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Bryce 5.

0 User Guide
for Macintosh® and Windows®

Trademarks Box Design by Cory Maylett

Bryce is a trademark of MetaCreations Corporation. Quality Assurance testing by Meredith Keiser,
QuickDraw and QuickTime are trademarks, and Apple, Fernando Corrado, Kevin Prendergast, and Stephen Watts.
Macintosh and Power Macintosh are registered trademarks
of Apple Computers, Inc. Windows is a registered trademark The Bryce User Guide was written by Erick Vera; updated by
and Video for Windows is a trademark of Microsoft Lynn Flink and Donna Ford;edited by Valarie Sanford;
Corporation. All other product and brand names mentioned project management by Erick Vera; art directed by Garvin
in this user guide are trademarks or registered trademarks of Soutar; illustrated by Garvin Soutar and Heather Chargin;
their respective holders. production by Erick Vera; prepress production by
Rich O’Rielly and Erick Vera; review and validation by
Copyright Brian Wagner and Ales Holecek; tutorials written and
illustrated by Peter Sharpe (http://www.petersharpe.com),
This manual, as well as the software described in it is and Susan Kitchens (http://www.auntialias.com).
furnished under license and may only be used or copied in
accordance with the terms of such license. Program Chapter openers by Garvin Soutar. Section dividers
copyright ©1990-1999 MetaCreations Corporation, illustrated by Bill Munns.
including the look and feel of the product. Bryce User Guide
copyright ©1999 MetaCreations Corporation. No part of this Cover artwork by Martin Murphy.
guide may be reproduced in any form or by any means
without the prior written permission of MetaCreations
Corporation.

Notice

Before using this software or reading this user guide, make
sure you have read, understood and agreed to the license
contained in the back of the Bryce 4 User Guide.

Credits

Bryce™ was originally created by Phil Clevenger,
Kai Krause, Sree Kotay and Eric Wenger.

Bryce 4™ was created by Todd Bogdan, Brian Wagner,
Ales Holecek, John Terrell, Josh Bates, Ken Musgrave, Sam
Coroniti, Ian Gilman, Paul Cattrone, Michael Herf, Maria
Giannakouros and Moe Doucet.

UI Design by Robert Bailey and Jackson Ting.

Product Management by John Feld.

Special thanks to Susan Kitchens for technical inspiration on
textures and the Deep Texture Editor.

Copyright © 2004 DAZ Corporation. All rights reserved.

Bryce® User Manual - version 5.0

The contents of this manual and the associated Bryce software are the property of DAZ Corporation, DAZ Corporation Limited
and their respective licensors, and are copyrighted. Any reproduction in whole or in part is strictly prohibited. For more
complete copyright information, please refer to the Readme.txt file in the root directory of the software.

DAZ and the DAZ logo are tradmarks of the United States and/or other countries. Adobe and Photoshop are registered
trademarks of Adobe Systems Incorporated. Microsoft, Direct 3D, Windows and Windows NT are registered trademarks of
Microsoft Corporation in the United States and/or other countries. Apple, Mac, and Macintosh are registered trademarks of
Apple Computers, Inc. QuickTime is a trademark used under License. QuickTime is registered in the U.S.and other countries.
Netscape Navigator is a registered trademark of Netscape Communications Corporation. AutoCAD is a registered trademark
of Autodesk, Inc. OpenGL is a registered trademark owned by Silicon Graphics, Inc. Other product, font, and company names
and logos may be trademarks or registered trademarks of their respective companies.

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Contents
Welcome to Bryce
DAZ support and services. . . . . . . . . . . . . . . . . . . . . . . . . . 2
Installing Bryce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
What is Bryce? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
What’s New in Bryce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Using Bryce Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Bryce Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Exploring the work area . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Getting Started
Working with documents. . . . . . . . . . . . . . . . . . . . . . . . . 18
Using the basic features of Bryce . . . . . . . . . . . . . . . . . . . 19
Working in a Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Saving and Closing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Setting Application Preferences . . . . . . . . . . . . . . . . . . . . 25
Customizing Bryce. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Tutorial
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Arranging Objects in the Scene . . . . . . . . . . . . . . . . . . . . 33
Creating the Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Creating a Body of Water . . . . . . . . . . . . . . . . . . . . . . . . 36
Creating a vaulted roof . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Building the Walls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Group and Grow the Entire Building . . . . . . . . . . . . . . . . 48
Sphere on a Pedestal . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Pre-Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Animate the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Fine-Tuning Your Animation . . . . . . . . . . . . . . . . . . . . . . 59
Final Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Creating Objects
The Create Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Primitives vs. Procedural Objects . . . . . . . . . . . . . . . . . . . 64

Creating Primitives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Object Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Selecting Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Objects in the Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Creating Boolean Objects . . . . . . . . . . . . . . . . . . . . . . . . 72
Using the Presets Object Library . . . . . . . . . . . . . . . . . . . 75
Creating Infinite Planes . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Creating Terrains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Creating Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Creating Stones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Creating Symmetrical Lattices . . . . . . . . . . . . . . . . . . . . . 80
Creating Metaballs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Creating a Pict Object . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Working with Pictures. . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Creating Geometric Paths . . . . . . . . . . . . . . . . . . . . . . . . 88
Importing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Editing Terrains
Creating Terrains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
The Terrain Editor workspace . . . . . . . . . . . . . . . . . . . . . 93
Using Terrain Editor Tools. . . . . . . . . . . . . . . . . . . . . . . . 96
Using the paintbrush. . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Filtering Terrains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Using Creation Models . . . . . . . . . . . . . . . . . . . . . . . . . 111
Creating Terrains Using Pictures . . . . . . . . . . . . . . . . . . 111
Adding Color to Terrains . . . . . . . . . . . . . . . . . . . . . . . . 113
Clipping Terrains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Saving Terrains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Exporting Terrains . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Editing Trees
Working with the Tree Lab . . . . . . . . . . . . . . . . . . . . . . 120
Features of the Tree Lab . . . . . . . . . . . . . . . . . . . . . . . . 121
Tree Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Branch/Trunk Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 122
Tree Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Foliage Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

ii Table of Contents

Applying Materials
Material Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Surface Material Channels. . . . . . . . . . . . . . . . . . . . . . . 133
Volume Material Channels. . . . . . . . . . . . . . . . . . . . . . . 142
Material Components . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Using the Pictures Editor . . . . . . . . . . . . . . . . . . . . . . . . 147
Shading Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
The Materials Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Working in the Materials Lab . . . . . . . . . . . . . . . . . . . . 162
Material Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Creating and Editing
Textures
Texture Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Component Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Component Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Combining Components . . . . . . . . . . . . . . . . . . . . . . . . 192
The Deep Texture Editor . . . . . . . . . . . . . . . . . . . . . . . . 196
Working in the Deep Texture Editor. . . . . . . . . . . . . . . . 197
Tips for Speeding Up Textures . . . . . . . . . . . . . . . . . . . . 199

Arranging Objects
Bryce and 3D Space . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Coordinate Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Transforming Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Resizing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Rotating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Positioning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Aligning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Randomizing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Object Hierarchies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Editing Objects
Restoring Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Editing Object Attributes . . . . . . . . . . . . . . . . . . . . . . . . 230
Editing Toruses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Editing Imported Meshes and Stones . . . . . . . . . . . . . . . 238
Converting Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Bryce 5 iii

Creating Skies
The Sky & Fog Palette . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Working with Sky Modes. . . . . . . . . . . . . . . . . . . . . . . . 245
Setting Sky Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Adding Fog and Haze . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Clouds in Bryce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Working with the Sun . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Working with the Moon . . . . . . . . . . . . . . . . . . . . . . . . 263
Adding Environmental Effects . . . . . . . . . . . . . . . . . . . . 266
Using the Preset Skies Library . . . . . . . . . . . . . . . . . . . . 270

Creating and Editing
Lights
Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Setting Up Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Lighting Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Using the Camera
The View of Your Scene . . . . . . . . . . . . . . . . . . . . . . . . . 288
Setting Up the View of Your Scene . . . . . . . . . . . . . . . . . 288
Positioning the View of Your Scene . . . . . . . . . . . . . . . . 291

Rendering
Raytracing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Rendering a Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Setting Up a Render . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Rendering Animations . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Network Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Batch Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Fast Render Strategies. . . . . . . . . . . . . . . . . . . . . . . . . . 315
Working with Rendered Images . . . . . . . . . . . . . . . . . . . 316

Animating
The Animation Process . . . . . . . . . . . . . . . . . . . . . . . . . 320
Time-Based Animation. . . . . . . . . . . . . . . . . . . . . . . . . . 320
Creating Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Animation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Motion Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

iv Table of Contents

Animation Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Animating Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Tracking Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Animating the Camera . . . . . . . . . . . . . . . . . . . . . . . . . 346
Animating Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Animating Skies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Animating Terrains . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
QuickTime VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Creating QuickTime VR Panoramas . . . . . . . . . . . . . . . . 361

Using Bryce with Other
Applications
Working with Other Applications. . . . . . . . . . . . . . . . . . 364
Post Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Printing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Using Bryce on the Web . . . . . . . . . . . . . . . . . . . . . . . . 368
Glossary

Bryce 5 v

vi Table of Contents .

1 Welcome to Bryce Welcome to Bryce® 5. the leading 3D program for desktop artists. fully animated. Bryce key-event and timeline-based animation lets you create incredibly realistic. or virtually any illustration that would benefit from the powerful 3D impact of realistic perspective and shading. Bryce is also an invaluable tool for interactive multimedia. or mist evaporates to reveal flocks of birds soaring between mountain peaks. ads. Bryce animation features let you create great animations for video and multimedia easily. 3D worlds where rivers rush through gorges. animators. . Bryce is ideal for creating 3D graphics for magazines. and multimedia producers. Web designers. the sun sets over the ocean.

FAQs Telephone http://www. Online Tutorials In North America.DAZ support and services World Wide Web You can access general customer service and DAZ is committed to providing quality customer product information at http://www.daz3d.m. mountain time (MT).com technical support both online and off. email If you have a question about the features and functions of DAZ applications or digital content.com/ service and support that is easy to access and support on the Internet.daz3d. and services. Telephone technical support options DAZ customers outside North America can call DAZ users can use complimentary telephone internationally at + 011-801-495-1777.daz3d.com/support/ You can telephone DAZ Customer Service centers with your questions. convenient to use. Monday through Friday.m. while fostering one-to-one customer relationships.com Service by calling the 1-800-267-5170 toll-free line.daz3d. DAZ Customer Service 1350 E. you can reach DAZ Customer http://arcana. UT 84020 USA The Web address for DAZ is http://www. you are using. specifications. fax. The hours of operation are 9:00 a. Mail.com Fax: (801)-495-1787 on the Internet. • the Bryce CD-ROM availability. Draper Parkway Technical support Draper. fax. technical support options. Updates and technical information and email. DAZ Customer Service • the Bryce Content CD-ROM does not provide technical support. pricing. You can access • the Bryce User Manual Customer Service support through the following • your Bryce serial number avenues. • a software registration card 2 Welcome to Bryce .. to 5:00 p. You can send specific customer-service questions to see the user manual or online Help for the product DAZ Customer Service representatives by mail. Customer Service Installing Bryce DAZ Customer Service can provide you with Your Bryce package includes: prompt and accurate information about DAZ product features. There are several sources for Email: sales@daz3d. are also available in the Release Notes.

automatically. which Programs>Bryce>Uninstall Bryce. drive. you. and multiple sky color 3 Follow the instructions in the DAZ setup components. intensity. please To install Bryce for Macintosh® contact your Bryce dealer/distributor or DAZ 1 Close all applications. click Start on the Windows the sky controls. For example. You can use the Terrain editor to 1 Click Start on the Windows taskbar. taskbar. You can also use Bryce controls to create a wide To uninstall Bryce for Windows variety of objects you can use to populate your environment. environments. in turn. Customer Service. 2 Follow the instructions on your screen. Type X:\setup. Using automatically. you can also set light direction.If you are missing any of these items. 3 Double-click the Bryce installer to start the installation. wizard. and click Run. and click create an infinite number of custom terrains. please Bryce is a stand-alone application that allows you contact your Bryce dealer/distributor or DAZ to create and animate three-dimensional virtual Customer Service. 2 Insert the Bryce CD-ROM into the CD-ROM drive. With Bryce you can create any type of environment To install Bryce for Windows® you can envision. Bryce includes controls for managing infinite skies that let you set everything from time If the DAZ setup wizard does not start of day to the color and frequency of clouds. The DAZ setup wizard should start 4 Follow the instructions on your screen. To uninstall Bryce for Macintosh Installing Bryce If you created presets that you want to use again. to the silvery rings of Saturn. • the Bryce CD-ROM • the Bryce Content CD-ROM • Drag the Bryce folder to the Trash. Bryce 5 3 . The DAZ setup wizard should start automatically. make sure you save your presets to Your Bryce package includes: another location before following this proce- dure. • the Bryce User Manual • your Bryce serial number What is Bryce? • a software registration card If you are missing any of these items. atmospheric depth haze (with is the letter that corresponds to the CD-ROM intensity and color). 1 Close all applications. Bryce user interface contains all the tools you’ll need to create your 2 Insert the Bryce CD-ROM into the CD-ROM environments. height fog (with height. 2 Insert the Bryce CD-ROM into the CD-ROM To install Bryce for Windows® drive. and color). where X sun/moonlight. from the ivory beaches of Tahiti 1 Close all applications. drive. use to create landscapes.

over time. What’s New in Bryce Tree Lab Bryce 5 has new tools. the thickness and number of branches. you can create a wide variety of fraction of the time. Materials are complex combinations of applied. Blurry Transmissions. New Light Lab The Light Lab provides new and improved tools for Enhanced User Interface editing lights. and True Ambience. Metaballs are spheres or Bryce® Lightning and connected by a TCP/IP that blend into each other based on proximity. You can also control how gravity affects the tree. randomness. computers.The realism of a Bryce environment largely The new gradient feature lets you add a color depends on the materials applied to the objects in gradient to lights. example. or aren’t!). “Creating Metaballs” on page 81 for more on the new Metaballs feature. and taking advantage tree trunk. and improvements The new Tree Lab lets you create tree objects in a over Bryce 4. You can import images to be used for the Network Rendering trunk or foliage texture. to let 4 Welcome to Bryce . The Materials Lab lets you determined by the distance the light travels and the combine textures and channel values that simulate gradient that has been applied. When you have set up your environment just the way you want it. Metaballs With Network Rendering. Refer to “Editing you spread a rendering job over multiple Trees” on page 119 for more on the new Tree Lab. You can control the size and texture of the on locating. the Terrain editor has been redesigned to give you more control when painting effects. the color and intensity of the light is textures and values. Bryce can use the Also new to Bryce are Metaballs. The redesigned Light Lab makes it To enhance ease of use. network to render a scene or animation in a With Metaballs. and color. They include: the type of foliage and its frequency. features. Soft Shadows. of new features in Bryce. you can add a fourth dimension— Other new lighting options include Shadow time. You can use Bryce’s animation tools to set up Ambience. learning about. Refer to “Lights” on page 274 for more information on the Light Lab. For conveniently placed in a single location. When a light has a gradient the scene. making branches bend and The new Network Rendering feature in Bryce lets leaves droop to varying degrees. This reduces the amount of time required to render a complex scene or animation. Refer to on page 312 for more information. You can create your any material found in the real world (and a few that own gradients and save them for future use. import gradients from Corel PHOTO-PAINT® or Adobe® Photoshop®. the user interface in Bryce easier to adjust lights as all the controls are now has been enhanced in a number of ways. and premium rendering landscapes that move and materials that change effects like Blurry Reflections. This overview provides a head start scene. a new object type computing power of any computer running Bryce found on the Create palette. Refer to “Network Rendering” organic and realistic-looking shapes.

Other new lighting options include Shadow . Refer to fraction of the time. You can import images to be used for reflections. depth of the trunk or foliage texture. randomness. lights. materials • shadow ambience for lights Tree Lab • new 3D Grid spatial optimizer The new Tree Lab lets you create tree objects in a • new terrain grid resolutions: Gigantic (2048). Soft Shadows.. Refer to “Lights” on page 274 • partial shadows for objects with volume for more information on the Light Lab. scene. the color and intensity of the light is have been streamlined to make them easier to use. You can create your it easier to find the object you want. Bryce also includes the following new features: and True Ambience. World found on the Create palette. When a light has a gradient resulting terrains. and Object that blend into each other based on proximity. blurred transmissions. • support for distributed rendering effects for the type of foliage and its frequency.And Much More Ambience. determined by the distance the light travels and the The Create palette has also been simplified to make gradient that has been applied. making branches bend and leaves droop to varying degrees. and to provide The new gradient feature lets you add a color larger previews and animated previews of the gradient to lights. the thickness and number of branches. You can also control field. Metaballs are spheres Front. including soft shadows. The animation playback controls applied. a new object type • five new mapping modes: Sinusoidal. World Side. new Metaballs feature. Cubic With Metaballs. to let you create more detailed terrains. you can create a wide variety of • new Sky Integration feature • distance squared texture noise & phase type Bryce5 5 . the user interface in Bryce editing lights. give you more control when painting effects. In addition. Adobe® Photoshop®. Refer to “Network Rendering” “Creating Metaballs” on page 81 for more on the on page 312 for more information. blurred and color. World Cubic. The redesigned Light Lab makes it has been enhanced in a number of ways. New Light Lab Enhanced User Interface The Light Lab provides new and improved tools for To enhance ease of use. Blurry Transmissions. own gradients and save them for future use. You can control the size and texture of the and Planetary (4096) tree trunk. • volume shading mode • volume materials shading mode Metaballs • uniform density shading Also new to Bryce are Metaballs. or two new object types have been added to the import gradients from Corel PHOTO-PAINT® or Create Palette: Metaballs and Trees. and premium rendering effects like Blurry Reflections. the Terrain editor has been redesigned to conveniently placed in a single location. and true ambience how gravity affects the tree. Refer to • support for Total Internal Reflection (TIR) “Editing Trees ” on page 119 for more on the new • enhanced Render dialog Tree Lab.. For easier to adjust lights as all the controls are now example.network to render a scene or animation in a organic and realistic-looking shapes.

1 Choose Help menu> Help topics. By convention. For example. and dialogs. The convention 1 Choose Help menu> CorelTUTOR™. topic and clicking Print. and word/phrase The best way to learn Bryce is by reading search tool “Exploring the work area” on page8 and “Getting • CorelTUTOR™ — lets you follow step-by-step Started” on page17.• earth-based starfields and comets About Your User Manual • new import and export filters and plug-ins The user manual provides all the information you need to get the most out of Bryce. Macintosh commands precede Windows • Index — lets you use the index to find a commands in the text. refer to the • Online documentation — lets you access Help Macintosh User’s Manual or the Microsoft Windows User’s Guide. 6 Welcome to Bryce . Command/ topic Ctrl+I. directly from the user interface and find topics using the contents. or on the Macintosh quickly Finder or the Windows Desktop. and procedures in a paper format. The convention used to 2 Choose a tutorial from the list and follow the tell you to access an item on a palette is palette directions on your screen. respectively. 2 Click one of the following tabs: Conventions • Contents — lets you choose a topic from a The Bryce User Manual and online Help are written section of the online Help for both Macintosh and Windows. If you need more includes a tutorial to help you get started information on these subjects. index. For simplicity. and then completing the tutorials that teach you how to perform “Tutorial” on page31. is equivalent to the Macintosh Command- • Search — lets you find a topic by searching I and the Windows Ctrl+I. the term for a particular word or phrase in the folder refers to directories as well as folders. name: subpalette name or palette item. unless otherwise specified. There are also several conventions used to identify To use CorelTUTOR™: paths to certain tools and controls. The convention used to tell you to access a palette menu item is palette name: palette menu> menuitem. The Bryce interface for both You can also print a Help topic by opening a Help platforms is identical. application: We assume you are already familiar with basic • User manual — lets you access Bryce concepts Macintosh and Windows concepts such as menus. used to tell you to access a command in a menu is menu name> menu item. It will help you Using Bryce Help learn the application as well as serve as a reference as you attempt more sophisticated procedures and Bryce has several tools that help you work with the effects. and mouse operations. The tutorial leads you common tasks in Bryce through the process of creating illustrations in Bryce and explains some of the important concepts To use online Help you’ll need to know. online Help Screenshots may alternate between the Macintosh and Windows versions.

planes. Bryce Terms Computer graphics and three-dimensional modeling use special terms that are usually explained where they are introduced. c) the file that Bryce saves. Before you get started in Bryce. Bryce5 7 . The “Glossary” on page 371 provides concise definitions of a number of terms. Scene — a) The complete content of your Bryce world. Wireframe — A mesh representation of a 3D object. containing all information regarding your landscape. Palette — A collection of related tools.Modifier Keys When a modifier key differs between the Macintosh and Windows platforms. Objects include shapes. you should be familiar with the following terms. the Macintosh modifier is listed first followed by a slash and the Windows modifier key. b) the two-dimensional screen projection of your 3D scene. symmetrical lattices. Option/Alt means Macintosh users press the Option key and Windows users press Alt. Render — The complex process of building a two- dimensional bitmapped image from all the information contained in your three-dimensional wireframe scene. Object — An independent element that you can modify. and pictures. terrains.

Exploring the work area Tool Palettes Nano-Preview Working Memory Window Dots View Control Advanced Camera Display Controls Palette Render Controls Time/ Text Selection Display Palette Area Toggle Animation Controls The Bryce Window The view of your scene shown in the Working window is taken from a “camera” that you can Bryce’s default environment consists of the move around for different views of your scene. your operating system’s standard menus and windows are still available from within Bryce. the Control palette. 8 Welcome to Bryce . the Bryce environment replaces your object. Refer to “Display screen whenever you launch the application. a rendered By default. that let you view a scene as a wireframe. It’s the work area where you’ll arrange the objects and lights to create your environment. The Working window. However. and the Tool Working window also has several display modes palettes. Modes” on page 26 for more information. or a combination of both. The Working Window The Working window displays all the objects in your Bryce scene.

Nano. Nano-Preview The View Control lets you control how you see your scene. The Nano-Preview displays a rendered preview of your scene. Trackball lets you move the camera in any direction. Y. The Camera controls let you adjust the position of the camera. As you change the scene. Refer to “Using the Nano- Preview” on page 19 for more on working with the Nano-Preview. and along any axis. left. The Camera other properties affect the final look of the scene. View Control View Control lets you adjust the view of your scene without moving the camera. You can use the preset viewing positions to see your scene from different angles. As you update your scene. the display updates to show your changes. front. Refer to “Using the Camera ” on page 287 for more on moving the camera. Camera Controls Preview shows your changes. or back. You can immediately Camera Controls change the position of the camera see how your adjustments to object position or specifically along the X. Using this control you can see your scene from the top. Bryce5 9 . Refer to “Using the View Control” on page 20 for more on using the View Control . The Working window displays all the objects that make up your scene. You can also set your scene to continuously rotate so you can see it from any angle. right. and Z axes. The Nano-Preview shows a small rendered version of your scene. bottom. or you can use the Memory Dots to store and retrieve your favorite camera positions.

Edit palette. Edit palette. primitive shapes. scene: Refer to “The Create Palette” on page 64 for more 1 Switch to Wireframe display using the Display on the Create palette. The Render controls let you render your scene as a 2D image. and Animation controls. and information (the Create palette. area displays a count of all of the objects in your scene. Mode tool. control the display of your scene. palette) is a small triangle that opens the different Preset Libraries available in Bryce. Refer to 1 Switch to Bitmap display using the Display “Rendering ” on page 301 for more on rendering. select and in some cases. 2D picture objects. and Sky & Fog about current control settings. and animate objects. it also displays the element’s objects. as well as a total polygon count. Refer to “The To display information about the interface: Bryce Preset Libraries” on page 15 for more on • Pass the pointer over any interface element. If you have not rendered your image. and lights. The center button starts the rendering process and the To display information about rendered images: other buttons control rendering options. To display statistics about the objects in your derivative primitives. the element’s current settings are also The Create Palette displayed. • If no objects are selected. the Working window is blank. Preset Libraries. current settings. The name of the element is displayed. The Palettes Text Display Area Bryce uses a series of palettes to manage tools and controls—the Create palette. 10 Welcome to Bryce . 2 Pass the pointer over the Working window. terrains. the Text Display area displays object and polygon counts Render Controls let you render your scene to see all for the selected object. The Text Display area shows the file size. Selection for momentary display of text information. When palette. edit objects. In some cases. Advanced Display palette. 2 Pass the pointer over the Working window. The Text Display Area also displays information about the total number of Beside the title of each of the three tool palettes polygons in an object or a scene. this you create objects. the Text Display The Create palette contains tools for creating all the types of objects you can use in a Bryce scene. Mode tool. Sky & The area just below the Render Controls is reserved Fog palette. The Create palette contains tools for creating infinite planes. stones. fog. These palettes let you pass your pointer over interface elements. create skies and area displays the name of the interface element. the materials and lighting effects you added.Render Controls • If an object is selected.

