Video Driver and Display Problems 647
2-Sided (Double Sided) Usually, you want two sided rendering turned off
since it slows rendering time. However, if you
want to render the inside as well as the outside of
objects, or if you’ve imported complex geometry
(for example, from AutoCAD) in which the face
normals are not properly unified, you can use
one of the methods above to render each face
regardless of its normal’s orientation. You can
also unify normals explicitly by using the Normal
modifier (page 2–167).
2D Map
Rendering of a box with a double-sided material, and same
A two-dimensional image or pattern. A 2D map
box with a single-sided material requires mapping coordinates to render and
appear in viewports. See 2D Maps (page 2–1199).
In Autodesk VIZ, faces are one-sided. The front is
the side with the surface normal (page 3–704). The
back side of the face is invisible to the Renderer; 3D DWF
meaning the face appears to be missing when
viewed from the back. Objects are usually created From Design Web Format. A highly compressed
with the surface normals facing outward, but it is file format that is created from a MAX file. DWF
possible to create objects with the faces flipped
650 Glossary
files are easy to publish and view on the Web using • All map parameters, including UV transforms,
the Autodesk DWF Viewer. Negative, Mirror, and Rotation. Some Map
Parameters such as Blur, Luma, and RGB and
Alpha work much differently. These values are
3D Map converted to new values that produce a similar
effect.
A pattern generated procedurally in three
dimensions. A 3D map does not require mapping • Mask bitmaps are imported as a mask texture.
coordinates in order to render. However, a 3D • When materials with both Texture 1 and
map will appear in viewports only if the object to Texture 2 are imported, a composite texture is
which it is applied has mapping coordinates. See created and added to the Standard material’s
3D Maps (page 2–1236) Diffuse channel.
• Reflection maps, auto-cubics and mirrors.
3DS and PRJ Files • Automatic reflection map Nth frame and Map
Size settings.
3DS is the 3D Studio R4 mesh-file format and PRJ
is the 3D Studio R4 (for DOS) project-file format. • SXP translation for Marble and Noise materials.
You can import both these types of files into the • 3DS/DOS IK joint parameters.
software, as well as DXF and SHP files. You can • 3DSurfer patch data.
export 3DS files and DXF files.
The following information is not imported from
See also a 3DS file:
By default, the active time segment runs from can choose as many levels as you want, but you are
frames 0 to 100, but you can set it to any range advised to choose only one or two levels for each
from the Time Configuration dialog (page 3–447). type of degradation.
In addition, the active time segment can include Note: When you use Arc Rotate (page 3–466) in
negative frame numbers, so you can create keys a shaded viewport while Adaptive Degradation
before frame 0 and work in negative time. Override is off, objects degrade to bounding boxes
You can change the active time segment whenever regardless of the adaptive degradation settings.
you want without affecting the keys you’ve already The Adaptive Degradation Toggle is accessed from
created. You might think of it as a window in time, the Views menu; you can also use the O (letter ’o’)
specifying only that portion of your animation in keyboard shortcut to toggle it on and off.
which you want to work. Thus, if you have keys
scattered over a range of 1000 frames, you can
narrow your active time segment to work on only Additive Opacity
frames 200–300 without affecting the keys outside
of the segment. An additive process adds two values together,
such as two colors. When you add colors in
Autodesk VIZ, the result is brighter than either of
Adaptive Degradation the two original colors.
Area Shadows
Aspect Ratio
Aspect ratio describes the proportions of a still the square of the distance from the light source.
image or the frames in a movie, expressed as the It is common for attenuation to be even greater
ratio of width to height, regardless of the image’s when light is occluded by small particles in the
resolution (page 3–723). atmosphere, especially when there are clouds or
fog present.
Aspect ratio is usually expressed either as a ratio
of width over height (for example, 4:3) or as a
Attenuation and Photometric Lights
real value relative to 1 (for example, 1.333). For
example, pre-1950s movies and 35 mm slides have Photometric lights always attenuate at the inverse
an aspect ratio of 4:3. square rate. This is one of the reasons it is
important for scenes with a radiosity solution to
Aspect ratios are used anywhere a bitmap is
use real-world dimensions and units.
created or used. For example:
• When preparing to render, you can specify an Attenuation and Standard Lights
aspect ratio for your rendered images with the
By default, standard lights don’t attenuate.
Image Aspect parameter on the Render Scene
Consequently, an object’s distance from the light
dialog (page 2–1316).
doesn’t matter, and only the angle of light to the
• When setting up a viewport background (page surface has any effect on illumination unless you
1–36), you can specify whether to use the turn on attenuation. You can manually control the
viewport, bitmap or rendering output aspect rate of attenuation for standard lights. You can also
ratio to display the bitmap. use attenuation with the Raytrace map. If your
• When you make a spotlight a projector (page scene uses standard lights, you should consider
2–970), you can use the Bitmap Fit option adding attenuation whenever possible, for two
to match the spotlight’s aspect ratio to the reasons:
bitmap’s, and thus prevent the bitmap from • Attenuation provides greater subtlety and
distorting. realism in your lighting.
• You can reduce rendering time, since attenuated
lights don’t have to be calculated for surfaces
Attenuation
that are beyond the attenuation range.
For standard lights, you can explicitly set where
attenuation begins and ends. This is partly so
you don’t have to worry about setting up strictly
realistic distances between light objects and the
objects they illuminate. More importantly, this
feature lets you fine-tune the effect of attenuation.
Image on right rendered with attenuation
In outdoor scenes, attenuation can enhance the
In the real world, the intensity of light diminishes effect of distance. In an indoor setting, attenuation
over distance. Objects far from the light source is useful for low-intensity light sources such as
appear darker than objects near the source. This candles.
effect is known as attenuation.
For standard lights, you set attenuation parameters
In nature, light attenuates at an inverse square rate; on the light’s Intensity/Color/Attenuation rollout
that is, its intensity diminishes in proportion to
AutoGrid 659
Examples
The center of gravity of the triangle is given by the
barycentric coordinates (1/3, 1/3, 1/3): X = 1/3 A
+ 1/3 B + 1/3 C = (A+B+C)/3.
Block Reference
In AutoCAD, a compound object that is inserted
into a drawing and displays the data stored in
Top: Blur = 1, Blur Offset = 0
a block definition. A block reference is also
Middle: Blur = 10, Blur Offset = 0
sometimes referred to as a Block Instance. Refer
Bottom: Blur = 0.01, Blur Offset = 0.2
to the AutoCAD, Autodesk Architectural Desktop,
or Autodesk Mechanical Desktop help files for The Blur and Blur Offset controls determine how
further information regarding Blocks, Block a 2D map is blurred, or how it is softened in the
Instances, and Block References. rendering. You can’t see their effect in the viewport
renderer, only in the production renderer.
The Blur setting blurs the map based on its
Block/Style Parent
distance from the view. The farther away the map
A Block/Style Parent is closely related to a is, the greater the blurring. You should always use
VIZBlock (page 3–745) in that it is a compound some blurring on your maps to avoid the type of
object similar to a nested AutoCAD block. Just scintillation, or aliasing that can occur when pixel
like the VIZBlock, it is used for organizing linked details are reduced off in the distance. This effect
data from DWG files. When linking DWG data typically occurs when you use detailed bitmaps
to Autodesk VIZ, you need to decide how the viewed at a distance, and is particularly apparent
662 Glossary
during animations. The Blur default is 1.0, which the operands (A and B) and the Boolean object
is a good setting for most purposes. itself is the result of the operation.
Blur Offset blurs the map without regard to depth. For geometry, the Boolean operations are:
That is, all the pixels in the map are blurred • Union: The Boolean object contains the volume
equally, regardless of how close or how far they are of both original objects. The intersecting
from the camera. or overlapping portion of the geometry is
Whereas the Blur value is primarily used to removed.
avoid aliasing, Blur Offset is useful when you • Intersection: The Boolean object contains
want to soften, or defocus the details in a map. only the volume that was common to both
It’s the equivalent of blurring the bitmap in an original objects (in other words, where they
image-processing program before applying it as a overlapped).
material map.
• Subtraction (or difference): The Boolean
Note: For bump mapping (page 2–1131), lower object contains the volume of one original
Blur and higher Blur Offset values give better object with the intersection volume subtracted
results. from it.
Bounding box shows the extents of the sofa. NURBS chamfer curves
The bounding box is the smallest box that encloses A dependent NURBS object that is a line segment
the maximum dimensions or extents (page 3–673) connecting two curves. It is controlled by the
of an object. curves it connects, and by two length parameters
that control the distance back from the point of
You can display selected objects in the scene as apparent intersection of the "parent" curves.
bounding boxes to speed up screen redraw. Use
the Object Properties dialog (page 1–107).
The Align command (page 1–389) uses the CIBSE Files
maximum and minimum extents of the object’s The CIBSE file type is the file format for
bounding box to align objects. photometric data adopted by the Chartered
Institution of Building Services Engineers. It is
used primarily in Great Britain.
By Layer
Codec
Short for compressor/decompressor. An algorithm
for compressing and decompressing digital video House on right uses a compound material.
data, and the software that implements that (House on left uses the default standard material).
algorithm.
Constrained Point 665
Compound (or complex) materials let you create a • Modified Object containers holding all of the
material consisting of two or more sub-materials. modifiers applied to an object as well as the
creation parameters.
The real power in using compound materials is
that each sub-material can be as complex as any
standard material.
Content Browser
The Multi/Sub-Object compound material lets you
The Content Browser stores tools and design
assign different materials to different sub-objects,
content; it provides a central location where you
at the sub-object level of your geometry.
can store project-specific tools to share among
You load or create compound materials using the a design team. You can browse tool catalogs in
Material/Map Browser. the browser, and drag and drop tools onto tool
palettes.
For more information about the types of
compound materials you can create, refer to Kinds
of Compound Materials (page 2–1177).
Continuity
A property of curves, including NURBS curves. A
Constrained Point curve is continuous if it is unbroken.
A NURBS Point that is dependent on either
another Point, Curve, or Surface, and whose
position is either on the parent object or relative
Continuity Level
to it. The relative cases are XYZ-relative, along a
normal, or along a tangent (or set of tangents for a
surface-dependent constrained point).
Containers
Levels of curve continuity:
Containers are Track View items with multiple Left: C0, because of the angle at the top
branches that provide a complete definition of Middle: C1, at the top a semicircle joins a semicircle of
something in your scene. smaller radius
Container items that appear in Track View include: Right: C2, the difference is subtle but the right side is not
semicircular and blends with the left
• Materials definitions with all parameters, maps,
and sub-materials. The level of continuity is a way to describe
curvature. A curve with an angular cusp is C0
• Maps containers with all map types and map continuous. The curve is continuous but its
parameters. derivative is not. A curve whose curvature changes
• Single Map containers with a single map type has C1 continuity. The curve and its derivative are
and its associated parameters. both continuous but its second derivative is not. A
• Object containers directly below a named curve with uninterrupted, unchanging curvature
object item defining the creation parameters of has C2 continuity. NURBS curves must have at
an unmodified object. least C0 continuity; a continuity level greater
666 Glossary
than C2 is unnecessary for most 3D computer In NURBS modeling, a vertex that controls a CV
modeling. Curve or CV Surface. The 3D location of each
CV affects the shape of the curve or surface. CVs
aren’t constrained to lie on the curve or surface.
Control Lattice Each CV has a rational weight that can be used to
adjust the influence of the CV on the curve’s or
surface’s shape.
Controller
Software that controls animation. Controllers
handle the following functions:
• Storing animation key values
• Storing procedural animation settings
• Interpolating between animation key values
you can have up to 24 materials with the same In NURBS modeling, a vertex that controls a CV
name, but every material in your scene must have Curve or CV Surface. The 3D location of each
a unique name. CV affects the shape of the curve or surface. CVs
aren’t constrained to lie on the curve or surface.
You can now adjust the cool material, and compare
Each CV has a rational weight that can be used to
it with the hot material. If you like the changes
adjust the influence of the CV on the curve’s or
you’ve made, you can update the scene.
surface’s shape.
NURBS CV surface
A NURBS surface defined by CVs. The CVs don’t Diagonals on the default Cylinder primitive
necessarily lie on the surface. Instead, they form
Diagonals are normally invisible, but in
a control lattice that affects the curvature of the
Autodesk VIZ they appear as dashed lines when
surface.
you use the Turn or Edit Triangulation tool. Unlike
edges, diagonals cannot be transformed, or acted
upon with tools like Chamfer. This is different
Degree from the hidden edges in editable mesh/Edit Mesh
The degree of a curve is the highest exponent in objects, which are actual edges and can be made
the equation used to represent it. A linear equation visible, transformed, and manipulated with any
is degree 1, a quadratic equation degree 2. NURBS editing tool.
curves typically are represented by cubic equations
and have a degree of 3.
Diffuse Color
Dependent
Describes a NURBS sub-object whose definition
depends on other NURBS sub-objects. For
example, a Blend Curve depends on the two curves
that you select when you create it.
Diagonal
A diagonal is a line that connects polygon vertices
in editable poly and Edit Poly objects. Its function
is primarily to resolve the polygon into triangles
Vase has a mapped diffuse color.
at render time, especially if the polygon becomes
Dithering 669
The diffuse color is the color that an object reflects turning on dithering. Dithering can help prevent a
when illuminated by "good lighting," that is, by banding effect in color gradients. Dithering does
direct daylight or artificial light that makes the increase the size of 8-bit files and can slow the
object easy to see. playback speed of animations. You might want to
try applying maps to the flat areas in the scene to
When we describe an object’s color in
see if that eliminates banding before you turn on
conversation, we usually mean its diffuse color.
dithering.