Working window display. rotating. Refer to “Transforming Objects” on page 206 for more on the Edit palette. Refer to “The Sky&Fog Palette” on The Advanced Display palette contains tools for changing the page 242 for more on the Sky & Fog palette. Refer to “The Selection Palette” enabling/disabling the Nano-Preview and Plop on page66 for more on selecting objects. These controls also let you preview your animation. frequency. The Sky & Fog palette also lets you control the color of clouds in your sky and the position of the sun and moon. and haze. The Advanced Display appears on the right side of the Working window.The Edit Palette The Edit palette contains tools for editing object materials and resizing. Refer to “Setting Up the Bryce Window ” on page 25 for The Selection palette contains tools that let you select objects in your scene more on using the Advanced Display palette tools. and amplitude of clouds. You do not see this palette in the default Working window. and randomizing objects. and let you set the altitude. Render features. The Edit palette contains tools for transforming objects and accessing the Editors. Bryce5 11 . and access the Advanced Motion Lab. Refer to “Setting Up an Animation” on page 321 for more on using the Animation controls. add and delete key frames. fog. you must use the Time/Selection Palette toggle at the far bottom right of your Working The Advanced Display palette contains tools for window to replace the Animation controls with the controlling the display of the interface and Selection palette. repositioning. To Advanced Display Palette view it. specific types of objects in your scene. The Sky & Fog Palette The controls available on the Sky & Fog palette let you add shadows. The Animation Controls The Animation controls let you set up key frames and edit the timeline of your animation. Selection Palette The Sky & Fog palette contains tools for creating the The Selection palette contains tools for selecting atmosphere of your Bryce scene. aligning.

The Terrain Editor Displaying Submenus and Pop-up Dialogs The Terrain Editor is where you’ll create all the Wherever you see an inverted or sideways triangle terrain objects in your scene. completely replacing the Working To display or hide all palettes: window. The menu or other item available that contains options Terrain Editor also has a real-time preview so you pertinent to the item closest to it. the Objects menu. • Press Control/Ctrl+Tab. in can see the effects of your changes instantly. The editor contains icon in the interface. there are triangle icons next to to “Creating Terrains ” on page 92 for more on the each tool in the palette. The triangle icon next to a tool or text button indicates that there are more options available for the element. the Working window. These menus provide behind other palettes. 12 Welcome to Bryce . • Click the triangle icon. Each editor is like a separate room in • Control/Ctrl+6=Advanced Display palette Bryce. and the Help menu. it indicates that there is a tools for painting and refining terrain objects. For example. the Links launch the application. additional options for the tools. These triangles access the Terrain Editor. Refer the Create palette. the Edit menu. The display of the menu bar depends on the state To display palettes: of the application. Some palettes are hidden menu. access to several Bryce functions and editors. the editor takes over the interface. many of Bryce The Bryce menu bar contains five menus: the File palettes and toolbars are hidden when you first menu. When active. Displaying/Hiding Palettes The Menu Bar To keep the interface uncluttered. To display a submenu: The Animation controls display the timeline of your animation. When the application interface • Either click on a text button above the snaps to the edges of your Working window. • Control/Ctrl+1=Create palette • Control/Ctrl+2=Edit palette The Editors • Control/Ctrl+3=Sky & Fog palette Bryce has several editors that let you do everything from creating terrains to editing the speed of • Control/Ctrl+4=Control palette animation. or press the key menu bar is hidden until you pass the pointer over combination for the desired palette: the menu bararea at the top of the Bryce window.

The Materials Lab The Materials Lab is where you’ll create the The Materials Lab lets you create different types of materials by materials to apply to your objects. The Advanced Motion Lab lets you fine-tune your There are two types of materials you can create: animations. you can create incredibly complex surfaces that can The Advanced Motion Lab bring your scene to life. and preview your changes. which define the surface using the Animation controls. and Volume materials. Bryce5 13 . you can use the tools properties of an object.The Terrain Editor lets you create any type of landscape using the preset tools and paint brush. the settings in the Materials Lab change. Refer to “The Materials Advanced Motion Lab. available in this lab to control the speed at which which define the properties of an object’s volume objects move along a motion path. After you’ve created your key frames Surface materials. When you’re creating volume position of key frames. By combining up combining texture components on the materials grid. Lab” on page160 for more on the Materials Lab. to four texture components on the materials grid. adjust the as well as its surface. Refer to “The Advanced Motion Lab” on page 334 Some of the surface material settings are replaced for more on animating scenes and using the by volume effects settings. and “Understanding Volume Material Channels” on page 130 for more on Volume materials. materials.

Using component indicators Some of the editors contain component indicators. work. component you are currently manipulating. To adjust the value of a control using a field: The Advanced Motion Lab lets you refine the action in your animations. active. the Controls are comprised of a slider and a field. To activate a Controls let you set a value for an element within knob’s function. Controls are used component indicator lets you know which to set values. 2 Click in the field and type a value. Knobs tools. knobs. To get the most out of each randomizing or saving elements. including controls. Adjusting editor settings Using knobs The editors have unique interfaces that let you adjust individual settings by using a variety of Some of the editors in Bryce contain knobs. transformations occur. A field lets you enter a precise numerical value. For example. To adjust the value of a field: • Click in the field and type a value. fields. To adjust the value of a control using the slider: • Slide the highlighted portion of the control to Component indicators let you know which component you are currently editing. A field located in a control. click the knob. Using fields Fields can be found in dialogs and in controls. 14 Welcome to Bryce . in the Sky Lab. Using controls Knobs can perform many different functions. In the image above. the Cloud Cover control lets you set the amount of clouds in your scene. such as component indicators. it is important to know how these elements knob’s function. To activate the editor. Use the Velocity Curve editor to create different 1 Click the numerical value to the right of the velocity effects and the Hierarchy area to control when object control’s slider. click the knob. and can perform many different functions. an editor. such as a texture. When you are combining several components to create a composite element. The field will appear. the first component is the left or right.

When working with materials. Refer to “Using the Preset Skies Library ” on page 270 for more on the Preset Skies Library. The Sky & Fog Preset library contains pre-made skies that you can add to your scene to quickly create an environment. To turn a component indicator on or off: • Click the component indicator. Refer to “Using the Materials Presets Library ” on page 164 for more on the Preset Materials Library. You can use the Preset Objects Library to add ready-made objects to your scene. you can blend material components by turning on multiple component indicators simultaneously. The Preset Materials Library lets you add a wide variety of materials to your objects. and the Preset Skies Library. Bryce5 15 . There are three main preset Libraries available in Bryce: the Preset Objects Library. Refer to “Combining Components” on page 154 for more on using the component indicators to blend material components. The Bryce Preset Libraries Bryce has several libraries of presets that can make creating scenes easier. the Preset Materials Library. Refer to “Using the Presets Object Library ” on page 75 for more on the Preset Objects Library.

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2 Getting Started Scenes are the three-dimensional images that you create and animate in Bryce. In this section. you’ll learn about • starting and opening scenes • using the basic features of Bryce • viewing scenes • positioning the camera • undoing and redoing operations • saving scenes • closing scenes and quitting Bryce • setting application preferences • customizing the Bryce interface .

A document can be either a You can work in one size as you build your blank scene or an existing file that you’re going to scene and render that scene in a different size. Before you can create a Bryce environment you need a document. Bryce opens the resolution every time you render (thereby Document Setup dialog which lets you specify the impacting your wireframe workspace). you like here. Depending on the type of work you are doing. To set up a new document using presets: This is the absolute size of your working space 1 Choose File menu> New Document. The pixel values that are placed in the Document Resolution fields are needed. many Bryce can open any file created in any previous video formats. 5 Select a Render Resolution from the list. if you can avoid it. To open an existing file: The values in the Document Resolution fields will update automatically if you change the 1 Choose File menu> Open. The expressed in pixels. Think of Document Resolution as input. 1 Choose File menu> New. You can enter any values Document Setup dialog appears. For instance. screen. Resolution as a ratio. 18 Getting Started . The values in the These presets are aspect ratios for many useful Aspect Ratio fields will update automatically as document types. are 3:4 aspect ratios. The Document The default resolution is 540 x 405. expressed in pixels as a multiple of your document size. aspect ratio. and Render To create a new document: Resolution as output. though it’s recommended that 2 Click one of the preset aspect ratios displayed you do not exceed your available screen space along the right side of the dialog.Working with documents This resolution sets the absolute size of your rendered image. you could be working at Bryce’s default size but need to render four times Creating an Empty Scene larger for print or four times smaller for a Web page. and the default Setup dialog appears. Rather than resetting your document When you create a blank scene. as well as the standard 13” version of Bryce (Mac® or PC). simply set a separate size for rendering. edit. You can work small and render large if you need to. aspect ratio is 4:3. it may be more Opening an Existing File convenient to enter values here rather than in the resolution fields above. 2 Use the dialog controls to locate and open 4 Enable the Constrain Proportions button if you your file. want to preserve the current aspect ratio as you adjust the resolution. For example. either absolute (as in Legal or Letter paper 3 Enter values in the Document Aspect Ratio sizes) or based on your available screen fields. you can aspect ratio and dimensions of the new scene. 2 Enter values in the Document Resolution fields. resolution (as in Maximum Recommended or These fields represent the Document Square).

Bryce5 19 . you position objects in three-dimensional space while looking at a two- Bryce dimensional display. You may find that your scenes become rather large. Working with the “Creating and Editing lights Lights” on page273 3 Use the dialog controls to locate the file you want to merge and click Open. 2 Click Save. You can also control how individual Creating objects “Creating Objects” on objects are displayed in the Working Window. The Open dialog appears. Some materials page127 information from the scene you’re opening will be discarded. A dialog appears camera page287 prompting you to save the current scene. Animating scenes “Animating” on Holding down the Option/Alt key while performing page319 this function will merge only the sky from the incom- ing scene. Objects from the scene you’re opening are placed in your current scene at the same absolute Working with “Applying Materials” on coordinates that they previously occupied. When you use this command. and you might not be able to Bryce has a large number of tools and capabilities see the entire landscape in the Working Window. to help you create and animate scenes. Displaying Your Scene Bryce has several tools that can help you position For information on See elements and see every inch of your new world from all angles. such as family names. the scene Creating skies “Creating Skies” on you are opening is merged with the currently open page241 scene. The following table lists the basic features of Bryce to help you get started. Rendering scenes “Rendering” on The file you selected is merged with the page301 current scene.Merging scenes Editing terrains “Editing Terrains” on You can merge two Bryce scenes using the Merge page91 command. Arranging objects “Arranging Objects” on Using the Nano-Preview page201 The Nano-Preview is where your object is displayed Editing objects “Editing Objects” on before you render it. and page63 how your scene is displayed in the Nano-Preview. Nano-preview can display your page229 scene from a number of different angles without affecting the position of the camera. Working with textures “Creating and Editing Textures” on page169 To merge two scenes: Working with the “Using the Camera” on 1 Choose File menu> Merge. Working in a Scene Using the basic features of When working in Bryce.

The current To set Nano-Preview options: position of the View control indicates the view you’re seeing in the Working window. • Director’s View: select this option to view • Select either Fast Preview or Full your scene from the perspective of a Rendering to adjust the quality of the director sitting outside the scene. Front. as opposed to a rendered preview. achieve faster updates. Using the View Control Bryce lets you view your scene from several preset positions: Main. All these views. you can deselect this a different preset view. To switch views using the View control menu: With this option deselected. every pixel is raytraced and anti- aliased. With Full Render selected. Top. this gives you almost immediate the view you are looking for. The View control is an interactive way of cycling through the various preset views. • Wireframe Only previews your wireframes only. • Auto Update will automatically update the preview render with every single change you make during your session. you’ll need to • Click the triangle icon next to the View control click in the Nano-Preview window to and select a view option: update the render. are special Orthogonal To display your scene from different angles in projections which allow perspective-free views well-suited for alignment operations. or when working with highly Every time you click the control Bryce displays complex scenes. Side. In most • Click or drag the Views control until you reach cases. Fast preview mode skips pixels to 20 Getting Started . This can cause small objects to be partially or completely missing. option. rendered preview. Left. projections. • Full Scene previews your actual scene. of the Main View. Right. feedback after any action. On slower machines. • Click the triangle icon below the Nano-Preview and choose a display option: To switch views using the View control: • Sky Only previews only your sky settings. This is the default setting for the Nano-Preview. Bottom. with the exception The Nano-Preview displays a rendered preview of your scene. and Back. Refer to the Nano-Preview: “Orthogonality and Views” on page21 for an • Click the triangle icon below the Nano-Preview explanation of how and why Bryce uses Orthogonal and choose a preset display angle. The view of your scene does not change in the Working window.

you’ll see certain • From Right: select this option to view a amounts of perspective distortions. • From Back: select this option to view a perspective-free orthogonal projection of your scene as seen from behind (based on absolute world coordinates). • Right View=3 To solve this problem. you will find it very your scene as seen from the front (based difficult to place the cubes on top of one another. or bottom using the Camera. front. setting. on absolute world coordinates). To reset the view of your scene: • Click the triangle icon next to the View control and choose Reset Views. based on icon. if you have a dozen cubes in different • From Front: select this option to view a locations and you place the camera so that it looks perspective-free orthogonal projection of down on the scene from above. the Camera’s current location and This option resets your View to the default orientation. on absolute world coordinates). the more confusing and difficult this kind of absolute world coordinates). • From Bottom: select this option to view a perspective-free orthogonal projection of your scene as seen from below (based on absolute world coordinates). These perspective-free orthogonal projection of distortions can make precise visual alignments your scene as seen from the right (based difficult. • From Top: select this option to view a perspective-free orthogonal projection of Orthogonality and Views your scene as seen from above (based on absolute world coordinates). To switch views using the keyboard: • Select a preset view shortcut: • Director’s View=~ • Camera View=1 If you viewed objects from above through a real-world camera. The more complex the your scene as seen from the left (based on scene. For instance. top. When you view a scene from the side. • Camera View: select this option to view • Press the Option/Alt key and click on the Views your scene as the Camera sees it. drafting board kind of view in which like-sized • Saved views=5 through 9 objects far away appear exactly the same as those up close. or Bryce5 21 . • Top View=2 the perspective distortions would make alignment or placement difficult. alignment becomes. Bryce uses a perspective- • Front View=4 free. resulting in perspective-free orthogonal projection of a confusing array of lines. Cubes further from the camera would be slightly • From Left: select this option to view a smaller than cubes close to the camera.

appears. Front. and your 3D scene. 22 Getting Started . Dragging left zooms in and Zooming In and Out dragging right zooms out. creating the illusion of zooming out of View (that is. and Bryce view. Your camera position remains Back) are orthogonal projections. If you press the Render button while in an orthogonal Your cursor changes to a Zoom tool. When you use the pan and zoom controls. Bryce will quickly set up the camera position centers and scales up the area in the marquee you need and render your image. all views other than your Main smaller. There may be slight to fit your window. creating the illusion of zooming into your 3D scene. To zoom in: • Click on the Zoom In tool. To zoom using the mouse: as a result of the added perspective distortion in the • Hold down Command-Option-Spacebar/ rendered image. Bryce scales the 2D projection of your scene larger. your camera position remains unchanged. and so do not contain the Keyboard Shortcut: minus (-) perspective distortion that would necessarily come with a camera view. generated by the camera. Keyboard Shortcut: plus (+) To zoom out: Bryce uses an “orthogonal projection” of your objects to • Click the Zoom Out tool. eliminate perspective distortion. You can navigate within the orthogonal and drag a marquee around an area of your views using the Zoom and Pan tools. Ctrl+Alt+Spacebar and drag the mouse left or right in your scene. To zoom into a specific area: As a result. Camera controls do not work in these • Hold down Command-Spacebar/Ctrl+Spacebar views. you’re moving in 3D palette. differences between what you see in the wireframe projection and what you see in the rendered image. Right. In Bryce. Left. Top. Bottom. The default value is 100%. They are not unchanged. This perspective-free view is called an orthogonal Bryce scales the 2D projection of your scene projection. The Camera & 2D Projection dialog space. Your camera position in 3D space does not change. you are essentially making the 2D projection larger or smaller. When you use the Zoom tool. 1 Double-click the Trackball in the Control When you move the Camera. scene. scene—your camera position does not change. there is a difference between moving the To zoom numerically: camera and using the zoom tools. you’re transforming a 2D projection of your 3D 2 Enter a value in the Scale field. In Bryce.

or you’ve lost a cube you know To pan numerically: you created a half an hour ago. Keyboard Shortcut: Command/Ctrl+B. To switch to Fly-around view: The default value is 0. You can only zoom numerically when you are work. palette. you are moving a 2D Use this command to change objects shown as projection of your scene right and left. Changing the object preview can greatly reduce redraw time in a complex scene. Panning To display objects as wireframes: Panning works the same way as zooming. The Camera & 2D Projection dialog In Fly-around view. To switch back to Camera view: Changing Object Display • Click on the View control icon next to the Fly- You can change how your objects are displayed around control. up and boxes back to wireframes. The View control changes to the Fly- You can only pan numerically when you are working around control. To reset the zoom value: This command displays any selected object. Your camera position in 3D space does not change. you will change from your current View to a special To pan your scene using the Spacebar: motion view. When • Choose Object menu> Show Object as Lattice. using the Object menu commands. Keyboard Shortcut: Command/Ctrl+L. objects. your scene so that you can see the whole scene from all sides as the camera moves around it. The Object’s preview does not affect how the object renders. Bryce positions the Camera on appears. an imaginary monorail track above and away from 2 Enter a value in the Horizontal field. you can use the Fly- 1 Double-click the Trackball in the Control around view to see your entire scene all at once. This is useful • Press the Option/Alt key and click the Zoom when you just want to work with the object’s tool. • Click the Fly-around view icon next to the View control. working close to the ground. 1 Choose Object menu> Show Object as Box. If you’re in the direction you want your scene to move. The default value is 0. position but don’t need more details. down. in front of the camera. or stuck in the midst of a clump of trees.This view gives you • Hold down the Spacebar and drag your scene a sense of context in your Bryce world. or Fly-around View. 3 Enter a value in the Vertical field. To display objects as boxes: ing in either Director View or Camera View. in either Director View or Camera View. If you click here. you use the Panning tool. Bryce5 23 . to the right of the Views icon. The view of your scene resets to 100%. or group as box(es). To pan your scene using the Pan tool: Using Fly-around View • Drag over the Pan tool in the direction you You may have noticed a tiny circular icon above and want your scene to move.

To pause the Fly-around: To revert to the last saved version of your • Press the Spacebar. When you’re using the Marker Keyboard Shortcut: Command-Y/Ctrl+Y. more on using the movie preview. To zoom in and out in Fly-around view: To undo the last operation: • Hold down the Command/Ctrl key and drag up • Choose Edit menu> Undo or press Command/ or down. One key click erases all the marker pen lines. Ctrl+Z after performing an undo. Using the Movie Preview In addition to viewing still images in the nano. The scene erase the effects of changes you made to your rotates in the direction you drag. To redo the last operation: To slow the Fly-around: • Choose Edit menu> Redo or press Command/ • Hold down the Shift key. Undoing Operations around view: The Undo and Revert to Saved commands let you • Drag your mouse in your scene. The view switches back to The Marker Pen Camera view and the last Fly-around position The Marker Pen adds the functionality of a white becomes the new Camera View. Since your scene leaving Bryce. scene from anywhere within your Bryce environment — even underneath it. you can draw anywhere in the Bryce environment without affecting your scene.To change the angle of your scene in Fly. View can be positioned using the positioning tools or by repositioning the Camera in the scene. position: • Press Return/Enter. Saving and Closing preview window. 24 Getting Started . you Refer to “Previewing Animations” on page327 for should save your work often. The Camera 2 Drag it anywhere on your screen. Pen. Dragging up zooms in and dragging Ctrl+Z. files can quickly become large and complex. board to your scene. To end the Fly-around and save the Fly-around All unsaved changes are discarded. scene. Refer To erase marker pen lines: to “Positioning the View of Your Scene” on • Click the Marker Pen tool again or press the M page291 for more on positioning the camera. down zooms out. key again. • Choose File menu> Revert to Saved. without convenient location for later use. meaning that you can view your 1 Click the Marker Pen tool or press the M key. Positioning the Camera The Camera View is produced by the Camera which To draw with the marker tool: exists in 3D space. you can use the same window to The Save command lets you save your work in a see a small version of your animation. Press the Spacebar again scene: to resume the Fly-around.

Bryce will provided and click Save. The Closing Preferences dialog appears. automatically open or save a PICT or BMP file 3 A copy of your work is saved. you can customize Bryce to suit the way you work. 2 Enter a new name and/or location in the fields With this option enabled. The Save dialog Preferences dialog appears. appears. is hidden until you pass your cursor over it. and other applications are hidden behind Bryce. selected. along with your scene file. leaving the (PICT/BMP files are automatically appended original intact. rather • Choose File menu> Quit or press Command/ than at world center. To set the application’s launch state: 1 Choose Edit menu> Preferences. This Application Preferences are set in the Preferences setup lets you work with an uncluttered desktop. the interface snaps to not have to restart Bryce to make these changes the edges of your Working window. regardless of whether they will be visible in your current Setting Application camera view. for your work and click Save. 2 Enable Image with Scene Open/Save. every time you open or save. The Save dialog the settings from your last session. Bryce5 25 . Bryce saves both the scene data and the ren- dered image when it saves the file. Create Objects Within View places newly To close Bryce: created objects within the camera view.Saving Files 2 Enable either Launch to Previous State or Launch to Default State. To save a file: Launch to Previous State launches Bryce using 1 Choose File menu> Save. appears. When you close the application. Preferences Setting Up the Bryce Window By setting application Preferences. dialog. with the extension). To save Images used in a scene with a file: To save a file under a different name: 1 Choose Edit menu> Preferences. a dialog appears 2 Enable either Create Objects Within View or asking you to save your work. Create Objects at World Center places newly created objects at world center. The 1 Chose File menu> Save As. If the Image With Scene Open/Save preference is this option should always be selected. The menu bar take effect. To control new object placement: 1 Choose Edit menu> Preferences. Ctrl+Q. The Preferences dialog appears. You do When you first launch Bryce. In most cases. Create Objects at World Center. Launch to Default State launches Bryce using 2 Use the dialog controls to choose a location the default settings.