The choice of an ambient color depends on the
By default, Autodesk VIZ renders 64-bit color
kind of lighting: for moderate indoor lighting it
output. Consequently, you also have the option
can be a darker shade of the diffuse color, but for
of setting dithering for truecolor (24 or 32-bit
bright indoor lighting and for daylight, it should
color) (page 3–743). The Dither True Color option
be the complement of the primary (key) light
ensures that you get the best quality on truecolor
source. The specular color should be either the
displays.
same color as the key light source, or a high-value
low-saturation version of the diffuse color. You turn dithering on and off in the Rendering
panel (page 3–540) of the Preferences dialog.
Dithering
Dock and Float
These terms describe manipulations to
user-interface elements, such as toolbars.
You dock a toolbar, for example, when you align
it with the edge of another interface element,
typically a window or panel.
You float a toolbar when you detach it from a
stationary position, and reposition it elsewhere on
the desktop.
animating a bouncing ball moving around your • After importing a DXF file, you might want
scene. You could animate the ball by properly to divide the resulting Autodesk VIZ file into
positioning it throughout the scene on many smaller objects.
frames. The drawback is that it would be very
Entities that are frozen or turned off are ignored.
difficult for you to go back and adjust the height of
the bounce or the path the ball takes through the The successful unification of face normals depends
scene. You would have to edit the motion of the on the welding of coincident vertices. Sometimes,
ball on many frames to make even a simple change. depending upon the precision of the model as it
was created in AutoCAD, the vertices may not
Using a dummy object easily solves this problem by
be close enough to be considered "coincident."
breaking the motion into two simple components.
They will not be welded, and the faces will not be
One component is the bounce of the ball. The
properly unified. In this case, increase the Weld
other is the path through the scene.
Threshold value in the Import DXF File dialog.
Converting by layer can result in objects consisting
DWG Files of many elements (page 3–671). In certain cases,
some of these elements may have all of their face
The DWG file is the primary, native file format
normals flipped the wrong way. You can detect this
of drawing files created by AutoCAD, Autodesk
in the software by turning off Backface Cull in the
Architectural Desktop, and Autodesk Mechanical
Display panel, or by rendering the objects. Use the
Desktop®. It is a binary format used for importing
Normal modifier (page 2–167) to correct this.
and exporting (page 3–157) AutoCAD drawing
files. If you do not want to flip normals, you can either
use 2-sided materials, or turn on the Force 2-Sided
You can also use the File Link Manager (page
option in the Render Scene dialog.
3–323) to create a live link between a drawing file
that can be open in AutoCAD and Autodesk VIZ. If you are loading a large scene containing
Changes that are made to the drawing can thousands of entities (such as 3D faces) and have
automatically be updated in Autodesk VIZ without chosen to load an object by entity, the conversion
having to reload scenes or re-import drawings. can take a long time. It also produces a huge
number of objects to handle in the software. To
avoid this, organize your DXF file so that these
DXF Files kinds of entities are grouped by layer, then make
the conversion by layer rather than by entity.
DXF files are used to import and export objects
to and from AutoCAD (and other programs that
support this file format).
Ease Curve
Keep the following in mind when you are creating
Ease curves vary the timing of a function curve.
your DXF geometry, and when you are deciding
An unaltered function curve charts the value of
whether to convert by layer, color, or entity:
an animated parameter over time. An ease curve
• With AutoCAD Release 12, if you are using charts changes to the timing of the function curve.
the AutoCAD Advanced Modeling Extension Changing ease curve values shifts the time of the
(AME), use the SOLMESH command on your original track left or right.
AME models prior to saving the .dxf file.
Editable Mesh 671
The horizontal scale of an ease curve represents that is, it uses triangular polygons. Editable meshes
normal time, just as it does for all function curves. are useful for creating simple, low-polygonal
The vertical scale of an ease curve represents the objects or control meshes for MeshSmooth and
time scale of the function curve the ease curve is HSDS modelling. You can convert a NURBS or
applied to. Changing the shape of an ease curve patch surface to an editable mesh. Editable meshes
changes the way time is interpreted by the affected require little memory, and are a natural method of
function curve. modeling with polygonal objects.
The value of the ease curve at a particular frame is An actively linked object cannot be collapsed to an
a frame value from the original track. For example, editable mesh. Using the File Link Manager (page
if the ease curve is 0 at frame 0 and 10 at frame 10, 3–323), you have to Bind the object first.
the original track plays at its original speed. If the
ease curve value at frame 10 increases to 20, the
original track plays to frame 20 by frame 10: it has Editable Poly
been sped up by a factor of two.
An editable poly (page 2–377) is a type of
deformable object. An editable poly is a polygonal
An Ease Curve Example
mesh; that is, unlike an editable mesh, it uses
Imagine you have animated a car moving down more than three-sided polygons. Editable polys
a street. After viewing the animation you decide are useful in that they avoid invisible edges. For
that you want to change the position of the car so it example, if you use a cut-and-slice operation
moves quickly at the beginning of the animation with editable polys, the program doesn’t insert
and then slows to a leisurely pace toward the end. extra vertices along any invisible edge. You can
convert NURBS surfaces, editable meshes, splines,
You could accomplish this change by editing
primitives, and patch surfaces to editable polys.
position keys, ranges, and function curves but
it would require more work than using an Ease
curve. Applying an Ease curve to the Position
track provides a quick and easy solution.
Element
An element is one of two or more individual
Dragging the Ease curve causes time to compress
mesh objects (that is, groups of contiguous faces)
near the beginning of the animation and stretch
grouped together into one larger object. For
out near the end. You can tell that the car’s motion
example, if you attach one box to another, you
starts out fast and then slows down by looking
create one mesh object from the two boxes. Each
at the effect the Ease curve has on the Position
box is now an element of the object. Any function
function curves.
you perform on that object affects all its elements.
However, you can manipulate the elements
See also
independently at the Element sub-object level.
Multiplier Curve (page 3–703)
End Effector
Editable Mesh
In history-dependent inverse kinematics (HD IK)
An editable mesh (page 2–350) is a type of (page 2–786), the end effector is the pivot point of
deformable object. An editable mesh is a trimesh:
672 Glossary
you can visualize the effect you get with spherical turned off (the default) the background receives
environment mapping. Shrink-wrap wraps the an alpha of 0 (completely transparent). If Use
map around a giant sphere, leaving only one Environment Alpha is turned on, the alpha
singularity. Cylindrical is like a giant cylinder. of the resulting image is a combination of the
scene and background image’s alpha. Also,
The Screen system maps the image directly to the
when writing TGA files with Pre-Multiplied
view, with no distortion. It’s similar to planar, in
Alpha set to off, turning on Use Environment
that it’s like a giant backdrop hung in the scene.
Alpha prevents incorrect results. Note that only
Unlike the other environment mapping methods,
background images with alpha channels or black
Screen is locked to the view. When you move the
backgrounds are supported when compositing in
camera, the map moves with it. Therefore, you can
other programs such as Photoshop.
only use it for still renderings, or animations in
which the camera doesn’t move.
To use a bitmap with any environmental Extents
mapping system other than Screen, you need a
high-resolution map because of the size of the
virtual sphere, or cylinder.
An environment map is not assigned in the
Material Editor, because it’s not applied to the
geometry of an object, but rather to the scene itself.
Environment maps appear in the background, as
seen from the camera or perspective view.
When you assign a map to the environment, it’s
the same as if you’d assigned a mapped material
to an object in your scene. To edit or adjust the
assigned map, you need to place it in one of the
White box shows the extents of the sofa.
sample slots in the Material Editor. You can do that
in one of two ways: An object’s extents are its maximum dimensions
in X, Y, and Z. These are the dimensions of the
• Click the Get Material button in the Material
rectangular bounding box (page 3–663) that
Editor, and then get the map from the scene.
surrounds the object.
• Put the map from the Environment dialog to
one of the sample slots in the Material Editor.
You can do this by dragging and dropping from
the Environment dialog map button to the
sample slot.
Note: To control whether or not the renderer
uses the environment map’s alpha channel in
creating the alpha for the rendered image, choose
Customize > Preferences > Rendering, and then
turn on Use Environment Alpha in the Background
Antialiasing group. If Use Environment Alpha is
674 Glossary
Field of View
Use Field of View (FOV) to change the amount of group, the Render To Fields check box sets
the scene visible and the amount of perspective whether the renderer renders full frames at the
flare applied to a Perspective or Camera view. specified frame rate, or renders fields at twice that
The Field of View button appears in the viewport rate. When Render To Fields is on, the renderer
navigation control panel when a Perspective or renders an extra sub-frame image between every
Camera view is active. two frames, and composites each frame and the
following sub-frame into a single image with
two fields. The result is a 60 fields-per-second
Fields animation suitable for play on an NTSC (page
3–705) television monitor.
Field Order
When you render to fields, you also specify a
field order to identify which field comes first.
The Field Order configuration setting is found in
Preferences, on the Rendering page. A frame’s
scan lines are numbered and each field contains
either the odd or even scan lines. The video source
(for example, broadcast transmitter, video tape
recorder, or digital video recorder) determines
which group of scan lines is in each field and which
Two fields combine to make a single frame.
group is delivered to the display first. The fields are
Your animations might ultimately be viewed referred to as Field 1 (F1) and Field 2 (F2); either
on television monitors. Standard video signals could contain the odd numbered (1st, 3rd, 5th,
display animation by breaking it down within time and so on) scan lines or the even numbered (2nd,
segments (frames). The image for each frame is 4th, 6th, and so on) scan lines in the frame.
split into horizontal lines (scan lines). A special Using the default setting of Odd as your Field
method for conveying frame information on a Order preference, the software renders the first
video signal has been developed. This method is field image (F1) to the odd scan lines. If the field
called field interlacing. Television monitors display order preference is set to Even, then the first field
a video signal by separately scanning two portions image is rendered to the even scan lines. For an
of each frame called fields. One field contains the image to display properly, the field order and the
odd scan lines of a frame, the other field contains video device field order must match.
the even scan lines. Television monitors scan and
display the fields of each frame separately. The Some video systems require odd lines to be
fields are alternately cycled through every other rendered first, and others require the even lines
horizontal line on the screen so that they "layer" to be recorded first. The Field Order parameter
together to form a single interlaced image. is set to Odd by default. If you observe incorrect
strobing in your video output, change the
Render to Fields parameter to Even.
On the Render Scene dialog, in the Common
Parameters rollout (page 2–1334) > Options
676 Glossary
First vertex of a spline Flat mirror map reflects the ice-cream shop’s interior.
When you create a spline object, the software If you want to create a flat, mirrored surface in a
numbers the vertices from 1 to the total number scene, such as a highly polished floor, you must
of vertices in the spline, according to the order use a flat mirror reflection map.
of creation. When the spline is displayed in
Flat mirror reflection maps must be assigned to
viewports, the first vertex has a box around it.
your geometry in a specific way, and work only
The first vertex is commonly used as an alignment on flat surfaces.
marker when you place two or more shapes on
When you use flat-mirror reflection maps, keep
different path levels when lofting. If you place
the following in mind:
different shapes on different path levels and you
don’t align their first vertices, the resulting mesh The flat-mirror material must be assigned to
object is twisted. connected, coplanar faces on a flat surface of
the object. If your flat-mirror reflection doesn’t
To avoid twisting, you can align the first vertices by
work, it’s probably because non-coplanar faces
rotating the splines as necessary. Alternatively, you
have been assigned the flat-mirror material. This
can change the position of a spline’s first vertex
can happen during the selection process, if one
by using the Make First button in the Edit Spline
or more non-coplanar faces are included in the
modifier (at the Vertex sub-object level).
selection set. It can also happen if you’ve already
assigned the same material elsewhere on the object
(coplanar faces are two or more adjacent faces that
are on the same two-dimensional plane, such as
the surface of a floor).
If you want to reflect in multiple planes of the same
object, detach each plane into a separate object
before you assign the material.
Fluorescence 679
Follow Object
You can bind an object in your hierarchy to any
other object (often an object not in the same
hierarchy). This other object is called the follow
object.
The bound object tries to match the position and
orientation of its pivot point to the position and
orientation of the follow object’s pivot point.
For example, you might want to animate a figure
Glass on the right has a light green fluorescence. that always points to another object. Bind the
Fluorescence is light emitted from an object when hand of the figure to the other object. Turn IK on
it absorbs radiation (for example, ultraviolet light) and as you move the object the hand and arm of
from another source. the figure move to point at it.
Function Curve
Function curves are editable splines that represent
animation values in a line-graph format. They
provide a valuable way of both visualizing and
editing your animation tracks.
Fusing 681
Fusing
In NURBS curves and surfaces, fusing connects a
Main image: G-buffer used to apply a glow to lighting in a
point to a point or a CV to a CV. (You can’t fuse a scene
CV to a point, or vice versa.) This is one way to
Upper left: The same scene with no glow applied
connect two curves or surfaces. It is also a way to
Middle left: Objects selected using the G-buffer
change the shape of curves and surfaces.
Lower left: Glow applied to the G-buffer objects
Fused points behave as a single point or CV until
You can set two kinds of these channels in the
you unfuse them. Fusing points does not combine
scene to identify and group objects or materials for
the two point objects or CV sub-objects. They are
a particular post-processing effect.
connected but remain distinct sub-objects that
you can unfuse later. • You set an object’s G-Buffer Object Channel
value (see Object Properties Dialog (page
Fused CVs behave much like a single point, but the 1–107)) to identify that object to receive a
property of multiplicity for coincident CVs also particular post-processing effect.
applies. The fused CVs have proportionally more
influence on the curve, which can become more • You set a material’s Material Effects Channel
sharply curved in the fused CVs’ vicinity, or even (page 2–1073) value to identify that material to
angular if more than two CVs are fused together. receive a particular post-processing effect.