Setting Up the Working Window Before you start working in Bryce. toggles through the three possible display modes. at the bottom-right corner of your Working window. The Advanced Display palette appears. This button is only visible when you pass your pointer over it. To switch between display modes: 1 Click on the Display Mode tool in the corner of the Working window.To maximize the Bryce window: 1 Pass the cursor over the right side of the Working window. 3 Click the tool again to switch to a standard window. 2 Click the button until you’re in the desired mode. The display automatically switches to this mode whenever you click the Render button. These display modes can help you when you’re arranging objects • Bitmap Display shows a rendered scene. you can change the display mode to determine how objects are In Wireframe Display all objects are shown as wireframes. and can also speed up your redraw time. • Wireframe Display shows all objects as • Wireframe/Bitmap Display lets you edit wireframes. 26 Getting Started . There are three modes available: In Bitmap Display all objects are displayed as rendered objects. wireframes while simultaneously viewing the most recently rendered version of your scene behind them. Display Modes The Display Mode tool. displayed in the Working window. 2 Click the Interface Max/Min tool.

instead of the results. or Direct 3D®. shaded solids. but with the rendered image in the background. all objects are displayed as flat wireframes. 2 Drag the Depth Cue control up or down. The Esc key will toggle between the last Wireframe mode you selected (Wireframe or Wireframe attributes Wireframe/Bitmap) and Bitmap mode. Click the Display Mode tool until the display switches to Wireframe. When you’re in Wireframe mode. To set Wireframe attributes: Sree3D. or Direct3D from the menu. Disabling some of these options may speed This preview mode is only available if your system up drawing time. you can wireframes. • Press the Esc key. If you switch to this mode. without materials. rendered image behind them in order to accurately judge the results of your change. the wireframe appears lighter the farther it is from the camera. Bryce5 27 . When depth cueing is active. 1 Make sure you’re in Wireframe mode.In Wireframe/Bitmap display. contains hardware that supports OpenGL®. all objects are displayed as In Flat Shaded Preview display. This mode is most useful when you have a When this mode is active your objects appear as partially-rendered image and want to improve flat shaded solids. and you can see the effects of light move your wireframe objects relative to the sources on object surfaces. Sree3D. To display objects in Flat Shaded Preview: • Hold down the mouse button over the Display To toggle between modes: Mode button and choose SGI OpenGL. there are several options you can set to make the display more Flat Shaded Preview Mode helpful. Drag up to increase the intensity of the depth cueing effect and drag down to decrease it.

reason. object placement in your scene. a background from the menu. Selected lets you define the resolution of the wireframe when the object is selected. If you hold down the Control key/Ctrl+Alt keys and click on the Depth Cue icon. objects that are positioned below Shadows are designed to help you determine the ground plane are not visible in the scene. This is useful for easy visualization and composition. To select a background texture: 4 Click the Underground On/Off button to hide • Click the Background Paper button and choose or show underground lines. below ground level will not be visible in your 28 Getting Started . or Motion. Bryce will turn both anti-aliased wireframes and depth cueing on or off simultaneously. Window Backgrounds The background texture of the working window You can use wireframe shadows to help you determine the can add a great deal to the overall look of the placement of objects in the scene. If you need more speed for any reason. 3 Click the Wireframe Shadows button to turn shadows on or off. Motion lets you define the resolution of the wireframe when the object is being moved. For this 5 Click the Resolution tool and choose Static. wireframe scene. When depth cueing is active. However. When underground is enabled. interface. ground plane. Static lets you define the resolution of the wireframe when the object is not moving and not selected. This feature may slow down your system when work- ing with a complex scene on slower machines. you might overlook an object that is hidden underground. It makes it easier to see wireframes and selected objects. Then choose a resolution ground plane or when the object is below the for the wireframe mode. any Adding a background texture may slow down some portion of a terrain or object that is positioned machines. When underground lines are hidden. objects appear lighter the farther they are from the camera. shadows appear even when there is no Selected.

clean choose Edit menu> Reset Palettes to reset all background with no texture. Customizing Bryce The Bryce interface can be customized to better suit your personal workflow. or you can choose to hide the entire interface and leave only the working window visible. 2 Press Command/Ctrl+Alt again to display all the palettes. You can move these palettes anywhere in the Bryce window. select No Texture. To move a palette: • Hold down the Spacebar and drag the desired palette to a new location. If you want to. When you break the interface apart. you can tear apart the interface and reposition any palette. center of your work space. palettes to their default positions. To reset a palette to its original position: • Hold down the Option/Alt key and the Spacebar. you can see all the palettes at the same time. All the palettes Select Color from the menu. and you will get a simple. then either click on a palette or Bryce5 29 . To select a background color: To hide the Bryce interface: 1 Click the Background Paper button and choose 1 Press Command/Ctrl+Alt. disappear and your image appears at the 2 Use the color picker to select a color.

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” .3 Tutorial Welcome to the Bryce tutorial. This tutorial introduces you to the major features and functions of Bryce. All the files necessary for completing the lessons are provided for you on the Bryce CD-ROM in the folder “Manual Tutorial. The basic tutorial shows you how to create a terrain. customize the sky. Each section of the tutorials is self-contained. so you can start from any point. “Creating a vaulted roof” on page40 teaches you how to create a more complex environment and how to create an animation. The main goal is to teach you the basic techniques you’ll need to create landscapes and environments. and create a body of water. There are two separate tutorials.

The 2 On the CD-ROM. 2 Click the button beside the Default preset in When you move over the tip of an arrow in the Camera control. the list of presets on the right side of the dialog. resolution. In this view. and click Open. The Document Setup dialog appears. but you can adjust the camera again Control Palette. Most of these tools are located on the easier to see. Lesson 2: Positioning the Camera In this lesson you’ll use the Director’s View to view objects. 32 Tutorial . not the position of the objects. Lesson 1: Creating a Document To open the camera lesson file: When you set up a new document. drag the tip of the Y arrow up to move the scene up. Now that you have a document. the cursor changes to an axis indicator. locate the file Manual resolution you choose depends on what type of Tutorial: Camerascene. There are four controls you can use to position the Your scene should look like this when you’ve finished using the camera: the Camera axes controls. The higher the 1 Choose File menu > Open. you can set up the camera view and start creating a scene. Camera controls. the Trackball. 2 On the XY control. To help you choose a resolution. 3 Click the OK icon at the bottom of the dialog to accept your changes and exit the dialog. you define the size of your working space in pixels. the Preset Views and the Camera and 2D Project The sphere and the torus objects should now be dialog. The Resolution and Aspect Ratio fields update automatically. discussion of resolutions and aspect ratios.Getting Started When you reposition the camera. you’re changing the view of the scene. scene you want to create. Refer to “Setting Up the 1 On the XZ control. To set up a new document: 1 Choose File menu > New Document. the larger your working space. to get a better view of the hidden cylindrical objects. you can see all the objects in the scene including the camera. Bryce provides To reposition the camera using the Camera several preset aspect ratios for the most commonly axes controls: used types of documents. Refer to “Positioning the View of Your Scene” on page291 for more on these tools. drag the Z arrow up to Working Window” on page26 for a complete move the scene away from you.

Terrain 1 To reposition the terrain: You can use the Reposition tool to move the terrain to the rear left of your scene. You should take all of these angles into account when you’re arranging objects.To reposition the camera using the Trackball: Arranging Objects in the 1 Click the center of the Trackball and drag to the right. You don’t need to save the file unless you want to. In 3D space. Bryce5 33 . The lessons in this section will help you learn how to add. Z=-100. 3D illustration. When you apply the values you entered in the Camera & 2D Projection dialog. Rotate X=0. A 3D illustration depends heavily on the arrangement of the objects in the scene to create a specific look or feel. 4 Click the OK icon to apply the changes to the camera. Rotate Y=-46. the view of your scene should look like this. Rotate Z=0 3 Leave the remaining values at their defaults. an object can be viewed from any angle. position and transform objects to create a Use the Trackball to rotate the camera around the scene. Projection dialog appears. The camera is now in an almost perfect position to view the scene. The scene appears to rotate to the Scene left. Position Y=32. As you move the mouse pointer over the arms of the Reposition tool a small tag appears and 5 Close the file. The Camera & 2D 1 Click Create to display the Create Palette. 2 Enter Position X=104. 2 Click the Terrain Object. Position The terrain appears in your scene. You can place the camera in a Lesson 3: Adding and adjusting the precise position by moving it numerically. Terrain To reposition the camera numerically: To create a terrain: 1 Double-click the Trackball.

click the center Resize tool. click Edit to display the Edit Palette. 3 Click the upper Z (right) arm of the tool. 2 Click Edit. back than the first one. The terrain so far To add and reposition a second terrain: 1 Click Create. 1 With the terrain selected (outlined in red). 4 Repeat this process as needed until the terrain is in the position shown below. Repositioning a terrain 3 Use the Reposition tool to move the terrain to the far right of the scene. The terrain appears to disappear because it is resized evenly about its center. 34 Tutorial . The terrain will 3 Resize the terrain until it looks something like move along the X axis towards the rear of your the image below. scene. To resize the terrain: 4 Increase the size of the terrain. displays the name of the axis over which you 2 Click the Land Objects button (the arrow are positioned. using the 1 With the terrain still selected. and drag to the right. The second terrain along the ground plane. and drag to the left. The terrain repositions on the ground plane 2 Click the upper X (left) arm of the Reposition and the arrow button disappears. tool. The terrain will move along the Z axis towards the middle of your scene. It is an infinite plane because it extends to infinity along the X and Z axes. then click the Terrain Object to add a second terrain. ground plane is the grid in the foreground which appears by default whenever you start a new project. of the Resize tool. to display the Edit palette. button located at the bottom of the vertical row of buttons to the right of the terrain). Notice that as you resize the terrain it appears 5 Click the Land Objects button to align the to disappear below the ground plane. then drag to the right to Note that this terrain (Terrain 2) is further increase the size of the terrain.

still holding the Shift key down. Bryce5 35 . 7 In the Editing tools palette. Another selection of preset materials appears. 3 In the Editing Tools palette. click 6 Click the Render button to view your image. 5 Select Terrain 1. 4 Click the triangle icon next to Edit. 3 Hold down the Shift key on your keyboard and click Terrain 2. 1 Select Terrain 2. Planes and Terrains. To change the terrain’s appearance: 7 Click the OK icon to return to your scene. All three wireframes are selected and outlined in red. The wireframe turns red. 4 Exit the Terrain Editor by clicking the OK icon. Lesson 4: Applying Textures The terrains after texture has been applied. To apply a texture: 1 Click the Display Modes button to return to Wireframe display mode. 2 Select Terrain 1. material. overlaid by the Terrain Editor. Now you will apply a material to the terrains and the ground plane. in the vertical list of buttons associated with the selected terrain object). A second terrain 5 In the Material Presets selection panel. to display the Material Presets selection panel. 8 Exit the Terrain Editor by clicking the OK icon. or hit the Escape A red border appears around your selected key to toggle between the modes. If you look at the Nano Preview window (top left). (sixth from the left and the • Click the Display Modes button once to return third from the top) to Wireframe display mode. you'll see that the Desert Rock material 2 Click the Editor button (the E button located has been applied. To switch back to Wireframe display mode: 6 Click Desert Rock. Your screen is 8 Click the Render button. click the Eroded button twice. click the ground plane (Plane 1). click the Smoothing button once. 6 Click the Editor button to display the Terrain Editor.

This displays Positive object. thumbnail. You can add a sky preset to the scene. type of clouds are included in the scene. click Cumulus Object Attributes box. this is the Haze value. click the triangle the shape of the Negative object is cut out of the beneath the Sky Memory Dots. sample file is called Finished Terrain and is located on the CD-ROM in the Manual Tutorials folder. Clouds to deselect it. appearing to push the second terrain farther back in the Lesson 5: Adding a Sky Preset distance. 2 Select one of the terrains. Note that the names of the palettes appear in 3 Holding down Shift. and the ground plane. A Negative Boolean operation requires a Positive To modify the clouds: object (or a Positive group of objects) and a Negative object. To set the landscape as a Positive Boolean To adjust the sky: object: 1 Move the pointer over the thumbnails on the 1 Click the Display modes button to switch to Sky & Fog palette to locate the Haze Wireframe mode. You can also add perspective to the scene by adjusting the In this tutorial. Neutral or Intersect attributes in the 2 From the menu that appears. Otherwise. we'll use a Negative Boolean amount of Haze in the scene. Note that the increased haze value has separated the two mountains. Positive. The 4 Render your scene again. beginning.Creating the Sky The number 1 appears at the bottom left corner of the Bryce window. can use the sample file provided for you. you’ll need a terrain. 36 Tutorial . If you’ve been following this tutorial from the 3 Click the Haze thumbnail. you can load the sample file. you’ve been following the tutorial from the 2 Click Jet Stream. Finished 3 Click the OK icon to add the sky preset. the Sky & Fog options menu. you increase the Haze value to 17. If A selection of sky presets appears. you can use the files you have created. Sky provided for you on the CD-ROM. Objects can be given Negative. All three wireframes should now be highlighted in red. operation to cut a hole out of the ground plane. Otherwise. To add a sky preset: Creating a Body of Water 1 Click the triangle next to Sky & Fog. To complete these lessons. When these are grouped together 1 On the Sky & Fog palette. Lesson 6: Adjusting the Sky Lesson 7: Preparing the Landscape Once you have added a sky preset you can adjust Next you will create a body of water by digging a the appearance of the sky. 2 Click the Haze thumbnail. You can determine what hole and adding some water. drag to the right to beginning. select the second terrain the bottom left of the Bryce window. To complete these lessons you’ll need a terrain. you can use your scene.

4 Click the Object Attributes button (the A This terrain needs to be rotated through 180 button). 4 Click the triangle icon next to Edit to display It is now a negative Boolean object. To create a Negative Boolean object: 2 From the Create palette. called Group 1. click the terrain 1 With Terrain 3 still selected. Object Attributes button to display the Object 3 Click Edit. terrain will now be upside down and your 4 Click the OK icon. then click Negative. 4 Drag until you see either 180 or -180. Attributes box. then click and drag horizontally Terrain 2. Move the pointer 1 Click the Group button (the G button in the over the X or Z axis rotation ring. rotation to be carried out in 45-degree This will group the three objects (Terrain 1. vertical list associated with the selected 3 Hold down the Shift key (this causes the objects). positive. then enable the Positive option. 1 Click Create. 7 Click the OK icon. screen should look like this: Lesson 8: Creating the Interior of the Lake Next you will create a third terrain object—Terrain 3 -and apply the same Desert Rock material as you used before. means that Bryce will ‘cut’ this shape from the ground plane. To rotate an object: 5 Click the OK icon. Grouped with the positive terrains created in the last lesson. and Plane 1) together in a Group on the rotation ring. Attributes button. Next you will make the inverted terrain a Negative Boolean object. click on the object to add a third terrain. To group the terrains: 2 Locate the Rotation tool. 1 Click Edit. 2 Exit by clicking the OK icon. 6 Click Desert Rock. You’ll see the angle of rotation displayed at 2 With Group 1 still selected. click the Objects the bottom left of your screen. increments). To create a new terrain object: An inverted terrain. Bryce5 37 . Then you will rotate the terrain object to create an inverted terrain that will eventually form the interior of the lake. this negative terrain will ‘cut’ a hole out of the ground plane. This the Material presets selection panel. 5 Click Planes & Terrains. The 3 Enable the Positive option. This degrees about the X or Z axis to create the interior makes each one of the selected objects of the lake.

Watch the Nano Preview window to track your progress. When you lower the 2 Click the Group button. the hole ground plane. keep the terrain’s square bottom 3 Click the Render button to see the hole in the above the ground plane. hold down the tune the positioning. You'll notice that the Terrain 3 wireframe is dotted. Your scene in wireframe mode should look A hole in the ground plane like this: To make the interior of the lake bigger: 1 Click the Display modes button to return to Wireframe mode. use the Resize tool to make it bigger and the Reposition tool to fine- 1 With Terrain 3 still selected. 38 Tutorial . To create the lake: 1 Ensure that the Wireframe underground button. since it is now Negative. resized and Positioning the inverted terrain rotated on its own. Shift key and click one of the other terrains to select Group 1 together with Terrain 3. will disappear. 2 Click the Time/Selection toggle. 4 From the list. To group the terrains: 5 With Terrain 3 selected. Terrain 3 should now be the only selected object. to display the selection palette. terrain. 3 Click and hold the Terrain icon on the Selection Palette at the bottom of the screen. Although it is part of a group this terrain can still be repositioned. located in the bottom right corner of the Bryce window. select Terrain 3. otherwise. Watch the Nano Preview window to check the effect you're creating. found on the Advanced Display Palette. is off. 2 Click and drag Terrain 3 until the square base (which is now on top) is just above the ground plane.

6 Click the OK icon to exit the Materials selection panel. This concludes the beginner’s tutorial. 9 Click the water plane icon on the Selection Palette at the bottom of the screen. applied. It covers the whole of your image up 14 Click the Render button to view the final to the bases of the mountains. move the water plane along the Y axis until it is just below the ground plane. Your scene in wireframe mode should look like this: An enlarged hole in the ground plane. 10 Click Edit. 8 Click the Wireframe underground button to display underground lines. 3 Click the triangle icon next to the word Edit to display the Materials Presets selection panel. 11 Using the Reposition tool. 7 From the View Options menu choose From Front. image. 5 Select Waves of Reflection (third row down. 1 Click Create to display the Create Palette. 13 Check the Nano Preview window to ensure 2 Click the Water Plane icon. 4 Click Waters & Liquids from the list of categories. Lesson 9: Filling the Lake Now we'll fill the hole with water. third from left). The waterplane below the ground plane 12 Choose Director’s view from the View Options To fill the lake: menu. A filled lake. Bryce5 39 . that the water plane has filled the inverted A water plane appears with a random material terrain.

The pyramid after the height change 2 Click the Create Pyramid icon. 4 Place the cursor over the upper right corner of the object’s bounding box. This time. adjust the lighting of the scene and finally animate the camera to fly through the scene. Bryce. 1 Click Edit to display the Edit Palette. You’ll work with an imported image. Lesson 10: Creating a pyramid While creating the building’s roof. drag the corner of the bounding box to the right. To create the pyramid: 1 Click Create to display the Create Palette. make the pyramid flatter by reducing its fraction of the controls and procedures available in height. you’ll proportionately enlarge the pyramid. Try different water materials for the lake and 2 Click the upper Y axis of the Resize tool. 6 Drag for three more snaps. you will create an animation of an interior scene of a building with a vaulted ceiling. object’s handles in the scene window. different terrain and plane textures and a different 3 Holding down the Shift key. Pressing the Shift key constrains the change to Creating a vaulted roof regular increments. and should extend off the right edge of the scene window. In this tutorial. The pyramid is enlarged. left. as well as Boolean operations. next to the Object Attributes button (the A button).This tutorial has only touched on a very small Next. slowly drag to the sky—in Bryce the variations are literally endless. You could go further with this image by adding some rocks and vegetation to the To resize and reposition the pyramid: foreground. 5 Holding down the Shift key. you will become familiar with the create and edit controls of Bryce. A pyramid displays 40 Tutorial . Next. The cursor changes to a proportional resize icon. work directly with the A pyramid appears in your scene. The pyramid snaps to a larger size.

needs to be resized and slightly repositioned. unchanged. 3 Click the double arrows at the top right of the 3 In the numerical boxes for the size of the X Edit Palette. The bottom row of options are for changing an To duplicate the pyramid: object’s size. will enter new values for the X (width) and Z A second pyramid appears in the exact place (depth) axes and leave the height (Y) axis where the first one is. click the triangle beneath The next task is to duplicate the pyramid and the Resize tool. The pyramid has changed to a sphere. “cut out” from the pyramid using a Boolean operation. To enlarge the sphere horizontally without affecting the height. enter 125 (for 125%). 4 Click the OK icon to exit the dialog box. A dialog box appears. 4 Drag to the left until the sphere primitive is The sphere expands slightly on the horizontal highlighted. Transformation dialog box. To cut the sphere out of the pyramid. Size is expressed as a percentage 1 Click Edit menu. Eventually the sphere will be 2 Select 3D Transformations from the list. Bryce5 41 . axis while the height remains unchanged. you 2 Choose Duplicate. This The pyramid moves so that the entire object time you will resize the object using Bryce the 3D can be seen in the scene window. you’ll use the arrow keys to nudge the pyramid to a more central position in the Lesson 12: Resize the Sphere scene. the sphere 7 Press the left arrow key four times. 5 Release the mouse button. of the current size. A set of Bryce primitives appears. convert it to a sphere.The enlarged pyramid The converted pyramid Next. and Z axes. To resize the sphere: Lesson 11: Converting the Pyramid 1 On the Edit Palette.

ground. Sphere 1. drag to the left Neutral is selected. 2 Click the upper Y axis of the Reposition tool. That is the default for all slightly until the wireframe is aligned with the Bryce objects. by choosing Director’s View from the View Options menu on the Control Palette. 5 Select the Pyramid by clicking it. The sphere’s wireframe changes to dotted lines. Now. make the pyramid positive. 2 Click the Object Attributes button next to the Lowering the sphere sphere’s bounding box. Its wireframe turns red. so we’ll start with that. The repositioned sphere 4 Release the mouse button. The sphere is selected. 42 Tutorial . drag to the left. you will assign Boolean properties to your objects. Next you will lower the sphere a bit more until Lesson 13: Use the Sphere to Carve Out the next “rung” of the wireframe is aligned the Roof with the ground level. 3 Enable the Negative option. select From Front. Next. click and hold the upper Y axis of the The Object Attributes dialog box appears. The scene changes so that you are viewing the objects from a straight horizontal view. You may have to repeat this step several times to get the alignment exact. Next you will carve out the under side of the roof with the sphere using a Boolean operation. the button for 6 Holding down the Shift key. Under the title. 5 Again. To carve out the roof: 1 Change back to Director’s View. Reposition tool. The sphere drops so that it is half hidden under ground. 4 Click the OK icon to exit the Object Attributes dialog box.To adjust the position of the sphere: 1 From the View Controls menu. 3 Holding down the Shift key.

In addition. You could use the Object Attributes dialog box to make the pyramid positive. with diagonal insets at each corner. The Family dialog box appears. The bounding box changes slightly. Bryce has an easier way. 4 Click the Group button to group the selected objects. type I. This indicates that the object is a Boolean group. 6 Type P (for positive). click the Select Pyramid icon. Your scene should look like the following To group objects: figure. the G button disappears. Bryce5 43 . and a U button takes its place. 2 Click the gray Family button underneath the Object Attributes button. (The U stands for Ungroup) The results so far To create a family group: 1 Press the Esc key to switch back to wireframe mode. its line is still solid. type the letter O. However. To make an object negative. The wireframe of your scene appears. 2 On the Selection Palette. Tip To make it intersect. 1 Ensure that the Selection Palette is displayed. 5 Click the Render button to check your work. click the Select Sphere icon from the Selection Palette. The gray color is selected and the Default Family name displays at the bottom of the dialog box. you must group the objects together. type N. type S. Lesson 14: Creating a Group Grouping objects To make the Boolean effect work. To make it neutral. 3 Holding down the Shift key. The wireframe doesn’t change.

icon. The text display now reads Family 21. position to 35. To create the walls: The wireframe turns red. The wireframe has now changed to maroon. 4 Type the words Boolean Roof. you will create walls for your Attributes button. scene window. The Cube 1 If needed. Lesson 16: Creating the Walls Lesson 15: Moving the Roof You are now ready to create walls to go underneath To raise the roof: your roof with the arched cutouts. 6 Deselect the object by clicking the background of the image. horizon. 5 Click the OK icon to exit the Family dialog box. The family color is changed. however. Change the Y axis roof using the cube primitive.60. select the Group by clicking it in the primitive will be the basis of your walls. 1 On the Create Palette. you will need to raise the roof so that the walls can fit underneath. The bottom of the pyramid is aligned to the A cube appears in your scene. Before doing so. 3 Change its color to an unused color and type the word Wall in the text entry field. The dialog box disappears. 2 Click the family color button to access the Family dialog box. Moving the roof Building the Walls You can also change the position of Note the roof by clicking the Object In this next section.3 Click the bottom left color (maroon). click the Create Cube 2 Press the Page Up key 6 times. 44 Tutorial . and the Family button has changed to the maroon color. 7 Save your scene file and give it the name Rendered Boolean.

1 Place the cursor over the top center point of and 4 for From Front). Notice that the cube’s lower edge is aligned with The scene changes to top view. slowly magnifying glass with a +). The objects appear larger. indicating that You can zoom in for a closer view.Creating the walls View from the top 4 Look at your scene from Top View by choosing the Control Palette. However. (or ~ for Director’s View. Press interior. 5 Click the Zoom In tool on the Advanced Display palette (the Zoom In tool is the 2 Click. the cube’s bounding box. the pyramid’s edge. drag to the left. Bryce is ready to work with the object along the Z axis. the number 2 key. 3 Release the mouse button. To adjust the wall size: 2 for Top View. but less deep Another way to change to top view so that it does not occupy so much of the pyramid’s Tip is to use a keyboard shortcut. View Options menu > Lesson 17: Adjusting the Wall Size From Top . The cursor changes to a Z. Bryce5 45 . 3 for From Right. it needs to be made wider to match the pyramid’s width. and holding down the Shift key. 1 for Camera View. with the selected The cube snaps to half its depth. cube in the center of your scene. 4 Repeat the procedure to shrink the cube to half its depth again.

indicating that 6 Press the Option or Alt key (this will resize the the objects are grouped. Widening the wall. Now you can rotate this group around its center. which happens to be the same as the center of the pyramid. The group snaps first to 45 degrees. and select Wall from the list. 2 Press the up arrow key to align the wall with the opposite side of the pyramid. 10 Release the mouse button. The cursor changes to a Y. 6 Click Edit button to display the Edit Palette. Lesson 18: Duplicate the Walls The U changes to a G. it takes on the Default family color and 8 If needed. 46 Tutorial . To duplicate the walls: 1 From the Edit menu. (as a new 7 Click. 4 Duplicate these walls by choosing Edit menu > Duplicate or by pressing Command/ Ctrl+D. Duplicate this wall to changes to the Wall color. color is gray for Default family. to 90 degrees. the bounding box. and the Family color You now have one wall. drag its points so that it aligns label) correctly. 7 Place your cursor over the horizontal band of the Rotate tool. create the one opposite. and. The cursor changes to an X. The Family button object from the center). entity. choose Duplicate. as you continue dragging. Both walls are selected. 11 Click the Ungroup button. Adjusting the wall size For the next action you will temporarily group 5 Place the cursor over the right center point of the newly created second set of walls. 3 Click the Select Families icon on the Selection palette. then slowly drag to the right. The G button changes to a U. 8 Press the Shift key to constrain rotation to 45 degree increments. A second set of walls is created in your scene. 5 Click the Group button to group the walls. 9 Click and slowly drag in either direction. An identical cube appears in the same place.

right until the walls pop up to meet the 7 Click the Z axis on the Resize tool. To make the walls taller: This new object will become the doorway 1 Make sure the walls are selected. The other resize adjustment must be made looking at the object from Front View. 9 Drag slightly to the right to make the doorway object thicker. then place object. 3 On the Selection palette. 11 Click the X axis on the Resize tool. leaving only your selected objects and the camera. While you’re still in Top View. to Director’s View. 13 Click and drag the top Y axis on the Resize tool to the left. Before starting this lesson. Bryce5 47 . or Command/Ctrl+D. than the wall. To add a door: Creating the door. 12 Hold down the Option/Alt key and drag to the left until the object is about the width in the following figure. it is about the height in the previous figure. click the Solo Mode This will shorten the doorway. 2 Pressing the Shift key. 10 Switch to Front View. All unselected objects (the ground plane and the boolean group) disappear. 1 Switch to Top View. the cursor over the top axis of the Resize tool. bottom of the pyramid. Raising the walls Lesson 20: Adding a Doorway You will make a doorway by duplicating and resizing one of the cubes so that it cuts a Boolean hole through the wall. This view will show more depth perspective. press ~ to switch back 5 Click the bottom wall object to select it. The doorway object must be a little thicker The cursor changes to a Y. 8 Hold down the Option (Macintosh) or Alt (Windows) key to change the size symmetrically. 2 Select the wall objects. Continue until button. 6 Duplicate the object by choosing Edit menu > Duplicate. click and drag to the you will increase its depth slightly.Lesson 19: Make the Walls Taller 4 Deselect the wall objects by clicking elsewhere in your scene window.

48 Tutorial . 4 Press the P key. 7 Click the Family button on the Selection palette to access the Family dialog box. negative. Since this group is part of the Wall family of objects. The wireframe changes to a dotted line. 6 Click the Group button to group them. are selected. to change this object’s Group and Grow the Entire properties to positive. To add Boolean properties: The rest of your scene appears. 13 Save your scene.Lesson 21: Assigning Boolean Properties 8 Select the Wall family. the building needs to be bigger. The The Family button changes to the Wall doorway must be cut out of the wall. The Group The G changes to a U and the family color button is showing. Building 5 Select both the front wall and the doorway by drawing a selection marquee around their Since you’ll be placing objects inside this building centerpoints. including the ground. assign Boolean properties to it. 3 Select the front wall by clicking it. 3 Click the Group button to group these objects. When you enlarge the entire object as a group. changes to Default Gray. The selection bounding box encloses only the pyramid group and the wall objects. After the doorway object is created and sized correctly. 10 Click the Solo Mode button to exit solo mode. 9 Click the OK icon to exit the dialog box. so you’ll need wireframe color. All of your objects. and eventually flying through it with the camera. to make the doorway object negative. it’s a good idea to assign the group to the Wall family. The wireframe turns red. 2 Hold down the Shift key and click the ground Creating a Boolean object to deselect it. 1 Press the N key to make the doorway object 11 Change to Director’s View. You may need to adjust the walls if there is a 2 Switch to Top View. gap between the walls and the roof. 12 Click the Render button. Lesson 22: Grouping the Building To group the building: 1 Choose Edit menu > Select All (or command/Ctrl+A). the individual objects retain their relative size and position.

looking like the following figure. Grouping the building 4 Press the * key twice (Shift+8). 2 Click and drag the Trackball to the right. 5 Click the upward pointing arrow button (located with the group of buttons associated with the bounding box of the selected object). Each time. 5 Drag up on the XZ Camera control until you can see the entire front wall of the building. your group’s size doubles. 4 Place the cursor on the bottom Z arrow of the XZ Camera control. Bryce5 49 . Positioning the building The scene should look like this. The group jumps up so that it is now resting at ground level. To change viewpoint: 1 Place the cursor over the Trackball control on the Controls palette. The scenes rotates counter clockwise in the scene window. 3 Continue dragging until the blue camera wireframe is on the left side of the window and the center wireframe lines of the front and back walls line up in the center of the window. The cursor changes to double crossed arrows. Lesson 23: Change Your Viewpoint of the Scene You need to adjust your viewpoint of the scene so that you can see the entire building. Changing the viewpoint You are now looking through the doorway of the building.

The rendered scene The Wireframe for the merged scene appears in your scene. navigate to the Manual Tutorial folder on the Bryce 5 CD-ROM. To make it easier. 3 Select the scene file called Pedestal Merger. Lesson 25: Adjusting Lights In this next lesson. 50 Tutorial . This image will be merged into the scene you are creating. Lesson 24: Merging an Existing Scene To merge another scene: 1 Select File menu > Merge.Changing your viewpoint. There is now a pedestal with a mirrored sphere on it. 5 Render the scene. The merged scene 6 Save your scene and call it Grouped Building. The next section of this tutorial will incorporate an existing scene file. 4 Click the Open button. There are lights in the scene as Sphere on a Pedestal well. you’ll need to temporarily rid your scene of some extra objects. 2 In the Open dialog. you will make slight modifications to the lights and use Bryce’s tracking controls to make the lights always point at certain objects. To adjust lights: 1 Click the Solo Mode button on the Selection palette to change to Solo mode. and is selected.

Bryce5 51 . 10 Release the mouse button when the tall cylinder turns blue. 11 Drag the light down slightly to the right. Bryce 5 CD. pointing The pre-production phase is where you plan the toward the sphere from this position. The scene in Solo mode 2 Click away from the objects to deselect them 3 Select the lower light. Sequence The light snaps to the ground. 6 Drag the light so that it is located above and You can use either the the scene you created in this to the left of the sphere. 4 Click the Tracking icon (the fourth button down in the group of buttons associated with 13 Render and save your scene. and conduct test renders. 7 Click the Land Object button (the Down arrow button located in the group of buttons Lesson 26: Pre Visualizing and Timing the associated with the selected object). 9 Drag from this light’s Tracking icon to the tall cylinder. The ground. The fourth button down (in the group of buttons associated with the selected object) is Repositioning a light the Tracking icon. sequence of events. or the file entitled Animation-start on the The light remains pointing at the sphere. you will plan the blue. Pre-Production whatever object is underneath the cursor turns In this section of the tutorial. While your mouse button is still pressed. The light is now set to track the sphere. pedestal and sphere. tutorial. the selected object) and drag from it to the sphere object. Then turns blue. you will animate the camera. 12 Click the Solo Mode button to exit Solo Mode. creation of an animation. tweak the animation. 5 Release the mouse button when the sphere You’ll work on some pre-production tasks. walls and building objects 8 Select the light that is located above and to disappear. leaving only the two lights and the the right of the pedestal.

Up until now. let’s assume that this path window. Your scene should look something like this. The camera wireframe disappears from the scene. above the right end of the timeline to scale the through the door. and change the frames per second the doorway. enter 9 seconds in the Duration In this animation. you’ve been working with your scene in Director’s View and in the different orthogonal views. The camera is Drawing the path now located at the bottom of the scene For this example. around the pedestal. then (FPS field) to 10. To plan and time the sequence: 1 On the Controls Palette. 52 Tutorial . For animating you will use Camera View. choose Camera Options menu > Camera to Director. go out through the archway just above the left wall. will take 9 seconds for the camera to travel. so it is now located at your point of view. The blue extends beyond what is visible in the 4 Beginning at the camera’s location. out the left side. circle around the pedestal. Your scene changes to top view. drag the cursor to the right. To set up the Timeline: 1 Choose File Menu menu > Animation Setup . The camera object has moved to the same location as the Director’s View. 5 Press the space bar to remove the marked path. 2 Switch to Top View . Lesson 27: Setting up the Timeline for the Sequence Now that you have decided that the animation will take 9 seconds. Working Window) click the Demo marker tool. the Time Scrubber and Current Time Indicator on the 3 On the Display palette. When you exit the dialog box. the camera will go through section. it is time to set it up and begin animating the camera. drag the Time Working area. You will use the Scale tool mouse to draw a path from the camera. 3 On the Scale tool. The top view 2 In the dialog. (to the right of the Animation palette fill with a blue timeline. and timeline so that you can see it.

05. 5 If the Selection palette is showing. toggle to the Animation palette by clicking the Selection Animation toggle in the lower right corner of the Bryce interface.00. The time reading is 00:00:04. Lesson 28: Setting the Camera Trajectory To adjust the camera’s trajectory: 1 Click the Add Keyframe (+) button to add a keyframe to the beginning of the timeline. The time reading is 00:00:01. Animation palette. you will be dragging and adjusting the actual key position rather Drag to the next position. Ensure that the cursor is a single arrow and not a cross arrow. 7 Drag the Scrubber another three ticks to the 4 Drag the camera to the interior of the room. a camera will move. and a blue trajectory line links the 7 Click the triangle again and select Ticker first point with the new camera location. as right. than the camera itself. 2 Drag the Scrubber three ticks to the right. Do not drag the camera by the blue handle in the center of the camera. 3 Place the cursor over the camera. 4 Continue dragging until you can see the entire blue portion of the timeline. Animate the Camera 6 Drag the camera so that it is on the left side of the mirrored sphere wireframe. 6 Click the triangle on the right side of the Positioning the camera.05. Marks > Every 5 Frames. The trajectory is the line along which the When your frame rate is 10 frames per second.The Scale tool The tick marks move closer together and more of them appear from the right. ticker mark every 5 frames is equivalent to a ticker 5 Drag the Scrubber another three ticks to the mark every half a second. shown. ensure Auto-key is selected. Bryce5 53 . A blue point appears where the camera was just located. right. The time reading is 00:00:03.

the left of the building. the path as shown.00. as shown. the next steps of this tutorial. 54 Tutorial . 9 Drag the Scrubber another three ticks to the The time reading is 00:00:09.8 Drag the camera so that it is on the far side (top) of the sphere wireframe. function. right to the end of the timeline.00. as shown. To ensure that you do not inadvertently create a new keyframe during The time reading is 00:00:07.05. 11 Drag the Scrubber another three ticks to the You’ll no longer need the Bryce’s Auto-key right. you can 12 Drag the camera so that it crosses to the left of deactivate this function. 10 Drag the camera so that it is on the right side of the sphere wireframe. right. Finishing the path Congratulations! You have just created a Yet another camera location camera trajectory to animate this camera. Continuing the trajectory 13 Drag the scrubber the final three ticks to the Another camera location. 14 Drag the camera well beyond the wireframe to The time reading is 00:00:06.

left side of the building. under Track Object mirrored sphere and below the open arch on the Name. trajectory may have some kinks in it. the camera 8 Select the name of the pedestal sphere. 6 Click the Linking tab. sphere. To point the camera: A line extends from the camera to the sphere 1 Toggle back to the Selection Palette by 10 Toggle back to the Animation palette. The camera flies through the space. scene window. Lesson 29: Pointing the Camera Check to see how the camera moves by playing the sequence. name. clicking the Selection Animation toggle in the 11 Click the Play button. all the The camera’s wireframe turns red and the blue while keeping the sphere at the center of the trajectory line appears. and a gray line extends from the camera to the sphere. However. This should select the pedestal sphere in the To view the scene from camera view: merged scene. Bryce5 55 . Attributes dialog box. To play the sequence: • Click the Play button on the Animation palette. 5 Click the Object Attributes button. 3 Save your scene. 4 Click the camera to select it. 16 Deselect Auto-key from the list. 2 Click the Play button to watch the wireframe animation. you will find it in a different pop-up menu in the next couple of steps. sequence. The camera moves along the blue trajectory while the Time scrubber moves from left to right. call it Animation-Rough Cam. You can drag 9 Click the OK icon to leave the Camera’s Object the points of the camera trajectory to reshape it. facing 2 Click and hold the Select Sphere tool. A new panel appears with options for Object Lesson 30: Making Camera Adjustments Parent Name and Track Object Name. The camera moves along the trajectory.15 Click the triangle to the right of the Animation The camera snaps to the right to point at the palette. the camera faces in one direction. The height of the camera fly-through is below the 7 Click the box titled ‘None’. the sphere for the entire duration of the 3 Choose the last sphere on the list that appears. Notice that throughout the animation. lower right hand corner of the Bryce window. Make a note of the sphere’s 1 Switch to Camera View.

Your scene should look like the following figure. 4 Drag the other points up. sequence. camera path. Watch the camera’s movement through the Adjusting the height. Adjusting the camera view 8 Drag the previous key point up so that it is To continue adjusting. notice that the gray line between the camera and the sphere provides a guide for that straight line of sight. 1 Switch to the From Right view. 3 Drag the point on the right up so that it is level with the sphere. 6 Drag the endpoint of the camera trajectory up so that it extends from the sphere through the 2 Click the Zoom out tool. Fine-tuning the adjustments Note that you might need to Zoom out here to see the same view as the image above. The camera ends up at the position you set at the previous step. you will need to look at aligned with that gray line. Your scene should look like the following figure. to see the entire Boolean sphere and beyond the building. The dotted line of the sphere is the location of the open area of the arch. 5 Switch to From Front view.To adjust the height: Zoom out if needed. should look like the one shown. 7 Click the Play button. you’ll adjust the camera’s height so that it is level with the sphere as it circles around it. First. You can use the guide for other placements of your trajectory. The camera’s endpoint Now that the camera is back on the trajectory. 56 Tutorial . except for the first and last. Your trajectory the scene from a different perspective.

Lesson 31: Smoothing the Camera’s 4 Choose the Walls family. 3 Click the Select Families button.Positioning the key point. The trajectory path To smooth the trajectory: Any kinks in the path result from a lengthy tangent interfering with a neighboring point. Smoothing the trajectory is easiest when you Shortening the tangent will smooth out the work in Top View. Bryce5 57 . 1 Switch to Top View. 6 Exit the Camera and 2D Projection dialog box by clicking the OK icon. The points appear. 5 Click the button for Show Tangents. 2 Toggle to the Selection palette. 4 Under Trajectory Options. click the button for Show Always. The camera trajectory now has green lines extending from each point. To see the tangents. 3 Click the Animation tab. The top view 10 Click the Play button to see your animation. 2 Click the Object Attributes button to access the Camera and 2D Options. Trajectory 5 Holding down the Shift key select Pedestal To smooth the Camera’s trajectory. you will need to make them visible. 1 Switch to Director’s View. trajectory line. There is now a much clearer view of your camera trajectory and the tangents extending To display the trajectory options: from each point. the points and work with the shape of the curve 6 Click the Solo Mode button. using the tangents of each point. 7 Click the camera to select it. you will adjust from the Families list. 9 Switch back to Camera view.

The cursor changes to crossed arrows. 6 In the Output Module section. To create a rough animation. 3 Click the OK icon to exit the dialog box. click the Edit button. scene. you need to change the render size of your scene to a smaller image. 14 Click the Play button to view the animation. 13 Toggle back to the Animation palette. settings for this test render.8 Place the cursor over the point with the 2 In the dialog box. At the end of the render. 5 Choose File menu > Render Animation . change the render longest trajectory. Lesson 32: Test Render It’s time to set up a test render of your animation sequence. 15 Save your scene. 13 Switch back to Bryce and save your scene file. A Save dialog box appears. 1 Choose File menu > Document Setup . 12 Click the Play button to watch your animation. resolution to 1:0. 7 Disable the option for Keyframe every 10 frames then click OK. 11 Click the Solo Mode button. Your scene begins rendering each frame. showing the location and name of your movie. A Compression Options dialog box appears. 9 Choose the location and name of your movie. or use the Animation-Smooth Cam scene file from the CD. Congratulations! You’ve created your first Bryce movie! Make sure that you exit the movie player To create a test render: application before you continue the tutorial. 58 Tutorial . 11 Click the OK icon to exit the Render Animation Adjusting the trajectory path dialog box.25. then click and 4 Click the Render button to test render your drag to the right. launches the movie player application. 10 Click Save. 9 Press the T key (for tangent). 10 Reposition any points to smooth out the This dialog box allows you to choose your trajectory line. Continue with the scene file you have Playing the animation been working with. Bryce automatically 12 Switch back to Camera View. 8 Click the Set button. The tangent lines shorten.

sequence (time 00:00:09. 11 Click the OK icon to leave the dialog box. 6 Choose Camera to select the camera (Notice 4 Click the camera to select it. select Path 1 from the 8 Click the Add Keyframe button. The scrubber moves to the beginning of the A new path object appears. trajectory. To work on the timing and velocity of your sequence. pop-up menu of your objects. Lesson 33: Converting the Trajectory to a Path You’ll re-set the key frames for camera motion for the beginning and end of the sequence. spot. Bryce5 59 . 9 Check your animation. 3 Choose Objects menu > Create Path. you will convert your trajectory into a Lesson 34: Creating Keyframes for the single path object. All of the of the camera over the sequence. This The trajectory line went away when the trajectory is good for creating the physical location camera was constrained to the path. Animation palette. one for the beginning and the other for the end. To finish your animation. occupying the sequence (time 00:00:00. which is present in your Converting to a path will allow you to set up two scene. went away with the trajectory.Fine-Tuning Your Animation 10 Click the button next to Constrain to Path. 7 Click the Object Attributes button. by clicking the Play button. The scrubber moves. The scrubber moves to the end of the 5 Click the triangle on the Selection Palette. Your camera should now be located at the end 8 Click the Linking panel.0). 13 Click the Play button. In the beginning. of the path. However. but the camera does not. and you can adjust the velocity without 12 Click the Selection Animation toggle to switch worrying about the placement of a keyframe at that to the Animation palette. same space and shape as the camera 2 Click the Add Keyframe button. you will convert your The blue trajectory line disappears. trajectory to a path. that there is an option there for selecting 5 Click the Object Attributes button. 6 Type the number 100 in the Position box. you used key frames to set the position of the camera. 9 For Object Parent name.0). The Camera and its trajectory line are selected. paths as well). key frames. 7 Click the OK icon. and not necessarily events. Beginning and End of the Path To convert from Trajectory to path: To create key frames: 1 Switch to Top View. 1 Click the Time First Keyframe button on the 2 Select your camera by clicking it. The location information of the trajectory is preserved in the path. 3 Click the Last Keyframe button. 4 Select the camera again. or velocity. the key-framed motion information for the camera points along the path tend to correspond to places.

a complex path. 4 Drag the Scale tool to the right. a Because of the length of the animation. right window changes to show your scene 3 Continue dragging left until the marker is at from the camera’s perspective. Next to the window to the right is a camera 2 Drag the round Current Time display marker icon and a light icon. the entire timeline is displayed. Your camera should be selected. 8 Click the camera icon.) preview window. and the path. you will work in Bryce’s Advanced Motion Lab. in the Velocity Controls section of the timelines is the current time display. The round button at the upper right Additionally. the objects and their timelines are 7 Click the word Position. 1 Click the Advanced Motion Lab button. 60 Tutorial . Lesson 35: Velocity Adjustment The last thing you will do with your animation in this tutorial is adjust the camera’s velocity along the path. To do this. you diagonal line has appeared. Your camera should now move smoothly along The space between numbers decreases. Adjusting the scale To adjust the velocity: The word camera displays in red. The camera’s perspective See how the animation preview and the Adjusting the timeline Velocity area work together. the left end of the timeline. (also known as the Time Mapping curve). The numbers and timeline bars scroll off to the A green light appears and the display in the right. to the left. 6 Click the word Camera. can’t see the entire timeline for this sequence. after a bit. displayed. (It is located 9 Click the Play button under the animation under the preview window. using only two key frames. You now have very smooth camera movement over 5 Release the mouse button. On the bottom half of the Advanced Motion Lab.

The animation plays. name of this test file to Render 2. 3 Switch back to Camera View. through a fair portion of the power of creating and animating Bryce scenes. 7 In the Save dialog box. Lesson 36: Another Test Render Before your test render. change the the current time along the Velocity line. put a little variety in the camera motion. scene or for other tips. Do you see the difference in movement? For your final render. moves faster for Congratulations! You have now created a scene. building through the arches. add “test path” to the 10 Click the slight S-shaped curve that matches name. the one shown. You’ll use one of the preset Velocity curves to 6 Click the Set button. check out the websites under the Links menu. You have walked the motion is swifter. created the camera trajectory. Bryce5 61 . When the curve is steeper. 13 Save your scene file. from the Velocity Controls 8 Click Save. Your animation begins rendering. When the velocity curve is flatter. up your animation. camera converted the trajectory to a path. camera’s velocity on that path. 2 In the Document Setup dialog box. you may render at a larger size. To render: 1 Choose File menu > Document Setup . section. ensure that you are rendering at the smallest ratio: 1:0. 9 Click the OK icon to exit the Render Animation dialog box. or. for fun. while crosshairs mark 5 In the Render Animation dialog. and adjusted the motion is slower. Final Comments Compare the two test animations. try creating a Volumetric World to Velocity curve add drama to those light rays that enter the 11 Click the Play button. The animation begins slowly.25. 12 Click the arrow in the lower right corner to leave the Advanced Motion Lab and return to For additional ideas about how to animate this your scene. set a time and then slows down toward the end. 4 Select File menu > Render Animation. double-check your render settings.

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In Bryce. or to add detail to landscapes. which contains pre-made objects you can add to your scene. and the Preset Objects Library. Some objects use unique editors. others can be created by a simple one-step click. which contains tools for creating objects with a single click. They can be used as props. to populate a scene.4 Creating Objects Objects are the building blocks of your Bryce world. Objects can be anything from terrains to pebbles. there are several ways of creating objects. An object is the most basic item in Bryce. There are two main tools for creating objects. . The Create palette.

To use a Create tool: 1 Display the Create palette. The object appears in the working window.” to create. the object appears in ellipsoid and squashed sphere. The name of each tool appears in the Text Display area as you move your cursor Primitives also have derivative groups (such as the over it. The Triangle icon next to the Create button at the This train is made up of primitive and primitive derivative top of the Bryce window lets you access the Preset objects. Primitives vs. object they create. from which The tools on the palette represent the type of more complex objects are constructed. Objects Library. Procedures can include operations such button at the top of the Bryce window. • Click the Create button at the top of the Bryce window. pyramid. When you click a tool. cylinder. or assigning light properties. which are derived the center of the scene. rocks. plane. as preassigning materials. 64 Creating Objects . 2 Click on the tool for the object type you want to create.The Create Palette Planes Procedurals Primitives Lights The main tool for creating objects is the Create Primitives are basic geometric shapes such as the palette. or “procedures. which allow you to create different shapes without having to perform the To display the Create palette: transformations yourself. from the Sphere). These shapes can be thought of as primary geometric building blocks. Procedural objects are object that require special To open the Preset Objects Library: constructions. Procedural Objects Bryce’s Create palette lets you create two different types of basic object: Primitives and Procedurals. randomizing internal parameters. and disk. symmetrical lattices. torus. let you create all the object types available in Bryce. cone. and • Click the Triangle icon next to the Create Metaballs. such as terrains. trees. This palette provides access to tools that sphere. cube.