682 Glossary
Warning: The mental ray renderer (page 2–1377) does Two basic procedures are required to compensate
not recognize Z-depth with G-buffers. G-buffer data is for changes in gamma:
saved on a single layer. Also, the mental ray renderer
• Calibrate your output display devices so that
does not support the following effects:
the mid-tones generated by the software are
• Glow lens effect (page 3–7) (rendering effect) accurately duplicated on your display device.
• Ring lens effect (page 3–11) (rendering effect) You do this in the Gamma panel (page 3–550)
of the Preferences dialog (Display Gamma).
• Determine the gamma value to be applied to
Gamma Correction files output by the renderer and files input into
the software, such as texture maps. This control
is also in the Gamma panel of the Preferences
dialog (Files Gamma).
The most important rule about gamma correction
is to do it only once. If you do it twice, the image
quality is overly bright and loses color resolution.
With regard to output file gamma, video devices
Changing gamma value to match a monitor’s middle gray such as video tape recorders have their own
hardware gamma-correction circuitry. Therefore,
Gamma correction compensates for the differences you need to decide whether to let the software do
in color display on different output devices so that the output gamma correction or to let the output
images look the same when viewed on different device handle it.
monitors.
Gamma correction is not required for hardcopy
A gamma value of 1 corresponds to an "ideal" print media.
monitor; that is, one that has a perfectly linear
progression from white through gray to black. Files coming into the software from programs
However, the ideal display device doesn’t exist. such as Adobe Photoshop will have been
Computer monitors are "nonlinear" devices. The gamma-corrected already. If you’ve been viewing
higher the gamma value is set, the greater the the files on the same monitor and they look good,
degree of nonlinearity. The standard gamma value you won’t need to set input file gamma.
for NTSC video is 2.2. For computer monitors,
gamma values in the range of 1.5 to 2.0 are
common. Geometric Primitives
When you create an image on your computer, you Simple primitive objects such as, spheres, boxes,
base your color values and intensities on what cylinders, and so on.
you see on your monitor. Thus, when you save an
image that looks perfect on your own monitor,
you’re compensating for the variance caused by
the monitor gamma. The same image displayed on
another monitor (or recorded to another media
affected by gamma) will look different, depending
on that media’s gamma values.
Gizmo/Center 683
Left: Gizmo for a Bend modifier Top sphere: Glossiness=100; Specular Level=100
Right: Gizmo for UVW mapping Left sphere: Glossiness=50; Specular Level=50
Right sphere: Glossiness=0; Specular Level=0
A gizmo is geometry that appears in viewports,
but not in the scene. You manipulate a gizmo to A material’s glossiness (or dullness) depends on
modify the scene geometry or other effects. There the size and intensity of its specular highlight. In
are gizmos for transforms, modifiers, atmospheric the Material Editor, the Glossiness spinner affects
apparatus, and some directly modifiable geometry the size of the specular area, and the Specular Level
such as spotlight cones. spinner affects the intensity of the glossiness.
For modifiers, a gizmo acts like a kind of container When the Specular Level is too high, and
that transfers the modification to the object to Glossiness is too low, you can get harsh backlights
which it’s attached. You can move, scale, and on your surfaces. The Soften option mitigates this.
rotate the gizmo as you would any object, altering
the effect of the modifier on the object.
Grid Object
Some modifiers with gizmos also have a
Center sub-object, which can be manipulated
independently of the gizmo to specify the point
about which the deformation, etc., takes place. For
example, moving the Bend modifier center parallel
to the plane of the bend effect changes the size of
the bend circle and the location of the modified
object within the bend circle.
A grid object is a type of helper object you can or you have many objects in a very tight area,
create whenever you need a local reference grid hiding some of them gives you more access to the
or construction plane somewhere other than the unhidden objects and speeds up redraws.
home grid.
You can hide an object that includes a target
You can have any number of grid objects in your (such as target cameras, tape helpers, or suns) by
scene, but only one can be active at a time. When choosing either the head (page 3–684) or the target
active, a grid object replaces the home grid in all object and then selecting hide.
viewports.
Hide and Unhide are accessible from the Display
You can freely move and rotate grid objects, panel or from the Display quadrant of the Quad
placing them at any angle in space, or attach them Menus.
to objects and surfaces. You can also change
viewports to display a plan or top view of any
active grid object. Hierarchical Linkage
Grid objects can be named and saved like other Autodesk VIZ uses a family-tree analogy to
objects, or used once and deleted. describe the relationship between objects linked
together in a hierarchy.
Parent—An object that controls one or more
Head Object children. A parent object is often controlled by
A head object is a component of a Target Camera, another superior parent object.
Sunlight or Daylight system, or a Tape helper.
Child—An object controlled by its parent. A child
These objects comprise two components: the
object can also be a parent to other children. An
target that the camera, sun, or tape points at, and
object that doesn’t have any parent is by default a
the head that represents the camera, sun, or tape.
child of the world. (The "world" is an imaginary
The head object always points at the center of the
object that acts as the root of all other objects in
target.
the scene.)
Ancestors—The parent and all of the parent’s
Helper Object parents of a child object.
Autodesk VIZ helper objects are used to help you Descendents—The children and all of the children’s
set up an animation, but do not render. children of a parent object.
Hierarchy—The collection of all parents and
children linked together in a single structure.
Hide/Unhide
Root—The single parent object that is superior to
You can hide any objects in your scene and you
all other objects in the hierarchy. All other objects
have the option to hide any selection of objects or
are descendents of the root object.
to hide anything except your current selection of
objects. Hidden objects differ from frozen (page Subtree—All of the descendents of a selected
3–680) objects in that they disappear from the parent.
viewport instead of turning dark gray. If you are
Branch—A path through the hierarchy from a
working on a scene that includes many objects
parent to a single descendent.
Home Grid 685
Leaf—A child object that has no children of its default when you start the software, but can
own. The lowest object in a branch. be turned off with an option in the right-click
viewport menu. You can use any view of the
Link—The invisible connection between a parent
home grid as a construction plane or you can
and its child. The link is a conduit for transmitting
create a grid object (page 3–683) and use that as a
position, rotation, and scale information from
construction plane instead.
parent to child.
Pivot—Defines the local center and coordinate
system for each object. You can think of links as Horizon
connecting the pivot of a child object to the pivot
of its parent.
Home Grid
White triangular tabs in each corner of the You can hold down the SHIFT key to have the
Material Editor sample slots (page 2–1050) show hotspot and falloff values affect each other. If you
that the materials in those slots are hot. increase the hotspot to be larger than the falloff,
the falloff is increased as well. Likewise, if you
In the Material Editor, the only time you need to reduce the falloff to be smaller than the hotspot,
select an object is when you’re assigning a material the hotspot is also reduced.
to an object. When you’re adjusting a material,
object selection doesn’t matter.
IGES (Initial Graphics Exchange Specification) 687
See also
End Effector (page 3–671)
688 Glossary
Interpolation
Interpolation is the calculation of intermediate
values. For example, when you set two keyframes
for a moving object, the object’s position
on intermediate frames is determined by
interpolation.
Inverse Kinematics
Inverse kinematics (IK) is a positioning and
animation method that is built on top of the
690 Glossary
Keyframe Mode
Keyframe mode is active while the Auto Key
button (page 3–441) is turned on. While you are
in Keyframe mode, transforming an object or
sub-object, or changing the value of an animatable
parameter, creates an animation key.
See also
Layout Mode (page 3–691)
Iso lines on a NURBS surface Keyframes/Keys (page 3–690)
Iso is short for isoparametric.
In NURBS modeling, a line of constant parameter Keyframes/Keys
value, similar to a contour line. You can use iso
lines to display a NURBS surface. You can also Keyframes record the beginning and end of each
create dependent NURBS curves based on a transformation of an object or element in the
surface’s U-dimension or V-dimension iso lines. scene. The values at these keyframes are called
keys.
For example, if you have an object representing an
Isometric View elevator that has not been animated, no keyframes
(or keys) exist for it. If you turn on the Animate
button, move to frame 20, and move the elevator
along the Z axis to the second floor, Position keys
are created at frames 0 and 20. The key at frame
0 represents the position of the elevator before it
was moved, while the key at frame 20 represents
the position of the elevator after it was moved
along the Z axis. When you play the animation,
the elevator moves from the ground floor to the
second floor over 20 frames.
object and continues up through its ancestors until Layer Manager (page 3–364)
it reaches the base of the chain. The base of the
Layer Properties Dialog (page 3–369)
chain is either the root of the entire hierarchy or
an object that you specify as a terminator for the
chain.
Layout Mode
Autodesk VIZ automatically determines the
Layout mode is active while the Auto Key button
kinematic chain when you select and transform an
(page 3–441) and Set Key button (page 3–442)
object with the IK button turned on.
are both turned off. While you are in Layout
mode, you can transform objects and sub-objects,
and change the values of animatable parameters,
Knot without generating animation keys.
A value in an array or "knot vector" associated
with a NURBS curve. The knots specify the region See also
of influence of the CVs on the curve. You can’t see
Keyframe Mode (page 3–690)
or directly alter knots.
Keyframes/Keys (page 3–690)
Launch Script
Light Map
A launch script is a MAXScript script that you
run from the command line with the -U switch, A light map or lighting map is a bitmap (page
instead of from the Utilities command panel. 3–660) that stores the lighting levels (intensity and
color) falling on an object in the scene. Typically,
You use a launch script to run batch operations in
you create a light map by rendering to a texture
the software. For example, you might have a batch
(texture baking) (page 2–1437). Light maps are
rendering in which the script opens a sequence of
primarily for use in game engines, but you can also
files, sets up shots in each, and renders them, all
use them to speed up renderings.
without using the user interface.
Layers
Layers are like transparent overlays, and allow you
to organize and group different types of scene
information. The objects you create have common
properties including color, visibility, renderability,
and display. An object can assume these properties
from the layer on which you create it.
You can adjust layer properties from the Layers
toolbar (page 3–397) and the Layer Manager.
Banana object in a lighted room
See also
Using Layers to Organize a Scene (page 3–362)
692 Glossary
Linked Geometry
Linked geometry is a by-product of importing
or linking a drawing file to Autodesk VIZ. It is a
A book in object space rests on a table in world space. The
child object, or subcomponent, associated with book has its own local coordinate system.
VIZBlocks or Block/Style Parents.
The local coordinate system is the coordinate
When you select a linked geometry object, it offers system that relates specifically to the selected
no parameters on the Modify panel. You must object.
first add an Edit Mesh modifier to the object or
collapse the linked geometry object to an editable Each object has its own local center and coordinate
mesh in order to access sub-object levels. If you system as defined by the location and orientation
add a modifier to linked geometry, the modifier is of the object’s pivot point. The local center and
applied to all instances of that object. coordinate system of an object combine to define
its object space.
The only direct control you have over linked
geometry objects is the Reset Position option that The direction of the object’s X, Y, and Z axes
is used to negate and basic move, rotate or scale depend on the current transforms of the object.
transforms. Contrast with the world coordinate system.
You can see the difference between the two
coordinate systems when you unintentionally
Listener Window rotate an object, such as a book on a table, around
In MAXScript, the Listener Window is a the world axis instead of the object’s local axis. The
command-line window that lets you type in and book immediately flies off in a large arc because
execute MAXScript commands interactively. In
Lofting 693
the center of the rotation is at the origin of the The term lofting comes from early shipbuilding. A
world coordinates. large framework called a loft was built to hold the
hull of a ship while it was assembled. The process
To rotate the book correctly, first change the
of hoisting the ribs (cross-sections) of the hull into
coordinate system to Local, using the pop-up list
the loft became known as lofting.
on the toolbar. The book then rotates around
its own center, which is the origin of its local A traditional method for building
coordinates. three-dimensional models of a modern
vehicle design is to draw cross-sections at a
number of key points. These cross-sections are
Lofting cut out to form two-dimensional templates that
are then placed on a rail. The model builders fill
in the space between the templates to generate the
surface of the model.
You create loft objects using a similar process. You
first create two or more spline objects. One of these
splines will be the rail, which is referred to as the
path. The rest of the splines are the cross-sections
of your object, which are called shapes. As you
arrange your shapes along the path, the software
generates a surface between the shapes.
A circle is lofted along a path to construct a tubular shape. Log File (mental ray Renderer)
Lofting is an important method for 3D object The log file (.log) is an ASCII text file that contains
creation. You create shape objects to serve as a messages generated by the mental ray renderer.
path and any number of cross-sectional shapes. You specify a name and location for the log file, and
The path becomes the framework that holds the the "verbosity" level of the messages it contains, in
cross-sections forming your loft object. the mental ray preferences (page 3–545).
Once you create a loft object you can change its
parameters and sub-objects:
LTLI Files
• Add and replace cross-section shapes or replace
the path. The LTLI file type is the file format for photometric
data created by the Danish Illuminating
• Change the parameters of the path and shapes. Laboratory. It is used primarily in Scandinavian
• Change the surface parameters of the loft countries.
object.
The lofting process first requires that you
create shape objects to serve as the path and
cross-sections of your loft object.