By default all primitives are assigned a flat gray color. tori. and 2D • Press Shift and click the primitive tool. instead of This scene shows examples of procedural objects. discs. Bryce5 65 . you can just use the Stretched Cube derivative. cubes. As well as selecting objects using the cursor. To create a geometric primitive: • Click one of the primitive tools: Derivative Primitives Derivative primitives are primitive objects whose shape is “derived” from basic geometric primitives. Creates tori Object Placement Creates cylinders When you create a new object it can be placed in your scene either at absolute world center or at an Creates cubes arbitrary location based on your current view. Derivative primitives were created so that you could skip some of the editing procedures on most of the basic primitives. elongating a cube to make it into a pillar. you Creating Primitives can use the Squashed Cube derivative. Object placement is determined by your preference setting. you need to select it. Bryce’s Selection tools let you select objects Creates 2D faces by type or family. cylinders. You can also cycle through all the objects in your scene. Instead of shortening a cube to make it into a rectangle. Refer to “To control new object Creates pyramids placement:” on page25 for more information. cones. faces. For example. Primitives are the primary geometric building To create a stretched primitive: blocks in Bryce. pyramids. Creates cones Selecting Objects Before you can perform any type of editing or Creates discs transforming operation on an object. To create a squashed primitive: Creates spheres • Press Command/Ctrl and click the primitive tool. You can create spheres.

Selecting By Object Type To add objects to a selection: The Select by Type icons let you select all the • Hold down the Shift key while selecting the objects in your scene that are of a particular type.To select an object: or • Click on any object. • Choose Edit menu> Deselect All. A selected object’s Hold down Command/Ctrl and click an object wireframe will appear red. To select a number of objects: The Selection Palette • Drag a marquee around a number of objects. or of ways. This aids • Press the Tab key until the object you want in dealing with large scenes. You will see a list of all objects under the cursor. For instance. object. By default. objects will be named with the object type followed by a sequential number 66 Creating Objects . selected appears in red. if you click on a sphere here. • Press Command/Ctrl+A. • Drag a marquee around the object. The To select an object within a group: palette is divided into two sections: select by type • Hold down Control/Ctrl and click the desired tools and the VCR controls. • Hold down the cursor over the tool for the All objects underneath the cursor will be type of object you want to select and choose selected. To step through all the objects in your scene: This lets you not only view the selection status of all the listed objects. All of the selection controls below respect the previously described Shift-click techniques for To select obscured objects: multiple selections and deselections. Use Shift to select or multiple objects. The Selection palette is hidden behind the Animation controls in Bryce’s default state. Bryce To remove objects from a selection: will select all spheres and sphere-derivative objects in your scene. but change it as well. or The Selection palette appears. objects behind it will be selected. If the obscuring object is already the name of the object from the menu that selected. To select all objects: The Selection palette has tools for selecting objects in a variety • Choose Edit menu> Select All. 1 Hold down the Shift key and select through To select a specific object by type: the obscuring object. • Click anywhere outside the selected area. object. To display the Selection palette: To deselect all: • Click the Time Selection Palette toggle in the lower-right corner of the Working window. to select or deselect. • Hold down the Shift key and click the selected object. it will be deselected and all the appears.

you can use the large arrows to step to the first sphere created in your scene. or assign textures to objects within a Group without having to first Ungroup them. The VCR Controls appear. All the objects of that type are selected. using the VCR controls to select within a Group allows you to reposition objects. To select all the objects in your scene: 2 Click the smaller backward arrow to step • Click the triangle icon in the Selection palette backward through each object of the type in a selection. For example. To select Group objects: • Click the triangle icon next to the Selection To step forward and backwards through the palette and choose Select Group. To select objects by family: To step forward and backward through the • Click the Families tool and choose the name of object types in your scene: the family you want to select from the menu. • Click the triangle icon next to the Selection If you watch the Select By Type icons. 1 Click on the larger forward arrow to step To select Mesh objects: forward through object types within the • Click the triangle icon next to the Selection current scene. The first object of its type is selected. for example. Refer to “Naming Objects” on page69 for more on naming objects. Sphere 1. 2 Pass your cursor over the right side of the Selection palette. exclude from the selection. objects unique names that will appear in this The Selection palette appears. object in a selected object type: 1 Click on the smaller forward arrow to step To select all objects except a specific type: forward through each object of the type in a 1 Click the tool for the object you want to selection. other spheres in your scene. Bryce5 67 . One advantage to making selections with this tech- The VCR Controls nique is that you can select objects within a Group. based on when you placed that object in the To display the VCR Controls: scene. the palette and choose Select Path. menu. 2 Click the triangle icon in the Selection palette and then the smaller arrows to step through all and choose Select Inverse from the menu. The VCR controls let you step through the various Simply clicking on a Grouped object will not neces- selection tools and activate Solo Mode. you can give lower-right corner of the Working window. 2 Click on the larger backward arrow to step To select Path objects: back through object types. To make it easier 1 Click the Time Selection Palette toggle in the to select a particular object. and choose Select All from the menu. palette and choose Select Mesh. sarily select the entire group. object type you are stepping to will highlight momentarily.

To step sequentially through families: 1 Click the triangle icon in the Selection palette and choose Alternate VCR Mode. The button color changes to Linking. objects. To temporarily remove all unselected objects from the scene: The Object Attributes dialog contains controls for setting the 1 Select an object. Refer to “Animating” on Click the Aicon that appears next to an page319 for more on animating. object. The Linking tab contains controls for setting up Solo Mode speeds up your work significantly. and orientation. more on using the dialog to edit objects. The dialog is where you’ll set up the object’s name. To display the Object Attributes dialog: size. object’s name. position. 2 Click the larger backward or forward arrow. the VCR controls. “Tracking Objects” on page344 for more on tracking. parent-child links and tracking. object’s bounding box. Refer to “Linking as Bryce does not have to calculate and draw Objects” on page223 for more on linking and extraneous wireframe objects. scale. If you’re working on a very complex scene. all the other objects remain in place Refer to “Editing Object Attributes” on page230 for but uneditable. more on motion paths. you can only edit the selected object’s name and display attributes and position. the 2 Click Objects menu> Attributes. 2 Click the smaller backward or forward arrow. The Object Attributes Dialog The Animation tab lets you set the properties of the The Object Attributes dialog lets you set a number object when it is connected to a Motion Path. Refer of properties that determine how the object to “Animation and Motion Paths” on page320 for appears in the Working window. It’s most often used to numerically transform the 1 Select an object. 2 Click the Solo Mode button in the center of The dialog is divided into three tabs: General. and Animation. red.To step sequentially through every object in your scene: 1 Click the triangle icon in the Selection palette and choose Alternate VCR Mode. 68 Creating Objects . The General tab contains controls for setting the In Solo Mode. When you’re animating an object. placement and display quality. dialog is used to control how the object interacts or with its motion path. orientation.

Every object in the scene has a bounding box. The handle will only distinguish a specific object when your scene move along the axis indicated by the letter. You can select objects. but the object will be scaled access to a series of tools that let you edit an proportionally. An object’s name is also used when you’re creating parent-child links and setting up object tracking. object’s attributes. An object’s bounding box lets you see how much space it occupies in 3D space. The name can also help you you’re over a constrain handle. These handles can be used to edit When you create an object. if the cursor changes to a Y. As you pass your should do is assign a name to it. the first thing you the object’s size and orientation. it means that the handle can move in any space it occupies in 3D space. it means that you can use the handle to proportionally scale the object. If your cursor changes to a black box with a right angle. The If the handle changes to a black square with a right box acts like a visual guide that tells you how much angle. example. If your cursor changes to a letter. object’s attributes and placement. An object’s name cursor over the handles. it means that you’re over a constrained control handle.Naming Objects The black points on the edges of the box are called control handles. it changes to display the identifies it in the Working window. For contains more than one object of the same type. it means that Refer to “Selecting Objects” on page65 for more the handle will move only along the Y axis. it means that Selection palette. To display an object’s bounding box: The buttons around the edges let you set an 1 Create an object. using the When the cursor turns into a letter. Bryce5 69 . by name. 2 Click the Aicon that appears next to its bounding box. It also provides direction. information. 2 Select the object. Objects in the Scene You can drag this type of handle to distort the shape of the object. type of control you’re selecting. To name an object: 1 Select an object.

The wireframe casts a shadow on the ways you can view an object: Bounding Box. Shaded ground plane below it.Object Preview When you create an object. The Show Object as Box preview mode displays the object using only its bounding box. Refer to “Wireframe attributes” on page27 for more on Objects appear as wireframes in the scene. As you move the object its shadow follows it along the ground plane. If you move an object below ground. Both shadows and underground wireframes are pre- view options that can be turned on and off. The shadow can be used as Preview. there are three other properties. you can change the display of the objects so that only their bounding boxes are displayed. Bounding Box If you have a large scene and you find that it’s taking too long to redraw the entire scene. the portion of the wireframe that’s below the ground plane is not displayed in the scene. a visual guide to help you determine the object’s position in 3Dspace. they appear regardless of the light sources in thescene. The wireframe represents the structure of the object’s shape. Wireframe shadows do not interact with light. The wireframe gives these features. the shadows can help you see its exact position in the scene. the portion of the object that’s below ground is not drawn. you an idea of the object’s shape and structure. When you have a number of objects. it appears as a wireframe in the Working window. If you move the object below the ground plane. 70 Creating Objects . The wireframe preview lets you see how an object Object Preview Modes looks as it’s being rotated or animated without having to calculate and render any complex surface In addition to wireframes. and Rendered Preview. This can help you avoid placing an object outside the view of the scene.

Attributes dialog. click the Show as Box button. The box can also cast a shadow. 2 Click Objects menu> Show Object as Lattice. 1 Select an object. or Click the Aicon that appears next to the object’s bounding box to display the Object Attributes dialog. The colors The Nano-Preview of the object shows you a small preview of assigned to the object are also visible. Once it is rendered. Shaded Preview Open GL mode performance is greatly increased from an Open GL accelerator card. Object what the object will look like when it is rendered. disable the Show as Box button. surfaces are affected by light sources. you’ll have to object’s bounding box to display the Object render it. objects appear as solids. 2 Click Objects menu> Show Object as Box. Materials and textures are not visible in this mode. The Nano-Preview shows you a small preview of In the dialog. Rendered Preview or If you want to see what the object’s surface looks Click the Aicon that appears next to the like or how it is affected by light gels.You can move the box just as you would a normal object. In the shaded preview mode you’ll be able to see all the objects To display an object as a wireframe: in your scene as solids. Refer to “Setting Up a Render” on page305 for more on rendering and “Display Modes ” on page26 for more on Bitmap Preview mode Bryce5 71 . In this mode. To display an object as a box: 1 Select an object. In the dialog. what the object looks like rendered. but Windows 95/98 and Windows NT® also support software-driven Open GL mode. you can see the bitmap preview of the object using the Bitmap Preview mode. If you want to see the object at full size you’ll have to render it. Refer to “Using the Nano-Preview” on page19 for more on the Nano-Preview.

When you combine these objects in a group. the result is a Boolean object. When you group a neutral object with a Boolean object. you may operations on a number of objects. You can want to change some positive objects to neutral for perform three types of Boolean operations in Bryce: faster rendering. Negative+Positive To see a full-sized preview of the object you’ll need to render the scene. Objects can be Neutral. Negative. A Boolean object is an object created by combining Objects are neutral by default. both objects would remain visible. or Intersecting. Positive. subtraction. as no Boolean operation Creating Boolean Objects occurs. Negative +Neutral If you were to group a neutral object with a Boolean object. and intersection.. no Boolean operation is performed. Boolean objects are created by performing Boolean If you are importing objects from Bryce 2. Bryce uses Object properties to perform Boolean operations. Boolean operations do not have any effect on Neutral objects. 72 Creating Objects . union. two or more objects to form a single object.

Boolean Intersection is performed by combining an Intersecting object with a Positive object. creating a continuous object. when you group a positive sphere with a negative one. The area that is common to both objects is removed. Boolean Intersection is performed by grouping a Positive object with an Intersecting object. For example. The area that is common to both objects becomes the only visible portion of the group.Boolean Operations Boolean Union is performed by grouping two positive objects. Boolean Subtraction is performed by grouping a negative object with a positive object. when you group two positive spheres. For example. The area that is common to both objects is subtracted from the positive object. the resulting object looks like a sphere with a crater. Bryce5 73 . Boolean Subtraction is performed by grouping a positive object with a negative object. resulting in a positive object with negative space. Boolean Union is performed by grouping two positive objects. you get a kind of peanut shaped object which is the union of the two objects.

you can adjust the shape of a exhibit a Boolean operation. The Object Attributes dialog appears. spheres and group those with the tube. 5 Make sure that the second object’s Boolean attribute is set to Positive. compounding Booleans. Suppose you wanted to create a flute. The Object Attributes dialog appears. creating a 2 Click the Abutton next to the object’s simple flute. several negative spheres. bounding box. This sprinkler was created using compound Boolean operations. or press Command-Option-E/ Ctrl+Alt+E. 4 Move the negative object so that it intersects another object. When your scene is rendered. 3 Enable the Negative checkbox. 3 Enable the Intersecting checkbox. or choose Objects menu> Edit Attributes. you could create even more positive object. complex objects. then create several negative 1 Select an object. rendered image or in the Nano-Preview.Negative or Intersecting objects must share space Since Bryce performs Boolean operations using with at least one Positive object in the group to object attributes. does not intersect with any other object in the group becomes entirely invisible. 74 Creating Objects . Negative objects are invisible when group. To create an object that is the intersection of two objects: 1 Select an object. or press Command-Option-E/ Ctrl+Alt+E. the area where By compounding more Boolean operations on top the two objects intersect is removed from the of this simple flute. You would first create the hollow To subtract one object from another: tube by combining a positive cylinder with a negative cylinder. You can edit objects within groups using the rendered. If there is no common Boolean object by repositioning the objects in the space. Solo mode in the Selection palette. You won’t be able to see the Boolean object in the Wireframe You can build very complex objects by preview. 6 Select both objects and click the Gbutton next to the selection’s bounding box to group This simple flute was created by grouping a hollow tube with them. 2 Click the Abutton next to the object’s bounding box. this is because The final Boolean object appears only in the the Intersecting object is intersecting with nothing. Refer to “Selecting Objects” on page65 for more A group that contains an Intersecting object that information. or choose Objects menu> Edit Attributes.

or left to pan the object 4 Click OK to add the selected object to your preview. the object. preview. Objects in the library are either 3Dmodels The new preset will be added to the category or geometric paths. The Presets Object Library appears. The Add Object dialog appears. The library switches to The Presets Object Library contains all the preset the category you selected. Library to your scene: Render With Neutral Sky displays your object 1 Click the Triangle icon next to the Create with a flat sky. Paths” on page88 for more on geometric paths. 2 Click the Triangle icon next to the Create Using the Presets Object button at the top of the Bryce window. your scene and edit them just as you would any object. scene. Refer to “Creating Geometric you select. Normal is the default view of your selected object. The selected object appears in the preview area of Library the Presets Object Library dialog. 5 Set up the preview of the object: 2 Click on the name of a category (to the left of • Drag the preview area to rotate the view of the thumbnails). Boolean. 7 Enter a name for the new preset in the Preset Name field. down. the area where the two objects intersect becomes the only 1 Select the object you want to add to the visible portion of the group.4 Move the intersecting object so that it Adding and Deleting Preset Objects intersects another object. To add an object from the Presets Object Up Close displays a close-up of your object. right. • Hold down the spacebar and drag up. to the selection’s bounding box. Bryce5 75 . 3 Click a category name. To add an object to the preset library: When your scene is rendered. grouping and textural properties of the 6 Select both objects and click the Gbutton next objects placed within it. 3 Click on the preset thumbnails to view preset names and descriptions. • Hold down Command/Ctrl and drag in the The Create palette does not need to be active for you preview area to zoom in and out of the to access the Presets Object Library. 4 Click the Triangle icon in the bottom-right corner of the object preview and choose a You can place objects from the library anywhere in view option from the menu. instead of the sky applied to button at the top of the Bryce environment. The presets library retains all attribute is set to Positive. objects distributed with Bryce as well as presets you add. You can add preset objects to categories in the 5 Make sure that the second object’s Boolean presets library. 6 Click the Add button at the bottom of the dialog. your scene. library.

selected. category folder and displays the categories and 2 Select the category into which you want to presets found in that folder. dialog. default. first available space in the current category. The The Preset Object Library opens that preset Presets Object Library appears. 2 Open the Presets folder. Each preset category can 3 Click the Delete button at the bottom of the contain a virtually unlimited number of presets. To add a preset category folder to the Preset Textures To export a Preset object file: Library. The file open dialog appears. first available space within the current 5 Enter a name and location for the file and click category.8 Enter a description of the preset in the 2 Select the category from which you want to Description field and click the OK icon. This name and description will appear beneath 3 Select the preset or presets you wish to the object preview whenever the preset is export. Importing and Exporting Preset Objects To choose a preset category folder: Importing and exporting presets is a handy way to exchange custom presets with other users. open button at the top of the Bryce window. open the Textures folder. To delete an object preset: Adding and Deleting Preset Folders and 1 Click the Triangle icon next to the Create button at the top of the Bryce environment. The User preset category folder is empty by select a discontinuous set of presets. and click Import. 4 Click the Export button at the bottom of the 9 Click the OK icon. or hold down Command/Ctrl and Bryce. 1 Navigate to the folder where Bryce 5 is 4 Locate the file that you would like to import installed. export presets. Your preset is added to the dialog. To add a preset 1 Click the Triangle icon next to the Create category folder to the Preset Materials Library. Each preset category folder can contain up to 14 preset categories. 1 Click the Triangle icon next to the Create button at the top of the Bryce window. or hold Installed and User. The contents of the file are placed into the 3 Open the Objects folder. import the file. To add a preset category folder to the Preset 3 Click the Import button at the bottom of the Objects Library: dialog. The save file dialog appears. Preset Objects Library appears. Save. 76 Creating Objects . The the Materials folder. • Click the triangle icon next to the preset category folder name at the bottom left of the To import a Preset object file: Preset Object Library and choose a preset category folder from the drop-down menu. Categories The Presets Object Library appears. Bryce comes with two preset category folders: 2 Click on the preset you want to delete. The Installed preset category down Shift and select a continuous series of folder contains the presets that are installed with presets. You can create additional preset category folders and preset categories to suit your needs.

The save file dialog appears.. 4 Delete the preset category folder. select a category in the Preset Materi- als Library. To add a preset category to the Preset Textures Library. all new scenes open with an infinite ground The new preset category will appear in the plane. 3 Click the Export button at the bottom of the dialog. Planes for the purpose of selecting with the 3 Open the Objects folder. It will contain the object you selected before To create a Ground plane: exporting. To delete a preset category folder to the Preset Materials Library. 1 Navigate to the folder where Bryce 5 is installed. 4 Choose the preset category folder you want to add categories to as your save location.4 Create a new folder and give it a name. they are all considered to be Infinite 2 Open the Presets folder. Ground planes are created at ground level. preset category and add or import your own objects. but when your scene is rendered the plane extends infinitely in all directions. By default...but when you render the scene it extends to infinity. open the Textures folder. Selection tools. Ground 5 Enter a name for the new preset category and click Save. select a category in the Preset Textures Library. To delete a preset category folder to the Preset Tex- tures Library. Bryce5 77 . 2 Select a preset object. open the Materials folder. When you create a plane in Bryce it Preset folder names are limited to 8 characters. To add a preset category to the Preset Mate- rials Library. To add a preset category to a preset category When you add a plane object it appears as a finite object in the folder in the Preset Objects Library: Working window. preset category folder you selected. 1 Select a category in the Preset Objects Library. Though procedurally these three infinite planes are different.. appears as a finite plane to make it easier to To delete a preset category folder: position. . The preset category folder and all the preset categories and presets it contains will be deleted. You can delete that object from the • Click the Ground plane tool. The folder name will appear in the preset category Creating Infinite Planes folders drop-down menu. An infinite plane object extends in all directions to infinity.

Materials Library. Once the plane appears in your scene you can edit it like any other object. then click the OK icon. 1 Click the second Triangle icon at the top of the Bryce environment. editing objects. are all Bryce primitives. Use the Water plane to add bodies of water to your To change the Cloud plane’s preset material: environment. Once the plane appears in your scene you can To change the water plane’s Preset Material: edit it like any other object. Ground objects (as well as all other primitive objects) will inherit the texture Cloud assigned to the previous object. 2 Choose a library and material. That way. Cloud planes are placed much higher in your scene. you can easily place a water plane into your scene and immediately see the Once the plane appears in your scene you can terrains peeking out from the water. as Library. You can change this material by 2 Choose a library and material. To create a Water plane: • Click the Water plane tool. 78 Creating Objects . then click the selecting a different preset or creating a new OK icon. Refer to “Using the Materials Presets Library” on page164 for more on the Preset Materials The Ground plane is created with a gray color. Cloud planes are automatically assigned a randomly chosen texture from the Clouds&Fogs Preset Materials Library. The Preset Materials randomly chosen from the Waters&Liquids Preset Library appears. edit it like any other object. Water planes are created just a bit higher than To create a Cloud plane: ground level. Refer to “Editing Object Attributes” on page230 for more on Use the Cloud plane to add clouds to your environment. The Preset Materials Library appears. material. You can change this material by selecting a different preset or creating a new material. Once you begin assigning textures to objects. Use the Ground plane to add ground to your environment. 1 Click the second Triangle icon at the top of the Water planes are created with a water texture Bryce environment. ground and terrains. since they’re generally the highest objects in your Water environment. if you have already created • Click the Cloud plane tool.

Creating Trees In an infinite slab. The To add a tree object to your scene: Volume color plays an essential role in creating • Click the tree object tool. Bryce5 79 . deserts. and color. For example. 3 Click the Aicon that appears next to its You can also control how gravity affects the tree. The realistic look of a water slab depends almost entirely on the material you assign to it. you can customize it To create an Infinite Slab: in the Tree Lab. a terrain object is a height map that it. the thickness and number option from the popup. Once you have a terrain object you can customize it in the Terrain Editor. determines the shape of your landscape. You can import 2 Select the slab. you create water with realistic altitudes and black areas result in the lowest. the OK icon. and positioned throughout your scene. Refer to “Editing Terrains” on page91 for more on editing terrains. The plane has no effect on objects above it mountains. of branches. A randomly generated terrain appears in your scene. islands. randomness. White areas in the image result in the highest create a water slab. or below it. bounding box. anything you place within the slab’s depth will be affected by the slab’s volume color. or even floating cities. shapes that can be assigned materials. The volume. The default tree realistic water effects. an infinite slab can affect objects within In Bryce. The Object Attributes dialog making branches bend and leaves droop to varying appears. Once you have a tree object. appears in your scene. depth. images to be used for the trunk or foliage texture. An infinite slab is a plane object that has They represent the land forms of any scene: depth. Refer to “Volume Color” on page142 for more on Volume Color and materials. When you map. Refer to “Editing Trees” on page119 for 4 Enter a depth value in the Size Y field and click more on using the Tree Lab. textures you assign to the slab’s volume. You can control the size and 1 Click the plane tool and choose the Volume texture of the tree trunk. Bryce creates a terrain’s shape by converting brightness values in grayscale images into a height Slabs are usually used to create water. To add a terrain object to your scene: • Click the terrain object tool. the plane in the scene has depth that affects The tree object tool creates natural-looking tree the objects within it.Infinite Slabs Creating Terrains An infinite plane is a plane object that has no Terrain objects define the landscape of your scene. degrees. shaped. and the type of foliage and its frequency. This means that if you sink an object into Terrain Editor lets you generate the grayscale the water it will be affected by the colors or images that are used to create terrain objects.