694 Glossary
Luminous Intensity
Luminous intensity is the light energy per unit
LZO Files
time emitted by a point source in a particular LZO (Lens Effects Focus) files allow you to store
direction. Luminous intensity is used to describe all of the settings for a Focus effect in one file. The
the directional distribution of a light source, that settings are also saved with the MAX file; however,
is, to specify how the luminous intensity of a saving them to a separate file allows you to use
light source varies as a function of the outgoing the same Lens Effects settings in different scenes,
direction. The Candela (cd) is the unit of luminous and also allows you to share settings with other
intensity. Autodesk VIZ users.
On the right, increased map bias makes the dog appear to Left: Scene uses different map channels to place different
float. copies of the same maps in different locations.
Map bias moves the shadow toward or away from Right: The three maps used to create the streets and the
traffic markers painted on them
the shadow-casting object (or objects).
When you turn on Generate Mapping Coordinates
By default, this value is 1.0 world coordinate unit.
for an object, the coordinates use map channel
Increasing the bias moves the shadow away from
1. You can assign new map channels with new
the object, and decreasing the bias moves the
mapping coordinates by applying a UVW Map
shadow closer to the object. The Map Bias value
modifier (page 2–274) to the object. Map channel
can be any positive floating-point number.
values can range from 1 to 99.
For example, if a shadow-casting object intersects
A map channel associates a map with an object’s
another object but its shadow doesn’t meet
mapping coordinates. Texture-baked maps (page
properly at the intersection, the bias is too high.
2–1437) also use map channels.
This effect varies with the angle of the spotlight
to the object. Extremely shallow spotlight angles For NURBS (page 2–443) surface sub-objects, you
usually require higher bias values. can assign a map channel without applying UVW
Map. The surface sub-object has a different set of
Another purpose of bias is to avoid problems
mapping coordinates for each map channel you
with objects that cast shadows onto themselves. If
use.
you see streaks or moiré patterns on the surface
of the object, the bias value is too low. If you A map’s map channel value identifies which of an
increase the bias so much that the shadow becomes object’s mapping coordinates to use. Different
disconnected from the object, reduce the bias and map channels allow maps for the same object
increase the shadow map Size value instead. to use different coordinates. For example, you
might use one channel for diffuse mapping (page
2–1123) and a different one for bump mapping
(page 2–1131). Map channels also let different
maps use different coordinates within a compound
material (page 2–1177), a compositor map (page
2–1259), or a multi/sub-object (page 2–1182)
material.
Different map channels can have different U and
V tiling values, different U and V offsets, and so
on. In the UVW Map modifier, you can also set
696 Glossary
See also
Coordinates Rollout (2D) (page 2–1199)
Coordinates Rollout (3D) (page 2–1237)
Mapped Material
A mapped material is a material (page 3–699)
that contains one or more maps (page 2–1193).
Typically, it contains a bitmap (page 3–660) as a
Diffuse map, but having any map or maps applied
qualifies a material as mapped.
In order for a mapped material containing a
2D map (page 3–649) to appear properly in Decoration on the vase is a map positioned by rotating the
the viewports and in the rendered image, any UVW Map Modifier gizmo.
object to which it’s applied generally needs
Mapping coordinates specify the placement,
mapping coordinates. By default, most parametric
orientation, and scale of a map on the geometry.
objects in Autodesk VIZ already have mapping
Coordinates are often specified in terms of U, V,
coordinates applied; you can also use the UVW
and W, where U is the horizontal dimension, V is
Map modifier (page 2–274) (link) or Unwrap
the vertical dimension, and W is the optional third
UVW modifier (page 2–247) (link) to provide
dimension, representing depth.
mapping coordinates.
Note: Objects with materials that contain only If you apply a mapped material to an object
3D maps (page 3–650) do not need mapping that has no mapping coordinates, the Renderer
coordinates. assigns default mapping coordinates. The built-in
mapping coordinates are designed for each object
type. The box mapping coordinates place a
duplicate map on each of its six sides. For the
cylinder, the image is wrapped once around its
sides, and duplicates of the image are distorted at
the end caps. A sphere has the image wrapped
Maps 697
once around the sphere, and then gathered at the on the rendered view, and fixed to the world
top and bottom. Shrink-wrap mapping is also coordinates in the scene.
spherical, but truncates the corners of the map • 3D procedural maps (such as Noise or Marble)
and joins them all at a single pole, creating only
one singularity. These are procedurally generated, based on the
local axis of the object.
Autodesk VIZ provides a number of ways to apply
• Face-mapped materials
mapping coordinates:
The maps are placed based on the facets in the
• Use the Generate Mapping Coords option in
geometry.
the creation parameters rollout of any standard
primitive. This option, which is on by default
for most objects, provides mapping coordinates
Maps
specifically designed for each primitive. They
require additional memory, so turn the option
off if you don’t need them.
• Apply a UVW Map modifier (page 2–274).
You choose from several types of mapping
coordinate systems and customize the
placement of the mapping coordinates on
the object by positioning a mapping icon. In
addition, you can animate the transformations
of the mapping coordinates.
• Use special mapping coordinate controls for
special objects. For example, Loft objects
provide built-in mapping options that let you
Front left sphere: Marble bitmap
apply mapping coordinates along their length
Front right sphere: Clouds bitmap
and around their perimeter.
Back left sphere: Noise procedural map
• Apply a Surface Mapper modifier. This Back right sphere: Marble procedural map
world-space modifier takes a map assigned to
a NURBS (page 2–443) surface and projects it The images you assign to materials are called
onto the modified object or objects. Surface maps. The software provides several different map
Mapper is especially useful for seamlessly types. They include standard bitmaps (such as
applying a single map to a group of surface .bmp, .jpg, or .tga files), procedural maps, such as
sub-objects within the same NURBS model. Checker or Marble, and image-processing systems
You can also use it for other kinds of geometry. such as compositors and masking systems.
There are three cases where you don’t need You can assign maps to most of the components
mapping coordinates: that make up a material. Materials that contain
one or more images are called mapped materials.
• Reflection/refraction maps and environment By assigning maps to different attributes of the
maps materials, you can affect the color, the opacity, the
These use an environmental mapping system, smoothness of the surface, and much more.
in which the placement of the map is based
698 Glossary
Match Frame
For the purposes of combining inverse kinematic
(IK) (page 3–689) and forward kinematic (FK)
(page 3–679) animation, this is a collection of Figure mapped using a multi/sub-object material: material
keyframes that allow a seamless blend between IK IDs identify the component sub-materials.
and FK control, or vice versa. On the IK goal (page
A surface’s material ID is the value that determines
3–687), this includes IK keys for:
which sub-material the surface will use when you
• Position apply a Multi/Sub-Object material (page 2–1182)
• Enabled state to the object to which the surface belongs.
• Swivel angle Geometric primitives have default material
identification number assignments, just as they
On the IK bones, a match frame includes FK keys
have default smoothing groups. The default
for:
material ID assignment depends on the type of
• Rotation geometry. Most curved objects such as spheres
• Preferred angles have a single material ID. Boxes have six IDs, one
for each side. Cylinders have three: ID number 1
• Scale (less frequently)
and 2 for the two caps, and ID number 3 for the
sides. Hedra have three: one for each of their P,
Q, and R axes.
When you apply a Multi/Sub-Object material,
the materials will match the Multi/Sub-Object
material ID numbers to the material ID numbers
on the faces of the object. Faces keep a record of
the ID number, and not of the material name. If
the material is anything but Multi/Sub-Object, the
material is assigned to the object’s entire surface.
Assigning some defining material ID number to
each object before they become compound object
operands can be a useful technique for being able
to select the separate pieces after they’re combined.
Material/Map Hierarchy 699
You can use material IDs for continuous surfaces called compound materials (page 3–664). Maps
that require separate paints or finishes. For consisting of maps are compound maps.
example, a car constructed from different types of
materials, such as a colored metal body, chrome
parts, glass windows, and so on. Materials
You can use the Material modifier (page 2–148) to
assign material ID numbers. Also you can reassign
material IDs using the Editable Mesh > Surface
Properties rollout, or Edit Mesh modifier > Edit
Surface rollout.
Material/Map Hierarchy
below the sample slots. This displays the properly generate shadows on a matte object, turn
Material/Map Browser, and lets you select from a off the Opaque Alpha check box and then set the
list of alternative material types. Affect Alpha check box.
Matte objects, though invisible, can cast shadows. See the mental ray manual, Programming mental
ray, for a complete description of the mental ray
Matte objects can also receive shadows. When the scene description language.
Matte/Shadow material’s Affect Alpha check box is
set, shadows cast on the matte object are applied to
the alpha channel. This lets you render maps with
alpha shadows that you can composite later. To
Modal/Modeless 701
Modifiers
Example: Modifier stack display of cylinder with two
modifiers applied to it
Motion Blur For more information about MSP files, see the
MAXScript Reference: Help menu > MAXScript
Reference
Multiplicity
In NURBS modeling, multiplicity is the property
of coincident or nearly coincident CVs that reduces
the continuity level of the curve or surface. Two
coincident CVs locally increase curvature. Three
coincident CVs (or more) create an angular cusp.
Fusing CVs shows the effect of multiplicity.
The Multiplier value in every light lets you increase the original track, you affect the entire range of the
the intensity, or brightness of the light beyond its original animation.
standard range.
A multiplier curve shifts the value of the original
Since increased Multiplier values tend to wash out, track up or down. At a given frame, the value of
or "burn" portions of the image, you’re better off a multiplier curve is a scale factor applied to the
adding lights, or reducing the intensity of other value of the original function curve.
lights when you need to adjust the brightness of • The default value of a Multiplier curve is a
areas in your scene. Remember that you can adjust horizontal line with a value of 1.0.
the intensity of a light using its V(alue) spinner. In
most cases, it’s better to adjust the V spinner than • Values greater than 1.0 increase the value of the
to alter the default Multiplier value. function curve.
• Values below 1.0 decrease the value of the
function curve.
• Values less than 0.0 negatively scale the value
of the function curve.
See also
Left: Spotlight with negative multiplier subtracts light from Ease Curve (page 3–670)
the scene.
Right: Multiplier of 0 and a negative density on a shadow
whose color is white creates the effect of a negative shadow. Network Manager
An unusual characteristic of the Multiplier is that The Network Manager service (Network Manager)
you can use negative values to create negative light. is a service that must be installed on at least one
You can use negative lights to further control the computer in each group of computers that will
lighting in your scene. For example, you might participate in network rendering.
want a darker area in the corner of a room.
The Network Manager communicates with a
A negative Multiplier value reverses the color of specified group of Network Rendering Servers to
the light, so a red light would become cyan (the assign jobs and monitor rendering progress. The
complementary color). In addition, the map image Network Manager also handles the scheduling of
in a projector light becomes a negative image. jobs and the configuration of servers through the
Queue Monitor client.
a texture-map file server, this would be an ideal you can specify the times of day that the Server is
place for it. available to do network rendering.
You specify which PC is to be the Network You specify which PCs are to be servers in the Job
Manager in the Network Job Assignment dialog, a Assignment dialog (page 2–1481), a subdialog of
subdialog of the Render Scene dialog. Render Scene.
NTSC
NTSC (National Television Standards Committee)
is the name of the video standard used in North
America, most of Central and South America, and
Japan. The frame rate is 30 frames per second
(fps) or 60 fields (page 3–675) per second, with
each field accounting for half the interleaved scan
lines on a television screen.
Fountain modeled using NURBS surfaces
NURBS Surface
A surface object created by NURBS modeling
(page 3–705). NURBS Surfaces can be either Point
surfaces or CV Surfaces.
Object Instance
In Autodesk VIZ, an instance is a completely
interchangeable clone of the original object.
Left: Object motion blur. Right: Object motion blur with
Modifying an instanced object is the same as
dithering.
modifying the original.
Instances are not only alike in geometry, but also Tip: Don’t use object motion blur to simulate the
share modifiers and materials. When you change blur created by a camera. For this purpose, use
one instance by applying a modifier, for example, image motion blur (page 3–688).
all the other instances change with it.
Applying object motion blur is a two-step process:
Each instance has its own set of transforms, object 1. Turn on object motion blur for the object you
properties, and space warp bindings. These are want to blur, using the Object Properties dialog
not shared among instances. (page 1–107).
Within Autodesk VIZ, instances derive from the You cannot apply both image motion blur and
same master object. What you’re doing is applying object motion blur to the same object in the
a single modifier to a single master object. In the same rendering.
Object Space 707
2. Before you render, turn on object motion blur List, you are telling the program to use the Object
in the Default Scanline Renderer rollout (page Space origin of one or more selected objects as the
2–1343) of the Render Scene dialog. center of a transform or modifier effect.
Object motion blur works by rendering multiple When you choose Local from the Reference
copies of the object in between frames and then Coordinate System list (page 1–364) (on the main
rendering them together. It is not affected by toolbar), you tell the program to use a selected
camera movement. object’s object space for the orientation of the
active coordinate axes.
Most modifiers (page 3–701) operate in object
Object Space space. See Object-Space Modifiers (page 2–51).
Object-Space Modifiers
Object space is the coordinate system unique
to each object in your scene. An object-space
modifier, as opposed to a world-space modifier
(page 3–748), directly affects an object using the
object’s local coordinates.
Object-space modifiers appear directly above the
object in the modifier stack (page 3–701), and
their effect can depend on the order they appear
A book in object space rests on a table in world space. in the stack.
Object space is the coordinate system unique to
each object in your scene. It tracks the location
of everything applied to an object. The location
of object vertices, the placement of modifiers,
mapping coordinates, and materials are all defined
in object space. By convention, especially in
discussions of texture mapping, object-space
coordinates are expressed as UVW coordinates, as
opposed to the XYZ coordinates of world space
(page 3–748).
Each object has its own local center and coordinate
system as defined by the location and orientation
of the object’s pivot point. The local center and
coordinate system of an object combine to define
its object space.
When you choose Use Pivot Point Centers from
the toolbar or Use Pivot Points from the Modifier
708 Glossary
Origin
Out-of-Range Types
Applying the Cycle out-of-range type will make Overshoot is useful when you want to light a large
the key pattern in frames 0–20 repeat cyclically for area but need to cast shadows in only a small
the remaining 80 frames. part of that area. Set the falloff to include the
area where shadows must appear, and then turn
on Overshoot to light the rest of the scene. This
Overshoot technique can reduce the size of shadow maps and
thereby improve rendering speed.
PAL
PAL (Phase Alternate Line) is the video standard
used in most European countries. The frame rate
is 25 frames per second (fps) or 50 fields (page
3–675) per second, with each field accounting
for half the interleaved scan lines on a television
screen.
Parameter Space
In addition to their existence in 3D space, NURBS
objects have a parameter space that includes the
array of knot values. NURBS curves have a single
U dimension in parameter space. NURBS surfaces
have two dimensions, UV, in parameter space.
Above: No overshoot
Below: Overshoot turned on
Get Path (Lofting) so that the tangent to the first vertex of the path is
aligned with the negative Z axis of the shape.
Perspective View
light and then set the viewport to that light. What is proportional to the number of particles hitting
you see in the viewport is the view from the light the surface during a time interval of 1 second.
looking into the scene. This is very useful for
Illuminance is the luminous flux incident on
adjusting the correct distances of hotspot and
a surface of unit area. This quantity is useful
falloff for the light.
for describing the level of illumination incident
on a surface without making the measurement
dependent on the size of the surface itself. The SI
Photometry unit of illuminance is the lux (lx), which is equal to
When you use photometric lights (page 2–941), 1 lumen per square meter. The corresponding AS
Autodesk VIZ provides physically based unit is the footcandle (fc), equivalent to 1 lumen
simulation of the propagation of light through per square foot.
an environment. The results are not only
Part of the light incident on a surface is reflected
highly realistic renderings, but also accurate
back into the environment. The light reflected
measurements of the distribution of light within
off a surface in a particular direction is called
the scene. The measurement of light is known as
luminance, the quantity that is converted to
photometry. This topic introduces the quantities
display colors to generate a realistic rendering of
used for defining and measuring light.
the scene. Luminance is measured in candelas per
There are several theories that describe the nature square meter or candelas per square inch. The
of light. For this discussion, we define light as candela was originally defined as the luminous
radiant energy capable of producing a visual intensity emitted by a single wax candle.
sensation in a human observer. When we design
Finally, luminous intensity is the light energy per
a lighting system, we’re interested in evaluating
unit time emitted by a point source in a particular
its effect on the human visual response system.
direction. The unit of measure of luminous
Thus photometry was developed to measure light,
intensity is the candela. Luminous intensity is
taking into account the psychophysical aspects of
used to describe the directional distribution of a
the human eye/brain system. Four photometric
light source, that is, to specify how the luminous
quantities are used in the lighting simulation
intensity of a light source varies as a function of
system:
the outgoing direction.
• Luminous flux
Because Autodesk VIZ works with these physically
• Illuminance based photometric values, it can accurately
• Luminance simulate real-world lighting and materials.
• Luminous intensity
Luminous flux is the quantity of light energy per Photon Map
unit time arriving, leaving, or going through a
surface. The unit of luminous flux is the lumen A photon map™ is a technique to generate the
(lm), which is used in both the International indirect illumination effects of caustics (page
System (SI) of Units and in the American System 2–1391) and global illumination (page 2–1392)
(AS) of Units. If we think of light as particles when you render with the mental ray renderer
(photons) moving through space, then the (page 2–1377). When it calculates indirect
luminous flux of a light beam arriving at a surface illumination, the mental ray renderer traces
Pivot Point 715
pictures by dividing the screen into thousands (or points as NURBS points (though you can convert
millions) of pixels, arranged in rows and columns. a spline to a NURBS curve).
PMAP File
A PMAP (.pmap) file is a mental ray photon-map NURBS point curve
(page 3–714) file. This is a binary file that the A curve defined by points. The points are
mental ray renderer (page 2–1377) uses to generate constrained to lie on the curve. (Or you can
the effects of caustics (page 2–1391) and global think of the curve as being dependent on its point
illumination (page 2–1392). You specify a name locations.) More than one NURBS solution is
and location for the PMAP file on the Render possible for a Point Curve; occasionally this can
Scene dialog > Indirect Illumination panel > cause unexpected results.
Caustics And Global Illumination rollout (page
2–1404).
Point Surface
Point
A point in three-space, created when you use
NURBS modeling to create a Point Curve or Point
Surface, or when you create an individual point
sub-object. Points that are part of a Point Curve or
Point Surface are constrained to lie on the curve
or surface.
Points behave somewhat like vertices for spline
objects (page 1–237), but their behavior is not
identical and they are a distinct object type. Helper
object points (page 2–638) are also a distinct
object type. You can’t use spline vertices or helper NURBS point surface
Precedence 717
A surface defined by points. The points are achieved by determining the fractional coverage of
constrained to lie on the surface. (Or you can pixels on the edge of the object, and then adjusting
think of the surface as being dependent on its the alpha of the pixel to reflect this. For example, a
point locations.) More than one NURBS solution pixel that is 30% covered by the object will have an
is possible for a Point Surface; occasionally this can alpha of 0.30.
cause unexpected results.
To antialias the edges, the alpha must be
premultiplied to darken these edge pixels. (This is
equivalent to compositing the image over a black
Precedence image). So it is natural, in a sense, for rendered
You control an IK solution (page 3–687) by images to have premultiplied alpha. If you do not
setting joint precedence to determine which joints premultiply the alpha of a rendered image, then
contribute the most to the IK solution and which just looking at the RGB you will see jaggies on the
joints contribute the least. edges of objects. You would need to composite it
against black using the alpha channel whenever
Joints with high precedence values are calculated
you wanted to display it.
first, and, therefore, contribute more motion to the
IK solution. Joints with low precedence values are Note: To control whether or not the renderer
calculated last, and, therefore, contribute the least uses the environment map’s alpha channel in
motion to the IK solution. creating the alpha for the rendered image, choose
Customize > Preferences > Rendering, and
Joints with equal precedence values are calculated then turn on Use Environment Alpha in the
by their order in the hierarchy. Joints deeper in the Background Antialiasing group.
hierarchy (closer to the end effector) are calculated
first and joints closer to the root are calculated last. If Use Environment Alpha is turned off (the
default), the background receives an alpha value of
0 (completely transparent). If Use Environment
Premultiplied Alpha Alpha is turned on, the alpha of the resulting image
is a combination of the scene and background
There are two methods of storing alpha in a image’s alpha channel. Also, when you render to
bitmap: premultiplied and nonpremultiplied. TGA files (page 3–276) with Pre-Multiplied Alpha
To composite an image that is in nonpremultiplied set to off, turning on Use Environment Alpha
format, the alpha must be multiplied by each of prevents incorrect results.
the R, G, and B channels before adding it to the Tip: If you plan to composite objects in another
color of the background image. This provides the program such as Combustion or Photoshop,
correct transparency effect, but it must be done render the objects against a black background.
each time you composite. With premultiplied Otherwise, a fringe of environment or background
alpha, you store the R, G, and B components with color can appear around the objects.
the alpha already multiplied in, so compositing is
more efficient.
This is not the only reason that Autodesk VIZ Procedural Maps
stores images in the premultiplied format. When Unlike a bitmap, which is an image produced by
you render an image, you typically want the edges a fixed matrix of colored pixels like a mosaic, a
of the objects to be antialiased. This effect is procedural map is generated by a mathematical
718 Glossary
The quadtree represents the scene from the point with appropriate TCP/IP networking services,
of view of the light. The root node of the quadtree including over the Internet. In other words, you
lists all objects that are visible in that view. If too can monitor and control network rendering
many objects are visible, the node generates four services from any computer connected to the
other nodes, each representing a quarter of the Internet, in addition to using the Internet as a
view, each with a list of objects in that portion. wide-area backbone for a network rendering farm.
This process continues adaptively, until each
node has only a small number of objects, or the
quadtree’s depth limit (which can be set for each Radiosity
light) is reached.
A technique to calculate indirect light to illuminate
Each shadow-casting light ray needs to test a scene. Radiosity calculates the interreflections of
intersection with the objects in only one of the diffuse light among all the surfaces in your scene.
leaf nodes of the quadtree. This helps speed up The result is the radiosity solution (page 3–719).
the ray-tracing process. In general, increasing See Modeling Global Illumination with Radiosity
the maximum quadtree depth can speed up (page 2–1350).
ray-tracing at a cost of memory.
The maximum size of a quadtree is the square of
two to the power of the maximum quadtree depth.
Radiosity Solution
At a depth of 7, the largest quadtree has 128 x 128 The calculation of the radiosity (page 3–719) effect
leaf nodes; at a depth of 10, the largest quadtree in a scene. You compute the radiosity solution as a
has a size of 1028 x 1028 leaf nodes, and so on. separate step from rendering. Once the solution is
(On the other hand, because each successive node computed, it can be used for multiple renderings.
contains fewer objects, the size of a node’s record See Modeling Global Illumination with Radiosity
decreases the deeper it is in the tree.) (page 2–1350).
Note: An omni light can generate up to ten
quadtrees, so omni lights that cast ray-traced
shadows use more memory at render time than Ray-Trace Acceleration (mental
spotlights do. ray Renderer)
The mental ray renderer (page 2–1377) provides
three different ray-tracing methods of accelerating
Queue Monitor the process of ray tracing. The methods are:
The Queue Monitor is a standalone • BSP (Binary Space Partitioning). This method
network-administration tool that provides (the default) performs best for most purposes.
a user interface to monitor and control network
• Grid. This method can perform better on
rendering.
multiprocessor systems.
The Queue Monitor can connect to any computer • Large BSP. This method can perform better
to which you have network access with the with large scenes and with distributed bucket
appropriate security permissions, and a Network rendering.
Manager running on it. You can install the Queue
Monitor separately. It will function correctly on
any Intel-based computer running Windows NT
720 Glossary
Ray-Trace Bias
rendering (page 2–1377) in a distributed network. You can also speed viewport animation by
You turn on distributed rendering on the Render minimizing your viewports to quarter size.
Scene dialog > Processing panel > Distributed
Bucket Rendering rollout (page 2–1421).
Each line in the RAYHOSTS file contains the name
Real-World Mapping
of a host system. The host name can be followed The idea behind real-world mapping is to simplify
by a semicolon and a port number of the service the use of texture mapped materials which scale
to connect to. The host name with or without the correctly with the geometry in the scene. This
port number can also be followed by white space feature gives you the ability to create a material and
and a list of mental ray command-line parameters. specify the actual width and height of a 2D texture
map in the Material Editor. When you assign that
See the manual, Rendering with mental ray, for
material to an object in the scene, the texture map
descriptions of the mental ray command-line
appears in the scene with the correct scaling.
options.
There are two parts to the equation in order for
When you click Add on the Distributed
real-world mapping to work. First, the correct
Bucket Rendering rollout and use the Add/Edit
style of UV texture coordinates must be assigned
DBR Hosts dialog (page 2–1424) to add a host or
to the geometry. Essentially, the size of the
satellite processor, this updates the RAYHOSTS
UV space needs to correspond to the size of
file. So does clicking Remove to remove a
the geometry. Therefore, a new switch called
processor.
Real-World Map Size has been added to many of
The RAYHOSTS file is named max.rayhosts. the dialogs and rollouts where you can generate
By default, it is located in the \mentalray directory texture coordinates. Any dialog or rollout in which
inside the program folder. You can change the you have the option to turn on Generate Mapping
default location by creating an environment Coords also has a switch where you can turn on
variable named MAX<X>_MI_ROOT, where Real-World Map Size.
<X> is the Autodesk VIZ version number, and
The other part of the equation is in the Material
setting the variable’s value to the path of the
Editor. When you create a material and use a 2D
max.rayhosts file you want to use.
texture map, you now see a new switch in the
Coordinates rollout called Use Real-World Scale.
When this switch is turned on by default, the
Real Time
Width and Height spinners are enabled that let
By default, viewport animations play in real time, you specify the horizontal/vertical offsets and size
skipping frames where necessary. of the texture map in current system units (page
3–582).
You can turn this off by clicking Time
Configuration in the time controls, and then Note: Autodesk VIZ scenes with objects using real
turning off Real Time in the Playback group box of world mapping coordinates will display differently
the Time Configuration dialog (page 3–447). when opened in 3ds max. This is because real
world mapping coordinates are not the default
When Real Time is turned off, all frames are
method of generating mapping coordinates.
displayed during playback. The playback may
appear slow, but you’ll know that you’re seeing
every frame.
722 Glossary
HSV Sliders
Red, Green, Blue / Hue, Saturation,
Value
There are two sets of color sliders in the Color
Selector (page 1–132): the red/green/blue (RGB)
set and the hue/saturation/value (HSV) set. You
can use either set or both to mix a particular color.
As you adjust the color sliders, their RGB and HSV
numeric values appear in the spinners.
There are separate RGB and HSV spinners as light If you prefer the hue/saturation/value color
parameters (page 2–911). system, you can use the HSV sliders to mix color.