For example. Instead of creating symmetrical shapes by duplicating and aligning two halves. Any object To create a Stone Object: that’s symmetrical can be created by painting it’s • Click the Stone object tool. 2 Choose a library and material. The Symmetrical Lattice can be a great timesaving tool. Stones are assigned random textures automatically from the Rocks&Stones Preset Materials Library. using the Terrain Editor. textures to stones. Refer to “Editing Imported Meshes and Stones” on page238 for more information. the results • Click the Symmetrical Lattice tool. shape in the Terrain Editor. The hair dryer in this example was created using a symmetrical Since Stones are essentially clumps of meshes. Refer to “Clipping Terrains” on page114 for more The Stone object tool creates random. changes are applied to the mirrored half.Creating Stones duplicated for you. the corresponding Use the Symmetrical Lattice tool to create symmetrical objects. if you assign a flat texture with no bumpiness to a Stone. The Preset Materials Library appears. realism is highly dependent on the textures To create a Symmetrical Lattice: assigned to them. Creating Symmetrical Lattices A Symmetrical Lattice is a terrain object that has a mirror image of itself fused at its base. won’t be very Stone-like. To change a stone’s preset material: 1 Click the second Triangle icon at the top of the Bryce environment. materials and positioned throughout your scene. and can be smoothed or unsmoothed using the Select Mesh dialog. you just need to create one half of a lattice and your object is 80 Creating Objects . Many advanced types of objects can be created using the symmetrical lattice object. Symmetrical Lattices are edited as Terrains. natural- looking Stone shapes that can be assigned information. Try to assign rocky . When you modify one half of the lattice. Stones objects are mesh based. then click the OK icon. Refer to “Using the Material Preview Area” on page163 for more on assigning textures. their lattice object.

the more they will resemble distinct spheres.Creating Metaballs Also new to Bryce are Metaballs. Metaballs appear as distinct spheres in Wireframe view and are blended together when rendered. of differing materials. Creating a Pict Object A Pict Object is a 2D picture that is applied to a 2D finite plane. You can blend Metaballs of different sizes. a new object type found on the Create palette. For example. Metaballs are spheres that blend into each other based on proximity. two spherical Metaballs. simply place the Metaballs close to each other. Metaballs let you quickly create fluid shapes that For Metaballs to blend smoothly. it disappears. This gives you more control over the resulting shape. The farther apart they are. To see how the Metaballs will blend together. you can create a wide variety of realistic-looking shapes. The object is basically a picture on a frame. you can squash or stretch a Metaball. you will not get a smoothly When you are in Wireframe view. meaning that it has no depth. You can also change the shape of Metaballs in your scene to get different effects. With Metaballs. Bryce5 81 . Two oval Metaballs are spheres that blend into each other based on Metaballs will give you a different blend result than proximity. The closer together they are. If you view it from the side. If you blend two Metaballs with to create using primitives and Boolean operations. the more they will blend into each other. they must have are otherwise time-consuming or even impossible the same material. changing the surface area that blends into nearby Metaballs. To blend Metaballs. The Frame is a 2D plane. you must either look at the Nano-preview or render the image. Metaballs are blended result. represented as simple spheres.

. Refer to “Alpha Channels” on or page84 for more on Alpha channels. • In another application. second box.Using a Pict Object is a quick way of creating very complex-looking objects. Alpha channel. This object was created using a 2D Pict Object. • Click the Combination Load button. A good way of ensuring that your 2D Pict Object 2 Click an image square to load an image. The Alpha channel of the object can be used to create transparencies in the Pict Object. This is what the car image looks like with and without an alpha channel applied. Paste button. Alpha Channels and Pict Objects • Use the dialog controls to locate the The picture you use as a Pict Object must have an picture you want to use and click Open. For example. copy the picture The alpha channel of your Pict images will allow you want to use to the clipboard.. To create a Pict object: 1 Click the Pict Object tool or any empty square however. you to specify visible and invisible portions of your • Access the Pictures dialog and click the picture texture. which gives a more realistic look. never appears distorted is to have it track the camera. The Pictures dialog appears. Refer to “Tracking Objects” on page344 3 If the image you want is not in the library: for more on tracking.. very obvious. The shadow cast by the image will be in the shape of the picture’s alpha channel. 82 Creating Objects . if you move the camera. The only limitation is that you can view them from only one angle. you can clip out a picture’s The picture is loaded into the first image box background so that only the main object in the and its alpha channels are loaded into the picture is visible. the 2D nature of the object is to open up the Pictures dialog. so the front of the Pict Object must always be facing the camera. The load image dialog appears.

When you use a picture as a material component. Pictures can be used in several ways in Bryce. Bryce creates a 2D plane and maps the image the image is applied to a material channel. When you use a picture as an object. Working with Pictures Refer to “Applying Gels” on page284 for more ongels. the main image is loaded into the first box. Refer to “Creating a Pict Object” on page81 for more on creating 2D Pict Objects. Bryce5 83 . They can be used as 2D Pict Objects or as components in materials or gels. it is applied to a 2D plane and appears as an object in the Working window.When you load a new picture into the Pictures dialog. its alpha channel is loaded into the second box. the image is placed in front of the light and appears as a projection. on working with Materials. and the combination is loaded into the third. The Pict Object is created its values are used to drive the value of the channel. When you use a picture as a gel. You can invert the alpha channel by clicking the invert button This is what a picture looks like when it is used as an object. 4 Click the OK icon to exit the dialog. This is what a picture looks like when it is used as part of a When you exit the picture dialog. with the same aspect ratio as the original Refer to “Applying Materials” on page127 for more picture. material. the image is mapped onto a 2D plane and placed in your scene. where onto it as a texture.

Alpha Channels Every image contains a number of channels that store data about the makeup of the picture. the alpha channel can be used to determine everything from the bumps in a material to how a The most common use for alpha channels is to surface property is applied on an object. instance. Refer to mask the contours of a 2D object. then unwanted cats and mail carriers in pictures have an alpha channel. 84 Creating Objects . separating it “2D Textures” on page146 for more on using from any unwanted background information. The Picture Library The Picture Library stores all the images available in Bryce and can be used to catalog pictures. “mask. colors. With Mask The channel is like a grayscale map that This example illustrates how the Alpha channel mask is used to accompanies an image that is used primarily as a eliminate the unwanted areas of an image. In this case computes areas that are white (appearing opaque). You can store and import any number of pictures in the library that your system memory and disk space will allow. For instance. you may import a picture of a dog. the original picture’s background will not be seen in your rendered image.” Areas in the alpha channel that are black (appearing transparent) are ignored by the Bryce as In Bryce. or bump information. you’ll need to make sure that all the as black. channels can contain masks. Without Mask This is what a picture looks like when it is used as a gel. Bryce recognizes and picture is a component in a material. Alpha channels are also used when your it computes the picture. The alpha channel of an image is its first channel. For pictures in a material. If you have created an alpha channel “mask” describing If you want to use the picture in the library for multi- the area of the dog as white and the “non-dog” area ple purposes.

library. The library nel Preview Image automatically opens. Editor: If there are a large number of pictures in the 1 Select a light source. and Combined preview windows. The Light Editor appears. The picture the editor. Combined • Click the Pict Object tool. Bryce5 85 . the second window displays the own custom library. its alpha channel. To display an image in the library: 3 Click the 2D Texture button at the bottom of • Click on the picture’s thumbnail. The Materials Lab thumbnails that display a small preview of each appears. and the of the three preview windows. Pictures can be loaded into any alpha channel associated with the picture. slot. The method you use depends on how you’re going to use the image. If you want to add a third displays the resulting picture after the alpha new picture to the library.There are two ways of accessing the Picture Library. the last preview window. The first window displays the You can load pictures into the library to create your current picture. 2 Click the Micon that appears next to the Below the three preview windows are the picture object’s bounding box. When you load 3 Click on one of the columns in the grid to images. The library appears. A default picture appears in the window. the Combined Image window. Alpha. picture in the library. you need to load it into channel is combined with the picture. you can use the scroll bar to scroll through 2 Click the Eicon that appears next to the all the thumbnails. they are added to the first available gray activate a component window. To access the Picture Library from the Create palette: RGB Image Alpha Chan. and the result of combining the two. The Picture Library appears. The three most prominent items at the top of the Loading Pictures Into the Library library are the RGB Image. 5 Click the Pink button at the top of the window. The three windows at the top of the editor display the RGB Image. The thumbnails below the preview windows represent all the To access the Picture Library from the Light pictures available in the library. 4 In the window. click the Pbutton in the bottom-left corner. object’s bounding box. The gray thumbnails represent empty slots in the library. To access the Picture Library from the Materials Lab: Picture Thumbnails 1 Select an object. and its associated alpha channel appear in the three preview windows at the top of the Previewing Pictures dialog.

When you load a picture into the second window. 1 Click the thumbnail of the picture you want to and Blue) color information. The areas of the picture that To replace the Alpha channel information in a are transparent appear as a checkerboard pattern. When you copy and paste into the first window. 86 Creating Objects . The picture appears in the first preview you’re loading only the picture’s alpha channel. the resulting image appears completely picture. The Load dialog appears. If your picture doesn’t have an alpha channel. The alpha channel determines which portions of the picture are visible. The Alpha channel you load does not have to necessarily match the image. You can create some Copying and Pasting Pictures interesting clipping effects by combining different alpha channels and images. The picture’s thumbnail appears in the picture slot. white. window. only the color information is pasted into the RGB In this example. The picture’s alpha channel appears in the first preview window. 3 Use the dialog controls to locate the desired image and click Load. The picture loaded into the first preview window 2 Click the Load button on top of the RGB Image replaces the currently selected picture in the window. so you’re replacing a picture in the library with the picture you’re loading. Green. into the Alpha Channel window. If the picture does not have an alpha library where you want to load the new channel. The Load dialog appears. To replace the RGB information in a picture: you’re loading only the picture’s RGB (Red. picture: 1 Click the thumbnail of the picture you want to replace. the black and white alpha channel appears in the window. The Load dialog appears. the image was combined with a different alpha window. To load a new picture into the Library: Every picture should have an alpha channel 1 Click the picture slot in the bottom of the assigned to it. When you load an image into the Alpha Channel window. channel to create a new clipping effect. you’re pasting only RGB color information.When you load a picture into the first window. replace. library. so if you copy an image from the Combined window. This way your pic- ture won’t appear completely opaque. 2 Click the Load button on top of the Alpha Channel window. 3 Use the dialog controls to locate the desired image and click Load. you 2 Use the dialog controls to locate the desired can copy the image from the RGB Image window image and click Load. Copying and pasting in the Picture Library works differently for each of the three image windows.

you’re working with only the Alpha Channel • If you paste it into the Combined Image information. As information only: well. any changes you make in the RGB • If you paste the image into the RGB Image Image window affects the selected image. window. To delete a picture from the library: • If you paste it into the Combined Image 1 Click the thumbnail for the picture you want window. only a 1 Click the Copy button below the RGB Image portion of the image may be used. the RGB image becomes a new to delete. it appears as a color image with window. 1 Click the Copy button below the RGB Image window. Deleting Pictures 2 Click the Paste button below the window When you delete a picture. window affect only the selected image. you’ll get an RGB representation of the alpha channel image. The alpha channel information is picture: placed in an empty slot in the library. any image pasted into this window creates a 1 Click the Copy button below the Alpha new picture entry in the library. 2 Click the Paste button below the Combined When you paste a picture into the Combined window. so any image you paste into this window. black and white). window. To create a new picture using RGB color When you copy an image from the Combined information only: window the entire image is placed on the clipboard. Depending on where you paste it. Bryce5 87 . Channel window. Channel window. 2 Click the Paste button below the Combined To copy and paste RGB information in a window. The RGB information is placed in an empty slot in the library. 2 Click the Delete Pict button. an RGB representation of the window will appear as an alpha channel image (that alpha channel is placed in an empty slot in is. transparent and solid areas. When you copy and paste into the second window. an RGB representation of the alpha channel is placed in the window. image information (including color and alpha • If you paste the image into the Alpha channel) from the library. So if you paste a picture copied from the To create a new picture using Alpha channel Alpha Channel window in this window. All pictures are treated as color. 1 Click the Copy button below the Alpha Channel window. 2 Click the Paste button below the window where you want the Alpha Channel information to appear. Any changes you make in this the library.As with loading. it is desaturated and used as an alpha channel. To copy and paste Alpha Channel information To delete all pictures from the library: in a picture: • Click Delete All. you remove all the where you want the RGB image to appear. entry in the library.

The Save dialog appears. 2 Enter a name for the list and click Save. So their trajectory is Picture Lists controlled by the shape of the path. any other object. position. This means that all the areas that were path for other objects. Geometric paths can be edited just as you would You should also use a picture list to store any pic- tures you’ve used as part of a material. A Picture list can be used to store all the pictures used in a given scene. but they can’t move off it. You can There are several Pict texture List files provided as also edit a path by dragging its control points. This way. To invert an alpha channel: Objects can move along the track but they can’t • Click the Invert button above the Alpha move off of it. You can think of these paths as railroad tracks. A Picture List is a file that contains a group of You can control how an object is constrained to the pictures. 88 Creating Objects . The Invert button swaps all the black and white values in the alpha channel. This can be very useful if you want a number of objects to move along the same trajectory. channel window. appear in the library. of pictures you use most often. create predictable and repeatable motion. The pictures in the list you can have more than one object attached to it. or to store a series path using the options in the Object Attributes dia- log. or scale the path using the tools in the Edit palette. way you can change the geometry of the paths as well as the trajectory of any object attached to it. 2 Use the dialog controls to locate the desired The other great thing about geometric paths is that list and click Open. Objects attached to a geometric path can move to any point along the path. To open a picture list: Geometric paths are especially useful when you are 1 Click the Open List button at the bottom of creating motion animations. The Open dialog appears. as they can help you the Picture Library. Name the list the same as the scene. You rotate. This samples for your first excursions. To save a picture list: 1 Click the Save List button at the bottom of the Picture Library. render as objects. specific scene. Geometric Paths do not transparent now become solid and vice versa. The motion of you can easily find the list that belongs to a each object on the path is constrained by the shape of the path.Inverting the Alpha Channel Creating Geometric Paths When you invert an alpha channel all the black areas become white and the white areas become A geometric path is an object that acts as a motion black. You can attach multiple objects to the same path.

To convert a motion path into a geometric path object: 1 Select an object with a motion path. this caterpillar is made up cylinders all attached to Bryce can open many different file formats.Objects that are attached to the same path can be path. they can also be attached to other paths. scene. and some are at the end. if you can think of orbiting a planet which is also orbiting the Sun. So object may appear to tilt differently as they follow the same trajectory. • Choose Objects menu> Create Path. as though the body is slithering. So. see “Using Bryce with Other You can also align objects differently to the same Applications” on page363. Some very complex types of motion can be created using this technique. For example. A path object with the same shape as the path you selected is created. To link an object to a path: 1 Select the object you want to attach to the path. some trains are at the beginning of the track. 3 Drag the linking control handle from the object to the path object. the same path. To create a geometric path: others are in the middle. All the object attached to the path will have the A default-shaped path object appears in your same trajectory. the objects as different trains on the same track. All the objects attached to a path have the same trajectory. you can simulate the motion of the solar system by attaching an object on a circular path to a circular geometric Bryce5 89 . For example. For instructions on importing files as well as a list of all import formats. so it looks including files created in previous versions of Bryce. 2 Move the cursor over the Link icon that appears next to its bounding box. Since geometric paths are objects. The object on the circular path would act like a moon animated at different rates. but Importing Objects they can move at different rates. path. but they’re moving at different rates. 2 Choose Objects menu> Create Path.

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it temporarily replaces the screen and displays the current terrain in a two- dimensional preview and a three dimensional preview.5 Editing Terrains The Terrain Editor can be used to generate a grayscale image that is converted into a terrain object. It can also be used to edit an existing terrain. you must have a terrain object in your scene. or importing a picture. . Creating terrains in the Terrain Editor is a two- step process. painting an image using the paintbrush. use the Terrain Editor’s filtering tools to fine-tune the grayscale values in your terrain. To access the Terrain Editor. Using the Animation controls available at the bottom of the editor. The height map that was used to create the terrain is displayed in the Terrain Canvas. you can change the shape of your terrain object over time. You can also animate the creation of a terrain. Then. When the Terrain Editor opens. generate the source of your terrain image by using the preset effects. First.

Some of the Elevation tools can produce unpredictable results when they’re animated.then you’ll be able to see where you will need to combine more landscapes by combining several terrain objects. This gives you Animation and Terrain Editing more resolution and a more realistic-looking effect.. You can also create a terrain by importing a picture into the editor. Then you’ll be able to see the scene. or you can import an image into the editor. When you generate a terrain. You can create complex . Before creating terrain objects.. Terrains that are closer to the camera where different terrain objects might be combined need to be more detailed than those off in the to create a single land mass.. You can record the process of creating a terrain into an animation using the Animation controls. which include dozens of effects optimized for the purpose of heightening realism in Bryce terrains. keep in mind the kind of landscape you want to create. You don’t have to create all the land in your scene as a single terrain.. Refer to “Animating” on page319 for more on animating terrains. distance. Creating Landscapes When you’re planning the shape of your terrain. The picture is converted to grayscale and used to generate altitude values. If you have more terrains in your scene. You can let the editor do all the work of generating a terrain based on a series of algorithms. 92 Editing Terrains . so you may want to experiment with animating elevations before you create your final terrain. When you paint a terrain you use the editor’s grayscale paintbrush to paint a topographical image. Before you start creating terrains you should map out all the land masses in your environment.Creating Terrains You can create terrains in several ways. plan out the entire Pay attention to where the camera is positioned in map of your landscape. you can use the editor’s painting tools to create a custom image. The image is then converted to a terrain object. you use the Terrain Editor’s Elevation tools. you’ll have a bigger scale for the environment. than one terrain to create a specific type of landscape.

Bryce5 93 . • Paintbrush tools — let you adjust the 2 Click the E icon that appears next to the paintbrush terrain object.The Terrain Editor workspace Paintbrush controls Terrain Canvas 3D Preview Animation controls Editing tools Features of the Terrain Editor • Animation controls — let you set up key frames for animating the terrain The Terrain Editor is divided into five sections: • Editing tools — let you generate and edit the • Terrain Canvas — displays the grayscale image terrain’s height map used as a height map • 3D Preview — displays a three-dimensional To open the Terrain Editor: preview of the terrain you’re working on 1 Select a terrain object in your scene.

The Terrain Canvas is Across the bottom of the Terrain Canvas tool area. Export lets you save a terrain in a variety of file Flat Preview is the default preview type. the preview updates to show the Visible Brush lets you turn the circle of the result of your changes. As you edit the five preview sizes. terrain. The 3D Preview has several options that control Solid applies volumetric materials to the how the preview updates and displays. The right side of the Terrain Canvas tool area contains a gradient strip and bracket for clipping Terrain Canvas operations. terrain image. or choose Objects menu>Edit Object. To access a tool in the Terrain Canvas: • Click the menu icon at the top right of the Terrain Canvas. palette. • Click the triangle icon in the top right corner Smooth allows a smooth rendering of the of the 3D Preview and choose an option from terrain. where you paint the height map for your terrain. and then click the Edit Terrain tool. of the Terrain Canvas and choose an option from the menu: 3D Preview Set Preview Size lets you change the size of The 3D Preview displays a terrain object based on the Terrain Canvas frame. or click the Edit text button to open the Edit controls for color mapping. You can Color to Terrains” on page113 and “Clipping think of the Terrain Canvas as a top view of the Terrains” on page114 for more on these tools. Even if you are not using volume materials. the terrain is the menu: faceted. four preview sizes. and the Brush Mode selector. You can choose from diffuse color. You can also access a number of tools in the Terrain Canvas. you see a basic rendered preview of into another 3D application or a different the terrain using a plain grayscale material Bryce scene. terrain object you’re creating. the Zoom Area control. you will find a Brush Mode selector and the Zoom Area controls. 94 Editing Terrains . the bracket. In the bottom right corner. In Flat formats. If this is not selected. this selection causes the material to To set 3D Preview options: render as a solid. you will The Terrain Canvas displays the grayscale image find controls for color mapping. or press Command/Ctrl+E. Refer to “Using the paintbrush” on To set Terrain Canvas options: page106 and “Using the Zoom Area” on page98 • Click the triangle icon in the top right corner for more on these tools. with basic shading and lighting. You can then import a saved terrain Preview. You can choose from the image in the Terrain Canvas. brush on and off. The Terrain Canvas tool area will open up. Refer to “Adding that is used to create the terrain object. including the gradient strip. Set Preview Size lets you change the size of Keep Gradient makes the gradient the terrain’s the 3D Preview frame.

Use Command/ Paintbrush has feathered edges and will blend more Ctrl+W to toggle in and out of this mode. Dragging towards the center increases the hardness of the Paintbrush. To rotate the terrain preview: To change the paintbrush hardness: • Click and drag the preview object in the direction you want to rotate the terrain. control. The Paintbrush controls let you select the size. as well as control the resolution of the grayscale data. and level of the Paintbrush. while dragging Paintbrush controls away from the center makes the Paintbrush Although you can create some very spectacular softer. Realtime Linking connects all terrain editing to the 3D Preview. The Paintbrush size control lets you select the size while dragging right increases the flow. specific contours. flow. The Paintbrush hardness control lets you choose how hard to make the edges of the Paintbrush. you can see your terrain object from different angles. hardness. terrains using just the elevation tools. Dragging left decreases the flow. providing a more gently The preview of your terrain can be rotated so that sloping effect. you can re-create real-world of the grayscale value being applied by the topographical maps or design landscapes with Paintbrush. including any materials you • Drag left or right over the Paintbrush size have applied. size. Clicking anywhere will return you very vertical effect such as a cliff edge. The 3D away from the center increases the Paintbrush Preview updates as it turns. A soft to the main Terrain Editor. with the existing terrain. Dragging towards the center Auto Rotate sets the 3D Preview to rotate decreases the Paintbrush size while dragging when it is in Flat Preview mode. A RIP To Screen displays a full-screen preview of hard Paintbrush has sharp edges and will create a your terrain. there are times when you want to create a precise Terrain Paintbrush flow Canvas. The Terrain Editor’s Paintbrush lets you paint any type of terrain you wish. Using the The Paintbrush flow control lets you set the density Paintbrush. Every change you make is Paintbrush hardness applied simultaneously to the Terrain Canvas and the 3D Preview. • Drag left or right over the Paintbrush hardness control. To change the Paintbrush flow: Paintbrush size • Drag left or right over the Paintbrush flow control. of the Paintbrush. Bryce5 95 . Rendered Preview displays a fully rendered To change the Paintbrush size: view of the terrain.