First move the Hue slider to the color band you
RGB Sliders want (if the Value and Saturation sliders are set
to low values, you don’t see an immediate result
in the swatch). Move the Value slider to set the
brightness, or intensity of the color. Move the
Saturation slider to determine the purity of the
color. The higher the saturation, the less gray the
color.
Reference
Each of the RGB sliders is a band of red, green, or
References are like "one-way" instances.
blue (the primary light colors) shaded from black
Referenced objects are based on the original
to the full intensity of the color. When you move
object, as are instances, and can have their own
any slider, it mixes with the values of the other
unique modifiers. Any modification made to the
two, and the result appears in the swatch beneath
original object is passed on to its references, but
the sliders.
any modification made to a reference is not passed
For example, if you move the Red slider all the way back to the original.
to the right (value 255) and leave the other two at
The one-way effect is useful, since you can
the left (0), the active swatch turns red. If you then
maintain an original that will affect all its
move the Green slider all the way to the right, the
references, while the references themselves can
swatch turns yellow. If you move all three sliders
take on individual characteristics.
to 0, the result is black; if all three are at 255, the
result is white; and all three at any point of equal If you are modeling heads, for example, you
value produce shades of gray. might want to keep a family resemblance in your
characters. You could model basic features on the
original, then model specifics on each reference.
In the modifier stack, a solid line separates the
reference from its parent object, so you can see that
Refine 723
the effect of modifiers on the reference will not the viewport using the Animation Synchronization
affect the parent object or other references to it. controls in the Viewport Background dialog. Once
you’ve specified your source device or file in the
Viewport Background dialog, one frame of the
Refine video displays for each scene frame by default.
Remember to tun on Animate Background as well
In NURBS modeling, refining means to increase
as Show Background to have your video frames
the number of CVs on a curve or surface. Refining
appear in sequence in the viewport.
does not change the curvature of the curve or
surface. To produce the composited, rendered image,
use a compositing application to composite
the background image and the rendered scene
Resolution together.
The horizontal and vertical number of pixels in
a 2D image. For example, a 640x480 resolution
describes an image that is 640 pixels across by
RVT Link
480 pixels down. Resolution can also refer to an When working on Revit projects, you can
image’s bit depth, such as 24-bit or 32-bit. import/link DWG, DXF, DGN, RVT and image
files. These files can contain 2D and 3D geometry
You set the resolution of the image you are going to
to help in the construction of your projects. Raster
render on the Render Scene dialog (page 2–1316).
images can be imported as background images
into your Autodesk Revit project or as visual aids
needed during the creation of a model.
Rotoscoping
When you’ve exported the project to a DWG file,
RVT links are comparable to xrefs in an AutoCAD
drawing.
For more information about the Import/Link
features of Revit, refer to the Autodesk Revit Help
file.
Scanline Renderer
The scanline renderer (page 2–1343) is the default
renderer. By default, you use the scanline renderer
when you render a scene from the Render Scene
dialog (page 2–1316). The Material Editor also
uses the scanline renderer to display materials and
maps.
The image produced by the scanline renderer
displays in the rendered frame window (page
2–1318), a separate window with its own controls.
As the name implies, the scanline renderer
renders the scene as a series of horizontal lines.
Autodesk VIZ additionally provides the interactive Above: Scene motion blur creates an effect of movement.
viewport renderer to provide a quick and simple (The background is blurred because of slow camera
panning.)
rendered view of your scene as you work on it.
You might also have other plug-in or third-party Below: The same scene with no blurring
renderers that you’ve installed to work with Autodesk VIZ provides several ways to generate
Autodesk VIZ. motion blur. Scene motion blur is one. Image
motion blur is another. For most purposes, image
motion blur (page 3–688) give better results
than scene motion blur. Use scene motion blur
whenever you want to strongly emphasize rapid
Schematic View 727
standard material shaders. See Shaders (mental size requires more memory and can take longer
ray Renderer) (page 3–728). to generate. A 4096-line shadow map occupies 64
MB of memory (4096 x 4096 x 4).
If you have enough RAM to hold the entire scene
Shadow Maps (Light Objects) including shadow maps, shadows don’t affect
performance, but if the renderer has to use a
virtual memory swap file, rendering time can slow
considerably.
The default shadow map size is 256.
The bitmap used by shadow maps must fill the
area covered by the falloff of the spotlight. The
wider the falloff, the coarser the shadow appears.
Keep the falloff as tight as possible given the
requirements of your scene.
Spline
SHP Files
SHP is the 3D Studio R4 (DOS) shape-file format.
You can import these files into Autodesk VIZ.
The .shp file contains polygons created in the 2D
Shaper in 3D Studio.
When importing an SHP file that contains multiple
shapes, the software gives you the option to either
merge them all into one object or make multiple Left: The bottle has no smoothing.
incoming objects. Middle: Smoothing is assigned only to the highlighted
group of faces.
The shape importer looks at the vectors on Right: The bottle is smoothed using three different
incoming splines, and if they’re collinear within a smoothing groups: on the body, the neck, and the top edge.
couple of percentage points, it changes the angle to
a smoothed Bezier (otherwise, it’s a Bezier corner). Smoothing groups define whether a surface is
rendered with sharp edges or smooth surfaces.
Smoothing groups are numbers assigned to the
Skylight faces or patches of an object. Each face or patch
In the real world, daylight does not just come from can carry any number of smoothing groups up to
direct sunlight; it also comes from skylight that is the maximum of 32. If two faces or patches share
scattered through the atmosphere. Autodesk VIZ an edge and share the same smoothing group, they
offers great realism and accuracy by calculating will render as a smooth surface. If they don’t share
not only sunlight, but calculating this scattered the same smoothing group, the edge between them
light as well. will render as a corner.
In Autodesk VIZ, the sky is modeled as a dome of You can manually change or animate the threshold
infinite radius placed around the scene. Daylight values for smoothing group assignments using
computes the illumination of a point in the scene such tools as Editable Poly (Polygon/Element)
with reference to all directions around the point (page 2–418) and the Edit Mesh modifier (page
where the sky is visible. The sky brightness is not 2–74).
constant over the sky dome, but rather it changes
depending upon the position of the sun.
SMPTE
See also SMPTE (Society of Motion Picture and Television
Sunlight (page 3–736) Engineers) is the standard time display format for
most professional animation work.
Sunlight and Daylight Systems (page 1–335)
Specular Color 733
Subtractive opacity darkens colors behind the of the rendered scene. For example, if you’re
material by subtracting the material’s colors from rendering a heavily shadowed object against a
the background colors. black background, although the background will
be rendered as pure black, the deepest shadows on
If you simply want to reduce the apparent opacity
the object will be no darker than the intensity level
of a material, while maintaining the color values of
specified by the Threshold spinner (default is 15).
its diffuse (or mapped) properties, use subtractive
opacity. Note: If the threshold spinner is set too high, it will
artificially raise low-blended values. This can ruin
See also antialiasing effects in the renderer.
Additive Opacity (page 3–652)
Supersampling
Sunlight Supersampling is one of several antialiasing
techniques that the software performs. Textures,
The Sun is modeled as a parallel light source,
shadows, highlights, and raytraced reflections
which makes the incident direction of sunlight
and refractions all have their own preliminary
constant over all surfaces in the scene. You can
antialiasing strategies. Supersampling is an
specify the direction and intensity of the sun
optional additional step that provides a "best
directly. Alternatively, the direction and intensity
guess" color for each rendered pixel. The
of the sun can be calculated based on geographical
supersampler’s output is then passed on to the
location, time, and sky condition settings.
renderer, which performs a final antialiasing pass.
See also
See also
Skylight (page 3–732)
SuperSampling Rollout (page 2–1088)
Sunlight and Daylight Systems (page 1–335)
Tangents
Super Black The tangent of a function curve affects the
Super Black limits the darkness of rendered interpolated values between the keys of an
geometry. This option is used for video animation. Most animation controllers use fixed
compositing. When compositing, you need pure tangents to define the function curve at a key
black for the background, but overlaying objects location.
need to be less than pure black so that you can
By default, Autodesk VIZ assigns smooth tangents
still see exactly where they are. Also, some video
to the keys in a Position function curve. This is the
systems have problems with black that has RGB
reason that an animated object moves in smooth
values of 0,0,0, and consider it an "illegal" color.
curves through the key frames. Autodesk VIZ
Unless you’re sure you need it, leave Super Black assigns smooth tangents because they usually
tuned off in the Render Scene dialog. provide the most natural motion.
The scanline renderer uses the value of the Super Of course, you also need a way to add some corners
Black preference as a threshold for the darkness and abrupt turns when you need them. The Linear
TCB (Tension, Continuity, Bias) 737
controller (page 2–715) uses a discontinuous The default value of 25 produces an even amount
tangent that points at the preceding and following of curvature through the key.
keys, producing an abrupt change in motion at
Continuity—Controls the tangential property of
that key.
the curve at the key. The default setting is the
The two large flyout buttons at the bottom of the only value that produces a smooth animation
Key Info dialog provide five different types of curve through the key. All other values produce a
predefined tangent types (page 2–695), plus a sixth discontinuity in the animation curve causing an
type that lets you create your own custom tangents. abrupt change in the animation.
If you look at a single key dot and the line running High Continuity values create curved overshoot
through it, the line on the left side of the key dot on both sides of the key. Low Continuity values
is the incoming tangent, and the line on the right create a linear animation curve.
is the outgoing tangent. Using the tangent flyout
Low continuity creates a linear curve similar to
buttons, you can assign a different tangent type
high tension except without the Ease To and Ease
to the incoming and the outgoing lines for each
From side effect.
key dot.
The default value of 25 creates a smooth
The button on the left assigns the incoming
continuous curve at the key.
tangent at the left side of the selected key dot,
and the button on the right assigns the outgoing Bias—Controls where the animation curve occurs
tangent on the right side of the selected key dot. with respect to the key.
High Bias pushes the curve beyond the key. This
produces a linear curve coming into the key and
TCB ( Tension, Continuity, Bias) an exaggerated curve leaving the key.
The TCB Position controller provides Tension,
Low Bias pulls the curve before the key. This
Continuity, and Bias controls of the splines of a
produces an exaggerated curve coming into the
function curve.
key and a linear curve leaving the key.
TCB Controllers (page 2–728) also produce
The default value of 25 distributes the curve evenly
curve-based animation much like the Bezier
to both sides of the key.
controllers (page 2–699). However, TCB
controllers do not use tangent types or adjustable
tangent handles. They use numeric values to adjust
the Tension, Continuity, and Bias of the animation.
Tension—Controls the amount of curvature in the
animation curve.
High Tension produces a linear curve. It also has a
slight Ease To and Ease From effect.
Low Tension produces a very wide, rounded curve.
It also has a slight negative Ease To and Ease From
effect.
738 Glossary
Terrain Texel
A texel (short for Texture Element) is the base unit
of a textured graphic, which defines the surface of
a three-dimensional object. The base unit of the
surface of a 3D object would be a texel, while a 2D
object would consist of pixels (page 3–715).
Ticks
Ticks are the way Autodesk VIZ views increments
of time. There are 4800 ticks in a second, so you
can actually access time down to 1/4800th of a
second.
Given a standard, NTSC video frame rate, there
are 30 frames in a second, and therefore 160 ticks
in each frame.
Using contours to build a terrain
When you use the FRAME:TICKS display format,
Creates terrain objects (page 1–306) from contour time is shown in frames and ticks, delineated by a
line data. You select editable splines representing colon. This format lets you adjust the time slider
elevation contours and Autodesk VIZ creates a in sub-frame increments of 1/160th of a frame. As
mesh surface over the contours. You can also you move through time, the ticks field counts from
create a "terraced" representation of the terrain 0 to 159, at which point the frames field increments
object so that each level of contour data is a step, by one, and the ticks field returns to 0.
resembling traditional study models of land forms.
You can step forward or backward at single
When you import an AutoCAD drawing file to increments by clicking the single-frame buttons
use as contour data, Autodesk VIZ names each among the playback buttons.
object based on the AutoCAD object’s layer, color,
When you use the MM:SS:TICKS Display format,
or object type. Autodesk VIZ appends a number
you see minutes (MM), seconds (SS), and ticks,
after each name. For example, an AutoCAD object
each separated by colons.
on the layer BASE becomes BASE.01.
As you move through time in this display format,
After importing the contour data, selecting
the ticks field counts from 0 to 4799, at which
the objects and clicking the Terrain button,
point the seconds field increments and the ticks
Autodesk VIZ moves all the selected objects out of
field returns to 0.
the scene and into the terrain object. Other splines
in the selection are treated in the same way as by You can step forward or backward at single
the Move copy method. You can only use these increments by clicking the single-frame buttons
splines as operands of the terrain object. This is on either side of the playback button.
appropriate if you create splines in order to create
a terrain object and have no further use for them.
Tile/Mirror 739
Tile/Mirror Topology
When objects and shapes are created, each vertex
and/or face is assigned a number. These numbers
are used internally to determine which vertices or
faces are selected at any given time. This numerical
arrangement is called topology.
When you select vertices or faces and apply a
modifier to the selection, the modifier stack keeps
track of which faces/vertices the modifier affects.
If you later return to the selection level of the stack
and change the selection, you change the topology
to which the modifier is applied.
A map tiled and mirrored. The term topology refers to the structure of faces
and vertices as well as their numbers.
Tiling and mirroring are useful for creating
patterns based on a simple image. Use them when
you need wallpaper and other repetitive designs.
Topology-Dependent Modifier
The Tile option in the Material Editor is on by
Topology-dependent modifiers perform
default, repeating the image along the U and V
operations on explicit, topological sub-object
directions. You can use the Tiling values to scale
selections. The Edit Mesh and Mesh Select
the map image. Setting negative Tiling values
modifiers are examples of modifiers that perform
increases the size of the image.
operations or selections on explicit vertex or face
You can also set tiling values in the UVW Map numbers. When these modifiers are present in
modifier. These settings are in addition to the the stack, you can adversely affect their results if
tiling values you set for the map in the Material you visit previous stack operations and change
Editor. If the map’s base tiling parameter has a the topology (the number and order of faces and
value of 2.0 and the UVW Map modifier has a vertices) being passed to them. When you do this,
tiling value of 3.0 for the same axis, the net result a topology-dependence warning alerts you to the
is 2.0 x 3.0 = 6.0. To avoid confusion about where situation.
the tiling is coming from, you may want to set
the map’s tiling in its base parameters or with the
UVW Map modifier, but not in both locations. Track View
The Mirror option is a variation on the Tile option. Track View provides a visual representation
Tile repeats the image side-by-side, while Mirror of animation keys, allowing you to view, edit,
flips the image repeatedly. copy and adjust one or several keys at a time.
This is where you control the timing of your
animation, through the manipulation of keys,
curves and ranges. You can also assign animation
controllers to interpolate or control all the keys
and parameters for the objects in your scene.
740 Glossary
Track View has two windows, a Controller window includes values used by parametric maps and
and a Key window. The Controller window shows other map definition that are part of a map tree.
the hierarchy of linked objects, as well as the
modifier stack and transform tracks. The Key Object—Indicates objects in the scene.
window displays keys, curves and ranges. Keys are Branches below the square icon contain linked
color coded to show what is animated. descendents of the object. Branches below the
circle icon beside a yellow cube contain transforms
Track View uses two different modes. Curve Editor and modifications applied to the object.
mode (page 2–826) displays key interpolation as
curves, and allows you to edit the curves. Dope Modifier—Indicate modified objects.
Sheet mode (page 2–826) displays the animation Branches below a modifier contain the modifier’s
as a spreadsheet of keys and ranges. Dope Sheet sub-objects and parameters.
has two modes, Edit Key and Edit Ranges.
Controller—Indicate animation controllers.
Controllers are the animation workhorses of Track
Track View Hierarchy Icons View. They contain the animated values for all
parameters and are the only item in the Hierarchy
The Track View hierarchy, as displayed in the list that can have a track containing keys. Every
Controller window, follows the traditional controller has its own individual icon. Some
example of organizational headings in an outline. examples:
The highest levels of the hierarchy represent
the main groupings in Autodesk VIZ of Sound, • Position controller
Environment, Materials, Render Effects, and • Rotation controller
Objects. Lower levels of the hierarchy progress
• Scale controller
through the details of your scene, such as
individual materials, material maps, and map Certain types of controllers can contain other
parameters. controllers. Examples of these are Transform
Controllers and List Controllers.
Each type of item in the Track View Hierarchy List
is represented by an icon. You can use these icons
to quickly identify what each item represents.
Tracks
Sound—Indicate sound parameters.
Every item in the Track View hierarchy has a track
Autodesk VIZ provides only one sound source in
that displays what happens to the item over time.
Track View.
Material—Indicates material definitions. All
branches below a material definition are part of
that material. Because a material can be composed
of multiple materials it is possible to have nested track displayed in track bar below time slider
material definitions in Track View. Icons also There are two types of tracks:
appear in an object’s modifier branch when a
material is assigned to an object. • Range tracks indicate when items below the
track are animated. A range bar in the track
Map—Indicates map definitions. All branches displays the range of time over which the
below a map definition are part of that map. This animation occurs.
Trajectory 741
• Animation tracks contain the actual animated • Position keys are displayed as white boxes
values for an item. Only controller items have surrounding the appropriate frame dot on the
an animation track. curve.
The values in an animation track are usually • Selected keys are displayed in gray.
displayed as keys. Some controllers don’t use In Autodesk VIZ trajectories are created from
keys and instead display their values as a range animated objects. You must animate the object
bar or some other graphic symbol. For example, first in order to create the trajectory.
the Wave Form item displays a sound file as a
two-channel sound wave. The Path constraint (page 2–745) lets you picks a
spline in the scene to use as a motion path for an
Animation tracks are also the only track type that object. The spline becomes the object’s explicit
can be displayed as a function curve. trajectory.
Transforms
Truecolor
Describes hardware and software that can support
up to 16 million color values. Also known as
24-bit color, or 32-bit color when saved with alpha
channel data (page 3–654). Local UV coordinates shown on a surface
W; the three letters preceding X, Y, and Z in the be selected and transformed without selecting a
alphabet. vertex first. A transform cursor appears when you
move onto a vector.
The U, V, and W coordinates parallel the relative
directions of X, Y, and Z coordinates. If you look Each vertex in a shape can be one of four types:
at a 2D map image, U is the equivalent of X, and
Smooth—Forces the segments into a smooth curve
represents the horizontal direction of the map. V
tangent to the vertex.
is the equivalent of Y, and represents the vertical
direction of the map. W is the equivalent of Z and Corner—Allows the segments on either side of the
represents a direction perpendicular to the UV vertex to be at any angle.
plane of the map.
Bezier—Provide handles, but forces the segments
You might question why you need a depth into a tangent through the vertex.
coordinate like W for a 2D plane. One reason is
Bezier Corner—Provides handles, and allows the
because it’s sometimes useful to be able to flip the
segments on either side of the vertex to be any
orientation of a map, relative to its geometry. To
angle.
do this, you need the third coordinate. The W
coordinate also has a meaning for 3-dimensional
procedural materials.
Safe Frame
You can adjust the size of the safe frame as Material Editor, and then turn on its display.
a percentage of the outer display rectangle (If you later go to a different map in the same
with the Safe-Frame controls in the Viewport material, and turn its display on, the other map is
Configuration dialog. Depending upon its size, automatically turned off.)
the safe frame can be used as the equivalent of a
"title safe frame" (the area inside which it is safe to
display titles), or an "action safe frame" (the area VIZBlock
inside which action may occur without significant
A VIZBlock is a compound object similar to a
loss of information).
nested AutoCAD block. It is used for organizing
To view the frames, choose Show Safe Frame from linked data from DWG files. When AutoCAD data
the viewport right-click menu (displayed when is linked to Autodesk VIZ, you need to decide
you right-click the viewport label). The safe frame how the AutoCAD entities are to be organized
displays as a yellow rectangle within the camera in the scene. AutoCAD drawings are commonly
or perspective viewport that matches the output organized by layers, blocks, and entities, and
size of your rendering. This is defined within the Autodesk VIZ scenes are organized by hierarchies
Render scene dialog. of objects.
Choose Show Safe Frame again to turn off the
display.
VUE File
A VUE (.vue) file is an editable ASCII file. You
Viewport (Interactive) Renderer create a VUE file using the VUE file renderer
instead of the default scanline renderer.
The interactive renderer, used for the viewports,
is designed for speed so you can easily manipulate A VUE file contains a sequence of frames to
your objects in a shaded environment. It’s not the render. Each frame is described by a sequence of
same as the production renderer, which is used for commands, beginning with a "frame" command,
your final images. Therefore, a number of effects which specifies the frame number, and ending with
that are available to the production renderer will a viewport command, which specifies the view
not show up in the viewports. to render (such as "top" or "camera"). Between
these two commands, there can be any number of
When you design your materials, for example, you
"transform", "light", and "spotlight" commands.
have three levels of visual feedback. The lowest
level is the shaded viewport. The next level is the Note: VUE files created with 3DS DOS could
sample slot, which uses the production renderer also contain "morph" commands. This is
to display the sample sphere. The highest level is not supported in Autodesk VIZ because the
the rendered scene, which uses the production Autodesk VIZ exporter doesn’t export morph
renderer to display the scene. targets.
A single material can contain any number of maps. The VUE file commands are as follows:
spotlight <light name> <x> <y> <z> <tox> The first nine values, T1–T9, describe rotation and
<toy> <toz> <r> <g> <b> <hot angle> <falloff scaling. The last three, T10–T12, describe a move,
angle> <shadow flag> in world coordinates.
top <x> <y> <z> <width> The VUE file renderer transforms the points of the
object by post-multiplication:| X’ Y’ Z’ 1| = | X Y
bottom <x> <y> <z> <width>
Z1|*M
left <x> <y> <z> <width>
Omni Light Command
right <x> <y> <z> <width>
Controls the location and color of an Omni light.
front <x> <y> <z> <width>
The first parameter is the name of the light.
back <x> <y> <z> <width>
This is the name as it appears when you use
user <x> <y> <z> <horiz> <vert> <roll> Autodesk VIZ, but enclosed in double quotes.
<width>
The next three parameters, <x>, <y>, <z>, are
camera <x> <y> <z> <tox> <toy> <toz> <roll> the light’s location.
<focal>
The next three parameters, <r>, <g>, <b>, are the
light’s color. The color values are normalized to
Frame Command
range between 0.0 and 1.0.
Begins each frame description. Has a single
The last parameter, <shadow flag>, parameter is 1
parameter: the frame number.
if the light casts shadows, 0 otherwise.
Transform Command
Spotlight Command
Transforms the specified object.
Controls the location, color, and other
The first parameter is the name of the object. characteristics of a target spotlight.
This is the name as it appears when you use
The first parameter is the name of the light.
Autodesk VIZ, but enclosed in double quotes.
This is the name as it appears when you use
The second parameter is a transform matrix. This Autodesk VIZ, but enclosed in double quotes.
consists of 12 real numbers:
The next three parameters, <x>, <y>, <z>, are
T1 T2 T3 T4 T5 T6 T7 T8 T9 T10 T11 T12 the light’s location.
The VUE file treats these as if they were arranged The next three parameters, <tox>, <toy>, <toz>,
in a 4 x 4 matrix (M): are the location of the light’s target.
T1 T2 T3 0 The next three parameters, <r>, <g>, <b>, are the
light’s color. The color values are normalized to
T4 T5 T6 0
range between 0.0 and 1.0.
T7 T8 T9 0
The <hot angle> parameter is the angle of the
T10 T11 T12 1 light’s hot spot, in degrees.
The <falloff angle> parameter is the falloff angle,
in degrees
Walkthrough Assistant 747
In addition, you can set the Standard and Raytrace In the world coordinate system seen from the
materials to render as wires. Use the Extended front, the X axis runs in a positive direction to
Parameters rollout to set the size of the wire, and the right, the Z axis runs in a positive direction
specify its measurement in either pixels or units. upward, and the Y axis runs in a positive direction
away from you.
When you use pixels, the thickness of the wire is
based on the screen pixels. Therefore, it’s absolute,
and remains the same, regardless of its distance
from the camera. If you use units, the thickness is
World Space
based on world units, and varies depending on the
distance from the camera. It’s easier to compare
the effect of pixels and units if you first adjust the
camera view to give a greater sense of distance.
You can most easily do this with the Perspective
viewport navigation tool, which dollies the camera
in one direction while changing the field of view
in the other.
The coordinate system for world space or the Some modifiers (page 3–701) operate in world
model space as a whole. space. See World-Space Modifiers (WSMs) (page
2–41).
World space is the universal coordinate system
for all objects in the scene. When you look at the
home grid in the viewports, you see the World World-Space Modifiers (WSM)
Space coordinate system. World space is constant
and immovable. World space is the universal coordinate system
that applies to the entire scene. A world-space
xref (AutoCAD External Reference) 749
modifier, as opposed to an object-space modifier animators and modelers to work on one scene
(page 3–707), affects an object but uses world at the same time without interfering with each
coordinates. other’s work.
A world-space modifier always appears at the top There are two ways to XRef another scene:
of the modifier stack (page 2–30). Its effect is • XRef Scene (page 3–292)
independent of its order in the stack.
The File > XRef Scene command XRefs an
See also entire scene. For example, a classic use of this
command is to bring in a scene that appears as
World-Space Modifiers (WSMs) (page 2–41) a “set” for an animation you create.
• XRef Objects (page 3–281)
xref (AutoCAD External Reference) The File > XRef Objects command XRefs
individual objects or materials. For example,
An AutoCAD external reference. An xref is a
you might be working on the model of a
variation on a block. A block is a collection of
building, and fill it with furniture created by
geometry that is identified by a unique name,
other artists.
is stored in the AutoCAD symbol table, and
essentially behaves as if it is a single object. Xrefs You can also XRef the manipulators and
share block characteristics, and they are similarly modifiers associated with the objects you XRef.
defined in the symbol table. However, unlike
blocks, the geometry associated with an xref
definition is not stored in the current AutoCAD ZT File
drawing; it is stored in another AutoCAD drawing A ZT (.zt) file is a mental ray shadow map file
file. Like a block, there can be many instances (page 3–730). This is a binary file that the mental
of an xref in a AutoCAD drawing, but only one ray renderer uses to accelerate the generation of
definition. shadows. You specify a name and location for the
Typically, xrefs are used to display the geometry of .zt file on the Render Scene dialog > Renderer
a common base drawing in the current AutoCAD panel > Shadows & Displacement rollout (page
drawing without expanding its size. This allows 2–1411).
changes to the reference drawing to be reflected in
any host AutoCAD drawings that refer to it.