The tools associated with the Paintbrush controls and choose a that tab move to the front.Paintbrush level Animation Controls The Paintbrush level control lets you set the The Animation controls at the bottom of the editor grayscale value of the Paintbrush. A small red dot in the middle of the The Animation controls let you create key frames for the terrain control indicates the current level. higher resolution values also increase the Using Terrain Editor Tools rendering time for your scene and require more The Editing tools are organized in three tabs: memory. but in fact they remain proportional to or operation to the terrain gradually or at 100%. so you can animate the terrain editing process. • Pictures — contains tools for importing a picture to use as a height map. or where detail is not so important. 96 Editing Terrains . Darker values let you create key frames for your terrain. lower resolutions are more appropriate. By default. The higher the resolution. the size of the Terrain Canvas. The Timeline that runs along the bottom of the Grid selector editor displays the length of the animation. The terrain’s resolution determines the amount of detail in your terrain. For terrains that are far away. and applying effects. These dots let you apply an effect resolution. Elevation tools are in front. • Elevation — contains tools for generating The highest resolutions should be reserved for terrains. Any produce lower terrain while lighter values produce change you make to the geometry of the terrain higher terrains. can be stored in a key frame and animated. the more detail appears in your terrain’s surface. The buttons in the Animation controls let you preview the animation. The The grid selector controls the resolution of the Current Time Indicator within the timeline lets you set the current time of the animation. Most of the tools in the Terrain Editor are displayed Brush sizes may appear to vary depending on your as control dots. grayscale data in the terrain. Current Time Indicator Preview controls To change the Paintbrush level: • Drag up or down over the Paintbrush level Key Frame controls control. However. The buttons beside the Preview controls let you add and delete key frames from the Timeline. To set the Terrain resolution using the Grid selector: To access a tab: • Click the Grid selector icon at the bottom of • Click the tab label. gray levels in your Terrain Canvas. terrains that are very close to your camera or where • Filtering — contains tools for fine-tuning the detail is important. the resolution from the menu.

use the New The black areas in the Terrain Canvas button. using the Undo button. 2 Click the Invert button. The last operation you applied is undone. the effect in 100% increments. the • Click and drag to the right over the Invert terrain you selected in the Working window button. You can reverse any effect you apply to your terrain 2 Click the New button. Eroding Terrains Erosion simulates the effects of water erosion on Many of the effects in the Elevation tab require gray. appears in the Terrain Canvas. drag over the control dot. click the Undo button. If you apply these effects to a black map rainfall and runoff based on the shades of gray they may have no effect. Undo and Redo by clicking the Undo button repeatedly. flat Terrain Canvas. Bryce5 97 . over relatively short periods of time. A flat black image appears in the Terrain Canvas. To create a new Terrain Canvas: Undoing Operations 1 Click the Elevation tab. If you want to begin with a new. progressively turn white. To invert your terrain image: Clicking a tool more than once applies 1 Click the Elevation tab. click and Ctrl+I. The Terrain Canvas is reset to the terrain that To simulate the effects of centuries of erosion. • To apply an effect or operation at full strength. when you open the Terrain Editor. or press Command/Ctrl+Z • Click and drag to the right over the New button.To apply an editing tool to the Terrain Inverting Terrains Canvas: Since the Terrain Editor uses brightness to 1 Move the cursor over the tool you want to use. This effect works best on terrains that have large sloping areas. You can toggle between or press Command/Ctrl+N. your terrain objects. To undo operations in the Terrain Editor: To gradually flatten your terrain: 1 On the Elevation tab. like decades. The existing Terrain Canvas gradually fades to black. To reset your terrain: The Erode button simulates the effects of erosion • Hold down Control and click the New button. you can change mountains into 2 Do one of the following: canyons by inverting the black and white values in your image. or press Command/ • To apply an effect gradually. All the black areas of your image become white and white areas become black. use appeared when you first opened the editor. determine altitude. click the control dot once. the Eroded tool. The calculations simulate scale values. Starting a New Terrain To gradually invert your terrain image: By default. progressing towards black.

only a small portion arrowhead cursor. erosion. This is the same terrain after the Erode effect is applied. You can see how the surface now contains tracks created by running To move the Zoom area: water. The 2 Drag away from the center of the marquee to 3D Preview displays the zoomed-in portion of your enlarge the Zoom Area. or towards the center Terrain Canvas. Canvas in the 3D Preview. Notice that this image map has sloping areas that will Use the Zoom Area to see a close up of an area in your Terrain make the erode effect more visible. in fact this is a nice way to paint in the Terrain Canvas while previewing a small section in the 3D Preview to observe details. This toggles a marquee on your Terrain Canvas. You can always paint while the Zoom Area is active. small variations in the surface of your terrain. of your terrain is displayed in the 3D Preview. The pointer changes to a hand tool. 98 Editing Terrains . You can use this feature to see to shrink the area. The pointer changes to an When the Zoom Area is active. To resize the Zoom area: 1 Move the pointer over a corner of the Zoom Using the Zoom Area Area marquee. 2 Drag the marquee to an area in the Terrain 2 Click the Erode button. To gradually apply Canvas. click and drag while the pointer is over the Erode button. To turn the Zoom Area on or off: • Click the Zoom Area button in the Terrain Canvas tool area. 1 Move your pointer over an edge of the Zoom To erode terrains: Area marquee.This is what a terrain looks like before you apply the Erode effect. The Zoom Area can be moved to any point on your Terrain Canvas. 1 Click the Elevation tab.

and Special Effects add realism to your tool produces good basic terrains. 100% of the effect is applied to the Terrain Canvas. For Eroded example. • Click the Crop button below the Zoom Area Most elevation effects can also be applied button in the Terrain Canvas tool area. or click and drag to the right to decrease it. The Eroded tool is a more define the basic shape of your terrain by blurring intense version of the Erode tool. and Special Effects. then create realistic ridges This tool applies natural erosion to your terrain.To scale the zoom area to fill the Terrain 3 Click the tool again to increase the intensity of Canvas: the effect. the edges. terrain’s surface. creating existing image. material is actually added to the terrain. pointer changes to a two-headed arrow. Source Generators create basic terrain surfaces. The the Terrain Canvas. The tools are divided into three categories on the tab: Source Generator. The Fractal tool produces terrains based on fractal patterns. You can also gradually apply Mounds or adding Cross Ridges. This terrain. it can be applied gradually. The rest of the Terrain Canvas is filled with black. 1 Click the Elevation tab. From there you can can be applied to either a blank image or an fine-tune your terrain by applying Spikes. You can create a terrain by combining effects. Basic Tools. you can start off creating a basic terrain using the Fractal tool. To fit the contents of the Terrain Canvas into Fractal the Zoom Area: The Fractal tool creates terrains based on fractal • Click the Fit text button below the Zoom Area patterns. The entire contents of your Terrain Canvas are scaled down to fit into the Zoom Area marquee. gradually. Elevation Tools The Elevation tools are preset effects that apply calculations to your Terrain Canvas. It by applying the Erode tool. not To use an elevation tool: removed from it as you might expect. Notice that when animating this type of terrain. It can be applied to an existing image and button in the Terrain Canvas tool area. The Zoom Area contents replace the existing contents of 1 Move the pointer over an Elevation tool. Finally. This feature can be useful for creating new terrains 2 Click and drag to the left to increase the effect from larger high-resolution terrains. The The Basic Tools edit the overall shape of your terrains it creates tend to have lots of spikes and valleys. Bryce5 99 . The contents of your Zoom Area are scaled to To apply an elevation effect gradually: fill the entire Terrain Canvas area. you can erosion to an image. 2 Click an effect tool.

Refer to “Working with Pictures” on page83 for more information. Click and drag right to decrease the blurring effect or left to You can produce terrains based on a picture. You can use this dialog to locate and load a picture to use as a Terrain Canvas. You can use smoothing to create spikes or ridges. Picture This tool creates terrains from imported images. You can import increase it. Click and drag left to increase sharpening and right to decrease it. The terrains This tool sharpens the gray values in your Terrain produced by this tool have deep grooves and canyons. If your Photoshop. canvas has too many sharp black to white transitions. Canvas. Single clicks gradually lower themap. Raise/Lower This tool adjusts the brightness of your Terrain Canvas. the Open dialog appears. which raises or lowers the height of the entire terrain. image maps created in other graphics applications. Sharpening This tool produces terrains based on eroded land. Click and drag to the right to lower your height map or click and drag to the left to raise it. This tool sharpens the Terrain Canvas gray values. 100 Editing Terrains . Smoothing is especially effective prior to using the Using this tool you can import an image map Erode button. Smoothing This tool blurs the Terrain Canvas. the Erode may not be as effective. When you click this tool. since the Erode algorithm works best created in another application like Painter or when there are shades of gray in an image. This tool adjusts the brightness of your Terrain Canvas.

“Gaussian curve” from dark to light. Use Round Edges to create a circular base for your terrains. Use this tool when you have a terrain whose edges are not level. Click and or start at the lowest possible altitude. Gaussian Edges This tool does not blur your map. round edges of your terrain by applying this tool gradually. Click and drag left to increase the slope and right to decrease it. This creates You can add a slope to the square edges of your edges that gradually transition from dark to light. it. Square Edges This tool creates an abrupt drop at the edges of your terrain. It creates a This tool creates an abrupt drop at the edges of your terrain. and you do not wish to use the Gaussian Edges tool for soft transitions. You This tool creates an abrupt circular drop at the should apply this tool to any terrain that is going to edges of your terrain. starting from the edges of your Terrain Canvas. Gaussian Edges eliminates the seams between ground and terrain objects. This tool creates gradually ascending edges on your terrain which can create a smooth transition from the ground plane of your scene to the terrain. and drag left to increase the slope and right to decrease gradually progress into higher altitudes. The Smoothing tool blurs your Terrain Canvas creating smoother black to white transitions. Use Square Edges to level the edges of a terrain. You can add a slope to the be sitting on a ground plane in your scene. when the ground plane Round Edges and the terrain have the same surface material. Bryce5 101 . terrain by applying this tool gradually. This tool creates an abrupt circular drop at the edges of your terrain.

from a distance. This tool adds roughness to the sloping surfaces of your terrain. This tool adds small amounts of noise at lower altitudes and more noise at higher altitudes. filters to your terrain that act like image filters. They can change the look of the terrain without altering its basic shape. This tool adds a little roughness to your terrain’s surface at lower altitudes and more at higher altitudes. Image Filtering Effects This tool adds roughness to your terrain’s surface. Use Basic These tools. Use Spikes when Height Noise you want to add trees to your terrain. This tool adds spiky structures to your map. Click and drag left to increase the noise and right to decrease it. When you apply the right material to these structures Slope Noise has no effect on flat surfaces. Click and drag left to increase the noise and right to decrease it. Click and drag left to increase the noise and right to decrease it. 102 Editing Terrains . apply Noise to create rocky mountains. This tool adds spikes to your terrain’s surface. located below the Noise tool. Slope Noise This tool adds roughness to any sloping surfaces in Spikes your terrain. More they can look remarkably like trees when viewed noise is added to steep slopes.Basic Noise This tool adds roughness to your terrain’s surface by adding noise to the Terrain Canvas.

This tool works like a contrast control. Use Posterize to create stair-stepped desert plateaus or paddy fields on the side of a mountain. This tool adds splotches to your Terrain Canvas that look like Posterize boulders on flat surfaces or towers on sloped surfaces. This tool equalizes black and white values in your Terrain Canvas. This tool acts like the Equalize function you may This tool is excellent for instant cityscapes. To use this tool. It adding one of the sci-fi city materials from the redistributes gray values in your Terrain Canvas Preset Materials Library to a Mosaic terrain. the Posterize button. It will push gray values towards either black or white depending on where the gray value falls in the black/white range. resulting in stair-stepped terrain structures. You can use this tool to create the appearance of stones or boulders under transparent water planes. Mosaic creates highly pixelated square structures Equalize based on the gray content of your canvas. such that a full range from black to white is present in your canvas. hold down Opt/Alt as you drag over This tool controls the contrast of your Terrain Canvas. This tool stratifies the gray levels in your Terrain Canvas. Mosaic This tool is not a button on the Elevation tab. Try have seen in 2D image editing applications. Less than 50% goes to black. Bryce5 103 . Dampen This is a good tool for creating desert plateaus. Use Dampen to create abrupt drops and valleys.Mounds This tool adds midsized splotches to your canvas. greater than 50% goes to white. Use Equalize to eliminate sharp ridges or deep valleys.

Subcontours produces spiky peaks with very low. circular structure within Sawtooth your existing Terrain Canvas. The results look like drag up and down to set the vertical location of the desert canyons and icebergs. Blob Maker This tool creates a smooth. This tool creates desert canyons or icebergs. Click and sawtooth waveform structure. pushed to white. Use Mosaic to create cityscapes. Click and drag left or This tool modifies your Terrain Canvas based on a right to change the size of the structure. This tool produces spiky peaks with sloping contours. This tool creates circular structures within your Terrain Canvas. gently sloping contours. This tool pixelizes your Terrain Canvas. Subcontours Relief Noise This tool works like a contrast control with the This tool acts like an emboss effect. 104 Editing Terrains . structure. It will emboss threshold set almost at white. Most values are the grayscale data in your canvas and convert it to pushed to black while only the very lightest are height information.

your terrain. Raise Edges This tool acts like an inverted version of the Square Cross Ridges Edges tool. this tool is good for making tidepools. The result is natural structures not unlike those created by the Mounds effect. This tool smears your grayscale data in one Instead of creating canals. direction while averaging the gray values.This tool embosses the grayscale data in your Terrain Canvas. This tool creates abrupt increases in altitude at the edges of This tool creates canal-like structures within your terrain. Cross Ridges 2 Subplateaus This tool is the inverse of the Cross Ridges tool. it creates peaks. except that these structures are more directly related to your original graydata. . Because it creates boulder-like structures. This tool creates boulder-like structures within your Terrain Canvas. This tool creates sharp ridges in a cross pattern. It creates abrupt increases in altitude at the edges of your terrain. Bryce5 105 . It creates very interesting canal-like structures.

To apply an effect locally: 1 Click the Menu icon on the Terrain Canvas. Dragging To paint elevations: this button allows you to place the structure 1 Click the Menu icon on the Terrain Canvas. The color is applied to the brush. specific altitude in different parts of the terrain. If 5 Drag the paintbrush over an area of your you’ve changed the brush settings. you can quite easily To remove an effect locally: re-create altitudes by picking up gray levels from different parts of your image and applying them to 1 Click the Menu icon on the Terrain Canvas. 106 Editing Terrains . 2 Click the triangle icon below the Brush This tool creates a spherical structure within your terrain that Behaviors heading and choose Paint Effect can be placed at any point in your canvas. you may want to re-create a Elevation effect you want to paint. using the Height Picker tool. To pick up gray levels from the terrain image: 1 While holding down the spacebar. painting using the brush. 4 Hold down the Spacebar and click the While you’re painting. the spherical structure this tool creates is of a consistent size. Similar to the Blob Maker. The altitude color you picked up is applied to the new area. but this is not the only way of Canvas. Brush Behaviors The Paintbrush in the Terrain Editor paints This tool creates peak-like structures within your Terrain elevations by default. or to increase/decrease existing gray levels Bubble Ridges in your Terrain Canvas. 2 Drag the brush over a different area of the canvas. canvas. re-creating a specific altitude can be quite difficult. 2 Click the triangle icon below the Brush Behaviors heading and choose Elevation from the menu. move the cursor over the Terrain Canvas and click the desired altitude color. This is the default brush behavior. anywhere you like in your canvas. from the menu. the brush. 3 Click the Elevation tab in the Editing tools Using the paintbrush palette. You can also set the brush to paint effects. However. This lets you apply elevation effects locally. The brush paints in shades of gray that are then used to generate altitudes.

easy strokes. Modifying Brush Behavior The Unpaint Effect brush only affects areas where you applied an effect with the The Option/Alt key can modify the behavior of the paintbrush. • In Paint Effect mode. and gray level output from black to white vertically. 1 Click the Menu icon on the Terrain Canvas. canvas where you applied an effect locally.2 Click the triangle icon below the Brush Gray levels in your canvas that are above the Behavior heading and choose Unpaint Effect current gray level are darkened to match the from the menu. and then level. the Option/Alt key will To erode areas of your terrain: toggle to Unpaint Effect mode. To lighten gray levels: 1 Click the Menu icon on the Terrain Canvas. selectively unpaint areas of effect. 3 Drag the paintbrush over an area you want to darken. By adjusting the the area painted over. How Filtering Works 2 Click the triangle icon below the Brush Behavior heading and choose Maximum from The Filter area is essentially a graph that represents the menu. For example. 2 Click the triangle icon below the Brush Behavior heading and choose Minimum from the menu. An effective way of using this brush is to paint • In Elevation mode. Bryce5 107 . In this mode. gray levels in your canvas that are below the current gray level are lightened to match the current level. 3 Drag the paintbrush over the area you want to Filtering Terrains erode. Option/Alt inverts the gray an effect in broad. Hold down Shift to constrain the pen movements to 2 Click the triangle icon below the Brush 45 degree steps. paintbrush on-the-fly. you create a custom elevation effect. gray level input from black to white horizontally. 3 Drag the paintbrush over an area you want to lighten. Values below the current level 3 Drag the paintbrush over an area of your setting are untouched. holding down Option/Alt will paint black. To darken gray levels: 1 Click the Menu icon on the Terrain Canvas. current level. Filtering is the process of adjusting the grayscale The paintbrush applies the erosion effect to curve of your Terrain Canvas. grayscale curve. Values above the current level setting are untouched. if you’re painting white. Behaviors heading and choose Erode from the menu.

your Terrain This is a drastic example. and all values input as white are also output as white. so as white were output as white. That is why your Terrain Canvas appears unchanged—none of its gray level values have been altered. adjust more selectively. (black) gray levels are output as white. Input Value Input The Filtering graph expresses all the input and output gray The new graph you created now shows that all values in your Terrain Canvas. 255 and all values input at 255 are output at 0. As you can see in the Preview area. the darkest gray values in your Terrain Canvas. values input as black are output as white and all the values input as white are now output as black. 108 Editing Terrains . In most cases you would Canvas is inverted. you’re changing the shape of your terrain object as you adjust gray values. Darkest Gray Value Output In the original Filtering graph all values input as black are output as black and all values input as white are output as Darkest Gray Value Lightest Gray white. the darkest Value (black) gray levels are Output output as black. 2 Drag diagonally to the bottom right corner. In the new Filtering graph all values input at 0 are output at 3 Click Apply. light values are dark. you can remap the At this point. To see how filtering works: 1 Place your cursor (which changes to a Pen within the Filtering area) in the top left corner of the Filter Area. Lightest Gray In this area. like lightening the midtone The original graph showed that all values input as grays or darkening specific gray values. By dragging in this Filter area. In The default diagonal filter creates a graph where all other words all the dark values are light and all the values input as black are also output as black. Remember black were output as black and all the values input that this graph represents your Terrain Canvas.

Along the top of the tab are the nine Filtering To alter the Filtering graph: presets you can apply to the graph. The Filtering graph displays your Terrain Canvas’s gray levels as value inputs and outputs. the pencil Working in the Filtering Tab draws in gray. the value of the darker gray value inputs by drawing a ridge in the left side of the graph. When you drag over a black area. You can edit this graph to adjust the gray level values in your canvas. Altering the Filtering Graph Tracing over any lines you’ve drawn erases them. 2 Click the Reset text button below the Filtering graph. Filtering Presets Drawing a ridge on the left side of the graph. Bryce5 109 . graph you want to adjust. The best way to start adjusting the Filtering graph is to determine the type of effect you want to To undo all changes to the Filtering graph: create. Filtering Graph Preview Area After Use the Filtering tab to edit the Filtering graph and apply filtering presets.. raise 1 Click the Filtering tab.The Filtering Tab The Filtering tab is divided into three areas: the Before Filtering Graph. Each preset 1 Click the Filtering tab. represents a different predefined graph..raises the value of the darkest grays in your Terrain Canvas. 2 Drag your pointer over the area of the Filtering like smooth gradients and abrupt transitions. the graph. They are designed to create specific changes in gray levels. For example. and the Filtering Presets. dragging over a gray area draws in black.. the Preview area. This area shows you what your Terrain Canvas would look like if applied to the current Filtering graph. Next to the graph is the Preview area. if your canvas is too dark.This area automatically updates as you make changes to ..

2 Click the Smooth text button below the Blending the Filtering Graph With the Ter- Filtering graph. 1 Click the Filtering tab. To apply the Filtering graph to the 3D Preview: • Click and hold the mouse button over the filter graph preview. Filtering presets are provided to help you get When you use a blending option you’re essentially started adjusting the Filtering graph. You can apply the graph directly or you can blend the graph Applying Presets with the canvas. You have to apply the changes before they affect the canvas. your Filtering graph to the Terrain Canvas. The graph returns to the default Filtering To apply filtering changes to the Terrain graph. Applying Filtering Changes to Your Terrain Canvas This terrain was altered by directly applying a filtering effect. Although any changes you make to the graph are applied to the Preview area. The best with your original canvas. The 3D Preview updates. rain Canvas 3 Click the Smooth button again to soften the The Filtering Tab offers several ways of applying transitions more. Canvas: To soften harsh transitions in the graph: • Click the Apply text button beneath the Preview area. 2 Click one of the preset buttons along the top of the tab. The current graph is replaced with the preset graph. 110 Editing Terrains . they do not automatically affect your Terrain Canvas. way to understand these presets is to apply them to your graph and see what happens. This terrain was altered by blending a filtering effect with the When you release the mouse the 3D Preview original canvas. To apply presets: 1 Click the Filtering tab. switches back to the unfiltered terrain. These presets drawing a grayscale gradient and then blending it are designed to provide different effects. You can temporarily apply your changes to the 3D Preview in real-time by holding down Control/Ctrl as you click and drag over the Filtering graph.

When you select a terrain from the list of models. Creating Terrains Using with your Terrain Canvas. objects. expressed as a grayscale gradient. with your Terrain Canvas. Using Creation Models Bryce provides a selection of terrain models. Bryce5 111 . expressed as a grayscale gradient. The Pictures Tab with your Terrain Canvas. but pictures. 2 Click the triangle icon below the Filtering 3 Select a model from the menu that appears. expressed as a grayscale model. You can take advantage of this process to create unique terrains based on the grayscale This option uses a slightly different values in a picture. 3 Click Apply.To blend the Filtering graph with the Terrain To access a terrain model: Canvas: 1 Click the Pictures tab in the Editing tool 1 Adjust the Filtering graph to achieve the palette. with your Terrain Canvas. The Picture tab has three picture squares and a blend control. • Vertical Add vertically blends your Filtering graph. algorithm than the previous Horizontal option: it’s not a traditional Additive. you get a randomized version of that model. • Vertical vertically blends your Filtering graph. expressed as a grayscale Terrain Canvas into altitudes to create terrain gradient. 2 Click Load. values with the maximum of the Terrain and Filter values. Pictures • Horizontal Add horizontally blends your The Terrain Editor converts grayscale values in the Filtering graph. desired effect. graph and choose an option from the menu: • Horizontal horizontally blends your The last model you select becomes the default Filtering graph. The blend control lets you specify how the an average of the existing terrain grayscale pictures are combined. gradient. You can then apply values with the maximum of the Terrain elevation effects or filters just as you would to any and Filter values. but The Terrain Editor’s Picture tab lets you import a an average of the existing terrain grayscale picture into the Terrain Canvas. The first two picture squares let you This option uses a slightly different load a picture to use as a terrain and the third algorithm than the previous Vertical square shows you the result of combining the two option: it’s not a traditional Additive. other Terrain Canvas.

the third square. subtracts down the Option/Alt key to load the picture’s color the brightness value of one from the data directly into the 3D Preview. you blend them to create a third image that is used to create the new Terrain Canvas. click the Paste text button Click and drag to the left to use more of the below the picture box where you want the first image in the blend. from the first two squares. copy the picture you square. 3 Drag the pointer over the Blend control. You can also paste images from the Clipboard. If you load only one picture a white square is Use the Picture tab to load and blend pictures to create unique used as the second blend image. Click and drag to the picture to appear. When you use Command/Ctrl+V to paste from the Clipboard. 2 In the Picture tab. the result in the corresponding location of scale-to-height interpretation of its luminance val. ues. terrains. To blend pictures: 1 Load pictures into the first two squares. location of the third square. adds the brightness value of one to the brightness To copy and paste a picture into the Picture value of the other. 112 Editing Terrains . and displays the darker of the two in the • Click the Load text button above the picture corresponding location of the third square. • Subtract compares each corresponding From the Picture button in the Elevation tab. • Minimum compares each corresponding To load pictures: pixel from the first two squares. hold pixel from the first two squares. The color data is only for viewing purposes and • Add compares each corresponding pixel will not render with the terrain. and displays an Loading Pictures average of the two in the corresponding You can load any two pictures from your system. want to use to the Clipboard. the picture always appears in the first square. right to use more of the second image. and displays see the interaction between the picture and the gray. This allows you to brightness value of the other. and displays the result tab: in the corresponding location of the third 1 In another application. 2 Click the triangle icon under the third picture box and choose a Blend mode from the menu: Working in the Pictures Tab • Blend compares each corresponding pixel from the first two squares. box into which you want to load the picture. Blending Pictures Once you have a picture in each of the first two squares.

Applying Changes to the Terrain Canvas Although the result of blending pictures appears in the third picture box. blue might represent the lowest altitude Color/Grayscale Toggle while yellow may represent the highest. if you apply a gradient from blue to yellow. as they emphasize the differences 1 Click the Color Picker button in the bottom between gray levels. Editor and is not applied to the terrain object. This makes it and altitude. This color only exists in the Terrain easier to see the differences in gray levels. Mapping Color to Your Terrain Canvas The Terrain Editor’s color picker contains all the gradients you can apply to your terrain. Which colors are mapped to which altitudes is left Use the Color Picker button to choose a color gradient and the completely up to you. it is not automatically applied to your Terrain Canvas. Gradient Bar You can apply a color gradient to your Terrain Canvas to help you visualize the relationship between color values and altitude. Bryce5 113 . To apply a picture to the Terrain Canvas: • Click the Apply text button beneath the third picture square. Gradients can be extremely useful when you’re To map colors to your Terrain Canvas: filtering terrains. Color Picker When you apply color in the editor. For example. The gradient you select is applied to both the Terrain Canvas and the 3D Preview. it maps a gradient to the altitudes in your Terrain Canvas. Adding Color to Terrains Color in the Terrain Editor is used as a visual aid to You can apply a color gradient to your Terrain Canvas. The help you see the relationship between color values color gradient also appears in the Filtering tab. right corner of the Terrain Canvas Frame and drag over a gradient in the palette. gradient bar to set color mapping.