See also
XRef (Autodesk VIZ Externally Referenced File)
(page 3–749)
freeze non-selected curves (Track View) 2–895 using transform gizmos 1–348
freeze selection’s layer 3–375 global and local exclude/include dialog (for raytraced maps
full screen 3–459 and materials) 2–1154
function curve editor 2–826, 2–847 global coordinate system 3–544
function curves category manager 3–568
add keys mode 2–889 define 3–571
glossary 3–680 edit category 3–572
show tangents 2–890 manager 3–574
Track View 2–886 modify 3–577
fuse vertices 1–268, 1–275, 1–280 new category 3–579
fusing (glossary) 3–681 properties 3–575
FX files select 3–580
path configuration 3–532 global coordinate system manager 3–574
global coordinate system properties 3–575
G global illumination 2–1350, 2–1360, 2–1392, 2–1404,
G-buffer 3–681 3–677
layers (rendering preferences) 3–540 global illumination (mental ray) 2–1380
gamma correction (glossary) 3–682 global lighting (rendered environment) 3–53
gamma preferences 3–550 global raytracer settings dialog 2–1151
general parameters (lights) 2–961 global shadow parameters (Track View) 2–828
general preferences settings 3–537 gloss palette 3–405
general settings rollout glossary 3–649
render to texture 2–1444 glossiness mapping 2–1126, 3–683
gengon 1–170 glow
geographic location dialog 1–338 render effect 3–7
geometric primitives 3–682 go to settings
geometry Material Editor 2–1076
AutoCAD 3–340 time 3–436, 3–445 to 3–446
AutoCADArchitectural Desktop 3–341 goniometric diagrams 2–957
compound objects 1–285 grab viewport 1–33
doors 1–217 gradients
extended primitives 1–157 gradient map 2–1224
file formats 3–135 gradient ramp map 2–1226
geometric primitives 1–139 graph editors menu 3–392
importing 3–135 delete schematic view 3–314
loft object 1–312 delete Track View 2–901
standard primitives 1–141 new schematic view 3–300, 3–314
types of 1–127 new Track View 2–901
windows 1–224 saved schematic views 3–300
GeoSphere 1–147 saved Track View 2–902
get material 2–1069 Track View 2–901
getting started 1–1 Track View - curve editor 2–818
ghosts Track View - dope sheet 2–818
ghost before/after current frame 3–551 graphics driver setup dialog 3–558
ghost in wireframe 3–551 grid
GI (global illumination) 2–1350 autogrid 2–623
GIF files 3–255 grid and snap settings 2–654
gizmo grid nudge distance 3–551
box atmospheric apparatus 3–84 grid setting display 3–438
cylinder atmospheric apparatus 3–85 home grid settings 2–662
gizmo/center (glossary) 3–683 options 2–660
preferences 3–554 snap override 2–658
sphere atmospheric apparatus 3–87 snaps 2–654
types of 3–83
Index 771
export Lightscape Preparation (LP) file dialog, general link constraint 2–750
panel 3–193 link rollouts 1–55, 2–816
export Lightscape Preparation (LP) file dialog, lights link info inherit 2–817
panel 3–195 link info locks 2–817
export Lightscape Preparation (LP) file dialog, views linkage, hierarchical 3–684
panel 3–200 linked file states 3–323
export Lightscape Preparation (LP) file dialog, windows linked objects
panel 3–199 assigning materials to 3–344, 3–353
export Lightscape View (VW) file dialog 3–201 conversion settings 3–327, 3–333
export Lightscape View (VW) file dialog, general selecting when file linking 3–338
panel 3–202 linking
export Lightscape View (VW) file dialog, views and unlinking objects 2–767
panel 3–202 animatable parameters 2–758 to 2–759
exporting animations to Lightscape 3–185 bones to follow objects 2–786
exporting daylight 3–183 end effectors to parent 2–786
exporting standard lights 3–180 strategy 2–764
grouping geometry for export 3–180 linking files 3–323
how objects are converted to Lightscape on links
export 3–189 adding and deleting 2–776
import 3–210, 3–214 and pivots 2–772
import Lightscape Preparation (LP) file dialog 3–221 animating links 2–776
importing Lightscape Preparation (LP) files 3–211 changing link inheritance 2–779
importing Lightscape Solution (LS) files 3–211 displaying 2–767
importing Lightscape View (VW) files 3–211 link inheritance (selected) utility 2–780
keeping original materials when exporting 3–184 main toolbar 2–768
mesh objects 3–214 list
saving camera views for export 3–184 layers 3–373
setting units and scale on export 3–182 list controller 2–716
using relative paths when exporting block (BLK) and named selection sets 1–81
material (ATR) files 3–185 selection filter 1–80
Lightscape import transformation axis coordinate system 1–364
error dialog 3–224 list views (Schematic View) 3–306
illumination maps 3–215 listener
Lightscape Materials utility 3–219 listener window (glossary) 3–692
troubleshooting 3–218 MAXScript listener 3–502
lightscape material 2–1191 load custom UI scheme 3–527
Lightscape Materials utility 3–219 local center during animate 3–546
Lightscape Preparation (LP) files local coordinate system (glossary) 3–692
importing 3–211 local euler XYZ rotation controller 2–718
Lightscape Solution (LS) files 3–218 local illumination 2–1350
importing 3–211 lock
Lightscape View (VW) files lock selection 2–865
importing 3–211 lock time tag 3–439
limit controller 2–709 lock UI layout 3–508
limiting animation ranges 2–709 locking object transforms 2–778
limiting joint action 2–804 selection lock 3–436
line 1–242 lock selection
linear arrays (creating) 2–17 status bar 3–436
linear controller 2–715 Track View 2–865
linear exposure control 3–76 locks rollout 2–817
linear light rollout 2–983 LOD
link VRML97 helpers 3–245
linking drawing files 3–723
Index 777
MIDI time slider control (animation preferences) 3–546, displace mesh (world space) 2–42
3–567 displace NURBS (world space) 2–43
mini listener (MAXScript) 3–428 edit mesh 2–74
mini Track View (track bar) 3–432 edit patch 2–74
mirror 1–375 edit poly modifier 2–76
main toolbar 1–375 edit spline 2–126
mirror curve (NURBS) 2–522 extrude 2–127
mirror dialog 1–375 face extrude 2–128
mirror modifier 2–159 FFD 2–129, 2–132
mirror surface (NURBS) 2–549 fillet/chamfer 2–134
mirroring joint parameters 2–812 free-form deformation 2–129, 2–132
mirroring objects 2–21 glossary 3–701
splines 1–280 HSDS 2–136, 2–141
mirror dialog 1–375 instanced 2–38 to 2–39
missing external files dialog 3–116 lathe 2–142
missing map coordinates dialog 2–1198 lattice 2–144
missing XRef paths dialog 3–300 list of 2–27
mix map 2–1261 LS colors (world space) 2–45
MNU files 3–515, 3–517, 3–525 LS mesh 2–146
modal (glossary) 3–701 make controller unique 2–861
modeless (glossary) 3–701 MapScaler (object space) 2–147
modeling MapScaler (world space) 2–46
objects 1–5, 2–212 material 2–148
modes materialbyelement 2–149
Track View 2–835 mesh select 2–151
modes menu meshsmooth 2–153
curve editor and dope sheet 2–835 mirror 2–159
modifier list 3–480 multires 2–160
modifier sets menu 3–492 noise 2–164
modifier stack 3–481 normal 2–167
collapsing 2–32 normalize spline 2–168
editing 2–32 NSurf sel 2–169
glossary 3–701 object space 2–51
modifier stack rollout 2–30 patch select 2–172
right-click menu 3–487 PatchDeform 2–47, 2–175
using 2–30 PathDeform 2–47, 2–176
using at sub-object level 2–36 poly select 2–179
modifiers 2–23, 2–27, 2–50 to 2–51 preserve 2–182
affect region 2–52 push 2–185
and AutoCAD object transforms 3–341 relax 2–186
and transforms 2–28 renderable spline 2–188
bend 2–53 ripple 2–189
bevel 2–55 shell 2–191
bevel profile 2–58 skew 2–195
camera correction 2–1019 slice 2–196
camera map 2–41, 2–60 smooth 2–199
cap holes 2–62 spherify 2–200
conversion 2–240 to 2–241, 2–243 spline select 2–201
CrossSection 2–63 squeeze 2–202
delete mesh 2–66 STL check 2–204
delete patch 2–67 stretch 2–206
delete spline 2–67 substitute 2–210
displace 2–69 surface 2–212
782 Index
server setup and managing (network rendering) 2–1471 shellac material 2–1185
set current layer to selection’s layer 3–374 shift+clone 2–3, 2–8 to 2–11
set key 2–673, 3–442 animating 2–12
setting up shininess 2–1160
directories 2–1477 shininess and shininess strength 2–1125 to 2–1126, 3–683
for network rendering 2–1476 Shockwave 3D files
rendering software 2–1476 analyzing 3–230
your scenes 1–4 exporting 3–225 to 3–226
settings previewing 3–230
Revit 3–349 shortcuts 3–601
settings menu edit/editable mesh 3–603
Track View 2–836 edit/editable spline 3–604
SGI image file formats 3–276 main user interface 3–605
shade selected (views menu) 1–45 Material Editor 3–608
shaded viewports 1–49 shortcuts - default keyboard
shader basic parameters rollout 2–1094 communication center 3–602
shader list 2–1294 edit poly 3–603
shaders 2–1094, 2–1104 to 2–1107, 2–1109, 2–1128 editable patch 3–604
custom Autodesk VIZ 2–1283 editable poly 3–604
for standard materials 3–729 free-form deformation (FFD) 3–605
lume 2–1284 NURBS 3–608
LumeTools 2–1284 object display culling 3–610
mental ray 2–1281, 2–1283, 2–1293 to 2–1294, 3–728 Schematic View 3–610
mental ray (third party) 2–1282 Track View 3–611
shading and lights 2–1029 unwrap UVW 3–611
shading type 2–1027 to 2–1028 walkthrough navigation 3–617
shadow maps 2–992, 3–730 show
mental ray 2–989 show curves button 3–434
shadow parameters (lights) 2–967 show dependencies (views menu) 1–45
shadow types 2–961 show end result (Material Editor) 2–1076
shadows 2–1388 show end result (modifier stack) 2–32
shadow maps 2–1388, 2–1411, 3–730, 3–749 show frame numbers (viewports preference) 3–551
shadow modes 2–1411 show ghosting (views menu) 1–44
shadows rollout 2–1411 show home grid (views menu) 2–649
shadows and rendering 2–962 show key times (views menu) 1–44
shadows map (baking) 2–1441 show last rendering (rendering menu) 2–1331
shape check utility 1–237 show map in viewport (Material Editor) 2–1074
shape commands (loft objects) 1–332 show safe frame 3–744
shape sub-objects show selected key statistics (Track View) 2–899
cloning selections 1–261 show tangents (Track View) 2–890
selecting 1–261 show UI 3–508
shape-file format 3–144 show vertices as dots (viewports preference) 3–551
ShapeMerge object 1–296 transform gizmo 1–43
shapes 1–234, 1–253, 3–731 show icon control 2–938 to 2–939
creating from edges 2–97, 2–399 show safe frame 3–589
lofting 1–234 show selected key statistics (Track View) 2–899
rendering 1–234 show tangents (Track View) 2–890
sharing SHP files 3–144, 3–732
materials 3–355 shutter speed 2–1400
sharing a directory (network rendering) 2–1479 sibling
sharing plug-ins with a network 3–536 go forward 2–1076
shell material 2–1187 go to 2–1076
shell modifier 2–191 Simes luminaires palette 3–415, 3–419
Index 795
world space 3–748 XYZ generator shader (mental ray) 2–1299 to 2–1301
world-space modifier 2–41 XYZ to UVW option (UVW map modifier) 2–274
camera map 2–41
displace mesh 2–42 Y
displace NURBS 2–43 YUV file 3–278
glossary 3–748
LS colors 2–45 Z
MapScaler 2–46 -z command-line option 3–384
PatchDeform 2–47 z element parameters rollout 2–1436
PathDeform 2–47 zoom
subdivide 2–50 about mouse point (preference) 3–551
surface mapper 2–50 zoom 3–461
SurfDeform 2–51 zoom (Track View) 2–900
world-space tripod 3–451 zoom all 3–461
wrectangle 1–255 zoom extents all/all selected 3–459
WSM modifier 2–41, 2–45 zoom extents/extents selected 3–462
camera map 2–41 zoom horizontal extents/extents keys (Track
displace mesh 2–42 View) 2–899
displace NURBS 2–43 zoom region (Track View) 2–901
MapScaler 2–46 zoom selected object (Track View) 2–896
PatchDeform 2–47 zoom value extents (Track View) 2–900
PathDeform 2–47 zooming views 1–27
subdivide 2–50 zoom value extents (Track View) 2–900
surface mapper 2–50 zoom value extents range (Track View) 2–900
SurfDeform 2–51 ZT file 3–749
X
XForm modifier 2–309
XLI files 3–174
XLO files 3–174, 3–176
xref material 2–1192
XRef object
proxy object 3–299
XRef objects dialog
entities list right-click menu 3–290
files list right-click menu 3–289
XRef objects dialog 3–284
xref scenes
overlays 3–293, 3–297
Xrefs
glossary 3–749
resolving in file linking 3–337
resolving paths 3–330
XRefs
and paths 3–296, 3–300
glossary 3–749
scenes 3–296
user path configuration 3–534
using XRefs 1–14
XRef merge dialog 3–292
XRef objects 3–280 to 3–281, 3–284, 3–298
XRef scenes 3–280, 3–292
XYZ controllers 2–706 to 2–707, 2–718, 2–722, 2–724
XYZ coordinate shader (mental ray) 2–1301