The gradient you select appears in the Gradient bar and is mapped to the Terrain Canvas and the 3D Preview. The Clipping The out-of-range colors for upper and lower limits controls next to the Gradient bar represent the are different. 2 Drag the gradient up or down to map the colors to altitudes. Upper range included in the brackets will not be rendered. For example. 2 Drag the bottom of the Clipping Bracket to set the maximum lower range. you can apply the gradient to the terrain’s Diffuse channel. Clipping Terrains Any areas in the Terrain Canvas whose gray levels fall outside the bracket’s maximum Using the Terrain Editor’s clipping controls. rendered as the final terrain object. basic shape. • Command/Ctrl+F flips the colors in the Using the Clipping Bracket you can eliminate unwanted areas gradient. • Hold down Option/Alt and click the bracket. you lower range will also appear colored to determine which values in your terrain are indicate they will be omitted from rendering. from the terrain’s edges. To return to grayscale: • Click the Color/Grayscale toggle to switch back The clipping feature is particularly useful when editing a Symmetrical Lattice. though the colors change information from the terrain without altering its for many of the color maps. out-of-range color is usually yellow. To remove a gradient from a terrain’s Diffuse Any areas in the Terrain Canvas whose gray channel: levels fall outside the bracket’s maximum upper range will appear colored to indicate 1 Open the terrain in the Terrain Editor. The gradient then To set the clipping range: becomes the terrain’s Diffuse color. Anything outside the upper and lower clipped areas at a glance. This feature can be useful when you’re creating islands. the Terrain Editor. and lower out- You can use these controls to eliminate unwanted of-range is usually red. The maximum lower to the default gray gradient. range of the Clipping Bracket determines where the Although gradients are meant to be used only in two halves of the Symmetrical Lattices are joined. 2 Click the Color/Grayscale toggle. 114 Editing Terrains . maximum upper range. they will be omitted from rendering. The Gradient Bar has two modifiers: • Opt/Alt resets the Gradient Bar. to better enable you to distinguish render range for the terrain. This allows you 1 Drag the top of the Clipping Bracket to set the to render the gradient with the terrain. you can keep the main terrain while eliminating the black square on which To reset the Clipping Bracket: it sits. The colors at the bottom of the gradient represent the lowest altitude and those at the top represent the highest.

you’ll be able to see through the top of the terrain to whatever is underneath. the Lab allows you to manage the all. click and drag in the the Preset Objects Library just as you would any previewer. To access the Export Terrain Lab: Preview Options Do one of the following: Selections on the right hand side of the Preview window allow you to preview your terrain in the • Select a terrain in your scene and go to File following ways: menu >Export Object. Control-click and drag in the previewer. so if you clip the upper Features of the Export Terrain Lab range off your terrain. The mesh previewer allows you to instantly Saving Terrains examine the quality of the current tessellation. Command/ objects to the preset library. • To adjust the polygon count. select the color swatches You can adjust the number of polygons with underneath the preview mode buttons. and Textured With you with full control over the level of detail in the Wireframe Overlay. • To adjust the colors of the wireframe and the shaded preview. move the slider below the previewer. you should select Solid from • The polygonal mesh previewer with polygon the drop-down menu at the top right of the Terrain count slider. This changes the quality In addition. Refer to “Adding and Deleting Preset Objects” on page75 for instructions on saving • To zoom the mesh in and out.To move the entire Clipping Bracket at once: • Edit and save a terrain in the Terrain Editor and click Export. of your mesh. Terrain objects are hollow. • To change the previewer display mode. To The Export Terrain Lab is divided into two areas: make the top solid. • Wireframe or • Shaded • Textured Bryce5 115 . terrains into polygonal meshes. you can save any terrain in • To rotate the mesh. realtime feedback so you can instantly see the resulting change to your mesh. Since the terrains you create in the Terrain Editor To manipulate the mesh: are objects in the scene. Canvas. Textured. Bryce. object. polygonal mesh. drag up or down. select one of the buttons to the right of the Exporting Terrains previewer. • The image map controls. The number of polygons in the important texture maps so that your exported mesh is displayed in the right bottom corner meshes retain the cool look as generated within of the previewer. The Lab provides Shaded. The Export Terrain Lab allows you to convert Bryce Available preview modes are: Wireframe. which is located at the • Click the center of the Clipping Bracket and bottom of the map view.

To reset the Clamp Minimum and Clamp Maximum: • Select Reset Clamps within the Options menu. significant properties. the same amount. Maximum. exclusively with handling image maps. The filename of each separated image will be the name of the export file appended When exporting to MetaStream. however. Grid Tessellations A large part of the appeal of Bryce terrains are Bryce materials. Depending on the selected export file format. selecting Grid requires a large the Export Terrain Lab. 116 Editing Terrains . the export file format does not natural landscapes. the MetaStream file will contain a single resolution. you can select with the name of the appropriate material additional options: Clamp Minimum and Clamp property. they will be saved as separate image files in the same folder as Exporting to MetaStream the export file. You can create two types of tessellations in the 2 Select Options menu>Clamp Minimum.000 polygons. not sufficient you can add polygons by selecting Add Polygons in the drop down menu at the right If Clamp Minimum and Clamp Maximum are set to bottom corner of the previewer. 3 Use the slider to set the desired higher The default method is Grid Triangulation. maps: • Select one of the presets in the Size menu. number of polygons. support embedding of image maps. By default any material Adaptive Tessellations properties of the terrain that use image maps will be exported. Export Terrain Lab: Grid and Adaptive. which consist of different Grid tessellates the original height field with a grid. If. If this is 4 Select Options menu>Clamp Maximum. initial tessellation is set to 5. Handling Image Maps click on the triangle to the left of the previewer and The second area of the Export Terrain Lab deals select the tessellation type. These options define the lowest and highest To adjust the resolution of the exported image polygon counts within the multi-resolution mesh. This method is suitable for The image map controls let you refine which of the geometric shapes. Each of these properties can In order to achieve a good mesh representation of be exported. The polygon count.• Textured with Wireframe Overlay To apply the Clamps: 1 Use the slider to set the desired lower polygon Types of Tessellations count. Adaptive achieves much lower polygon counts with good representation of the terrain. along with their geometry. through the source terrain. To switch between tessellation types: To switch between Grid and Adaptive tessellations. the image maps will be embedded within the export This is an excellent choice when the terrain models file. material properties you wish to export by selecting out of the list of ten.

3 Choose the desired file format and target folder. Gigantic. consider keeping your terrains free of textural attributes until the final stages. 4 Adjust the complexity of the mesh. time to design textures for your terrain. and Planetary. 2 Either select the terrain and go to File>Export Object or enter the Terrain Editor and click Export. The larger terrain grid sizes. as the latter can be quite slow. 7 Click the OK icon to cause the tessellated mesh to be written to the exported file. disable both the Realtime Linking and AutoRotate options. Tips for Speeding Up the Terrain Editor on Slower Machines To speed up performance on slower machines. before your final output. require a significant amount of memory and computing power. use the single- click method rather than the click. To export a terrain: 1 Create a terrain and apply materials. 5 Select material properties to be exported as image maps. such as Massive. a natural impulse is to immediately dress it up with a cool material and render it right away to see what it looks like. If you are working on a slower machine. This image maps: will keep you working rapidly on your composition. click on Cancel. To speed up the Elevation effects. For serious composition.To save the tessellated terrain and all its longer to render than smooth shaded surfaces. you can take some • Click on the OK icon. as procedural textures take Bryce5 117 . Only use these terrain grid sizes when necessary. When you create a terrain in your Bryce scene. Then.drag “dial in” method. 6 Select image map size. you may experience problems such as “out of memory” errors. If you do not wish to save.

.

6
Editing Trees

New in Bryce 5 is the ability to create organic tree
shapes. This lets you add realistic or ‘fantasy’ trees
to your scenes. You can then customize your trees
in the Tree Lab by assigning materials, controlling
the shape of trees, and more.
Trees have four essential components: the overall
shape, the trunk, the branches, and the foliage.
How these elements are shaped and organized
around each other defines the appearance of the
tree.
The overall shape of trees varies greatly between
species. In general, trees have several feet of trunk
before they begin to branch out, and the branches
eventually form a crown. The shape of the tree can
vary greatly within these criteria. For example, the
sugar maple has an almost spherical silhouette; a
poplar tree has a cylindrical shape that tapers to a
point at the top; and conifers such as pine trees
have a triangular shape.
The width of the trunk generally indicates the age
of the tree; however, different species of trees
have different widths when mature. A birch tree,
even when quite old, will not have as wide a trunk
as an oak tree of the same age. The texture of the
trunk can also be a good indicator of the species
or age of the tree; the trunk generally becoming
coarser with age.

The characteristics of branches, such as their Min/Max Sliders
thickness, how the branches are arranged on the
trunk, how they are positioned relative to each The Tree Lab uses a unique kind of slider for setting
other, and how they are affected by gravity can also some of the attributes of the trunk and branches.
vary greatly between species. For example, a These sliders, called Min/Max sliders, let you set
weeping willow tree has branches that begin both the minimum and maximum values for an
growing upwards from the trunk but are so thin attribute using the same slider. Bryce will choose a
that gravity bends them towards the ground, giving random value between the specified minimum and
the tree a distinctive, drooping appearance. Some maximum when generating the tree.
species of conifers have symmetrically spaced and
sized branches, giving them a very geometric
appearance.
Finally, the foliage of the tree is probably the most A Min/Max slider.
obvious indicator of species. Species of trees have
greatly varying leaf shapes and colors. Oak and To set the maximum value:
ginkgo trees are both easily recognized by the • Drag the arrow below the Min/Max slider to
distinctive shape of their leaves. the desired value.
The variations in trees are virtually limitless. You
need only look at the wide variation found in To set the maximum value numerically:
nature for inspiration when creating and 1 Click the field to the right of the Min/Max
customizing trees in Bryce. slider.
2 Type a value in the field.
Working with the Tree Lab To set the minimum value:
The Tree Lab lets you control the various attributes • Drag the arrow above the Min/Max slider to
of tree objects. Using the tree lab, you can edit the the desired value.
trunk, branches, and foliage of a tree object to
achieve a particular look. To set the minimum value numerically:
You cannot access the Tree Lab unless you have a 1 Click the field to the left of the Min/Max slider.
tree object in your scene. When the Tree Lab 2 Type a value in the field.
opens, it temporarily replaces the screen and
displays the currently selected tree object in the
Tree Preview.

To open the Tree Lab:
1 Select a tree object in your scene.
2 Click the E icon that appears next to its
bounding box, or choose Objects menu>Edit
Object. The Tree Lab appears.

120 Editing Trees

Features of the Tree Lab
Tree Preview

Branch/
Foliage
Trunk
Settings
Settings

Tree Settings

The Tree Lab is divided into four sections:
Tree Preview
• Tree Preview — lets you preview changes to
your tree. The Tree Preview, located in the center of the Tree
• Branch/Trunk — lets you control the size of Lab, displays the resulting tree object based on
the tree trunk; the placement, number, and changes you make to the settings in the Tree Lab.
thickness of branches; and the materials used The Tree Preview does not update automatically;
for the trunk and branches. after you have made a series of changes, click the
Tree Preview to update it.
• Tree — lets you control the overall shape of
the tree, the randomness of the tree, and how The Tree Preview has two preview modes: Normal
gravity affects the tree. View and Up Close. Normal View displays the entire
• Foliage — lets you control the overall shape of tree object. Up Close displays a more detailed view
individual leaves, the scale and number of by zooming in on the tree object.
leaves, the distribution of the leaves, and the
materials used for the leaves.

Bryce5 121

There are also two render modes for the Tree segments, the number of branches per segment,
Preview: Render With Neutral Sky and Render With the starting and ending angles of the branches, and
Neutral Ground. These options are enabled by the texture used for the trunk and branches.
default and are designed to speed up the Tree
Preview rendering. Trunk Thickness
The Trunk Thickness slider lets you specify a
minimum and maximum width of the trunk, from 1
to 200. The minimum width controls the thickness
of the twigs at the outermost reaches of the tree
while the maximum width controls the base of the
tree.

To set the maximum trunk thickness:
• Drag the arrow below the Trunk Thickness
slider to the desired value, or type a value in
the field to the right of the slider.
The Tree Preview.

To set the minimum trunk thickness:
To update the Tree Preview:
• Drag the arrow above the Trunk Thickness
• Click anywhere in the Tree Preview.
slider to the desired value, or type a value in
To choose a preview mode: the field to the left of the slider.

1 Click the triangle below the Tree Preview.
Branch Thickness
2 Choose a preview mode in the drop down
menu. The Branch Thickness slider lets you specify a
minimum and maximum percentage width for the
To turn a render mode on or off: branches, from 1 to 100. This setting doesn’t
control the actual width of the branches; it is the
1 Click the triangle below the Tree Preview.
percentage width of child branches. For example, if
2 Click the render mode in the drop down menu. the branch thickness is set to 50%, each child
When the render mode has a checkmark branch will be 50% of the width of the parent
beside it, it is currently active. branch it is spawned from.

To speed up rendering in the Tree Preview, turn on To set the maximum branch thickness:
both Render With Neutral Sky and Render With Neu-
• Drag the arrow below the Branch Thickness
tral Ground.
slider to the desired value, or type a value in
the field to the right of the slider.
Branch/Trunk Settings To set the minimum branch thickness:
You can use the Branch/Trunk settings located on • Drag the arrow above the Branch Thickness
the left side of the Tree Lab to control the thickness slider to the desired value, or type a value in
of the trunk and branches, the distribution of the field to the left of the slider.
branches around the trunk, the number of

122 Editing Trees

Number of Segments To set the branch start angle:
Each branch of the tree is divided into a number of • Drag the Branch Start Angle slider. Drag right
segments. Each segment is a location on a “parent” to increase the angle and left to decrease it.
branch where “child” branches will be formed.
To set the branch end angle:
To set the maximum number of segments: • Drag the Branch End Angle slider. Drag right
• Drag the arrow below the Segments slider to to increase the angle and left to decrease it.
the desired value, or type a value in the field to
the right of the slider. Trunk and Branch Texture
To set the minimum number of segments: You can use a uniform color, an image, or a
material as the texture for the trunk and branches
• Drag the arrow above the Segments slider to of a tree. All the branches and the trunk of the tree
the desired value, or type a value in the field to will have the same texture; you cannot vary the
the left of the slider. texture for the branches and the trunk.

Branches Per Segment To use a uniform texture:
The Branches Per Segment slider lets you specify 1 Click the Uniform button.
how many “child” branches will be formed in each 2 Click the Uniform Color swatch and choose a
branch segment. color from the color picker.

To set the maximum number of branches per To use an image texture:
segment: 1 Click the Image button.
• Drag the arrow below the Branches Per 2 Click the Edit button to the right of the Image
Segment slider to the desired value, or type a button. The Picture Library appears.
value in the field to the right of the slider.
Refer to “Working with Pictures ” on page83 for
To set the minimum number of branches per more on the Picture Library.
segment:
• Drag the arrow above the Branches Per To use a material texture:
Segment slider to the desired value, or type a 1 Click the Material button.
value in the field to the left of the slider.
2 Click the Edit button to the right of the
Material button. The Materials Lab appears.
Branch Angles
Refer to “The Materials Lab” on page160 for more
The starting and ending angles for branches help on the Materials Lab.
determine the overall shape of a tree. The branch
start angle is the angle of the branch at the thickest
part of the tree. The branch end angle is the angle
of the branch at the thinnest part of the tree.
Tree Settings
You can use the tree settings to set the overall
shape of a tree, and how the tree is affected by
gravity. You can set the amount of randomness for
the tree, ensuring that even with the same settings,

Bryce5 123

no two trees will look alike. You can also use the Saving Tree Lab settings
Tree Lab’s memory dots to store settings as you
experiment with different tree attributes. The memory dots in the Tree Lab let you store your
favorite Tree Lab settings. Using these dots you can
safely explore many Tree Lab configurations
Tree shape without losing your favorite settings along the way.
The overall shape of a tree varies greatly for Memory dots appear at the bottom of the Tree Lab.
different species of trees. Using the Shape drop
down list, you can choose a species of tree for the
overall shape of the tree. The memory dots in the tree lab let you store your favorite Tree
Lab settings.
To choose a tree shape:
• Click the Shape drop down list and choose a To save Tree Lab settings:
species of tree. • In the Tree Lab, click on an empty dot (empty
dots are gray).
Gravity All the current Tree Lab settings are stored in
The branches and leaves of a tree can be affected by the selecteddot.
gravity. When gravity is high, the branches of a tree
will droop and the leaves will be oriented towards To switch to a saved Tree Lab setting:
the ground. When gravity is low, the same branches • Click on a full dot (full dots are blue). The
may be more upright, and the leaves may be current settings are replaced with the settings
oriented in all directions. The Gravity slider lets you stored in the dot.
specify how much gravity will be applied to a tree. An active dot will be blue with a white point
inside it.
To set the gravity amount:
• Drag the Gravity slider right to increase the To reset Tree Lab settings to default:
amount of gravity and left to decrease it, or • In the Tree Lab, click the leftmost memory dot.
enter a value in the field. This dot always appears full.

Randomness To delete a saved Tree Lab setting:
Trees in nature are not perfectly shaped. Two trees • Option/Alt+click on a full memorydot.
of the same species growing under identical The leftmost dot cannot be cleared.
conditions will vary greatly from one another. In
Bryce, you can control the randomness of a tree so
that, even with the identical settings, no two trees Foliage Settings
will be identical. The randomness setting affects
both branch angles and leaf angles. You can use the foliage settings to control the
appearance of the leaves on a tree. Using the
To set a value for randomness: foliage settings, you can choose a leaf shape, size,
• Drag the Randomness slider right to increase and quantity, and determine how the leaves are
the amount of randomness and left to distributed on the branches. You can also specify a
decrease it, or enter a value in the field. texture for the leaves.

124 Editing Trees

Foliage shape Stacked — leaves are arranged in pairs on
each side of the branch. If there is an odd
The leaves of different species of trees have number of leaves, a single leaf will be placed at
different shapes. The Shape setting lets you choose the tip of the branch.
a leaf shape from a drop down list.

To choose a leaf shape:
• Click the Shape drop down and choose a
species of tree from the list. Staggered — leaves alternate on each side of
the branch. If there is an odd number of leaves,
Foliage Scale a single leaf will be placed at the tip of the
branch.
You can control the size of the leaves on a tree
using the Scale slider. The Scale slider measures the
size of the leaves as a percentage of the size of the
tree.

To choose the size of leaves: Spiral — leaves are arranged around the
• Drag the Scale slider. Drag right to increase branch in a spiral formation.
the scale and left to decrease it.

Number of Leaves
The Number of Leaves slider lets you choose how Bunched — leaves are clustered at the tip of
many leaves will appear on each branch. the branch.

To set the number of leaves:
• Drag the Number of Leaves slider right to
increase the number of leaves and left to
decrease the number of leaves, or enter a Coniferous — leaves are placed along the
value in the field. middle of the branch.

Foliage distribution
In nature, different species of trees have different
arrangements of leaves. Some trees have leaves
that are clustered together while others have leaves
that spiral around a branch in an almost Foliage Texture
symmetrical pattern. Bryce offers five different leaf
You can use a uniform color, an image, or a
arrangements: Stacked, Staggered, Spiral, Bunched,
material as the texture for leaves of a tree. All the
and Coniferous. leaves will have the same texture; you cannot vary
the texture of leaves.
To choose a leaf distribution:
• Click the button beside one of the following To use a uniform texture:
options:
1 Click the Uniform button.

Bryce5 125

2 Click the Uniform Color swatch and choose a
color from the color picker.

To use an image texture:
1 Click the Image button.
2 Click the Edit button to the right of the Image
button. The Picture Library appears.

Refer to “Working with Pictures ” on page83 for
more on the Picture Library.

To use a material texture:
1 Click the Material button.
2 Click the Edit button to the right of the
Material button. The Materials Lab appears.

You can only change the material of the leaves if you
access the Materials Lab through the Tree Lab. If you
select a tree and access the Materials Lab or the
Materials Preset Library from the Edit palette and
choose a material, the material will only be applied
to the trunk and branches of the tree.

Refer to “The Materials Lab” on page160 for more
on the Materials Lab.

126 Editing Trees

it’s a truly 3D surface. It has the power to turn a bunch of polygons into an island or the peaks of the Himalayas. Bryce’s new volume materials let you apply a material to the interior of the object as well as to its surface.7 Applying Materials Materials are what brings your Bryce environment to life. a material isn’t just a picture that’s wrapped around an object. a tree trunk or a metal pipe. A simple cylinder becomes a pillar. just by adjusting the properties of the material applied to it. The Volume Material controls let you set how the entire object’s volume reacts to its environment. You can also alter the basic function of an object. A material defines the surface properties of an object in your scene. . In Bryce. The material properties you assign to an object are applied to the whole object—inside and out.

An object appears shiny because object’s surface. The combination of the values of all the channels produces a material. Channels are interdependent. or an indirect source like light reflected off other surfaces. materials. whether that light is from a direct source like the sun. but also how it interacts with the object’s volume. object’s surface interacts with light in the Bryce environment. meaning The fourteen channels of a surface material each that each value you set directly affects all the other represent a different surface property.Material Structure The color and size of an object are determined by how the light that hits the object is reflected back to your eye. you’re setting how your Material Channels object’s surface interacts with the light that hits it. channels together you get a material. you need to object is not transparent. An object appears transparent because light passes through its surface. So. Channels The effects of the channels are additive. For example. the object will have a a surface. you won’t see the effects of the Transparent Color if the To understand how the channels work. When you’re creating volume materials. understand a little about how you perceive light and color. There are two types of materials you can create in Bryce: surface materials. When you set a channel value. which define the properties of an object’s volume. 128 Applying Materials . Each of these channels defines a different property of an reflect green light. your settings not only control how light interacts with Understanding Surface Material the surface of the object. which define the Material channels simulate the physical properties of an object. if you set the Diffuse Color to yellow and properties simulate different physical properties of the Ambient Color to blue. Bryce’s material channels simulate all these behaviors. you’re defining how the object’s surface or volume interacts with light. properties of an object’s surface. These values. New materials are created by adjusting the values for each channel. Objects appear green because they A material is made up of fourteen channels. When you combine all the it reflects light back at you. and the combination defines how the greenish tint. hits the objects behind it and is reflected back through the surface. Light Source Material A material has fourteen channels that define its surface properties. and volume When you set channel values.

Transparent Color and Volume Color. The reason channels. Optics channels The result is an object that emits more light than it receives because it’s reflecting the light that hits it as well as the light • Transparency from behind it. For example. In reality. With these settings you’re saying that 100% of the light • Bump Height that hits the object passes through its surface. • Reflection • Refraction Color Channels The Color group contains all the channels that control the color reflected off an object’s surface. divided into three groups: for this is that the object is emitting more light than it is receiving. Ambient Color. you should try to keep channel values within a realistic range. Ambient Color. and the Diffusion and Ambience values should also always add up to 100. something it couldn’t do in Color channels reality. an object can only reflect a portion of the light that’s Diffuse Color. • Specular Color • Transparent Color • Specular Halo • Volume Color Value channels • Diffusion • Ambience • Specularity For example. So. you’ll get an unusually bright Each surface material is made up of fourteen object that doesn’t look very realistic. meaningful adjustments to the component values. • Diffuse Color Since material channels simulate real-world surface • Ambient Color properties. and 100% of the light that hits the object is also reflected off its surface. if you set both Transparency and Reflection to 100. Diffuse Color defines the Bryce5 129 .When you’re using these channels it’s important to A good rule of thumb to keep in mind while you’re understand the physical property they’re setting these channels is that the Transparency and simulating. here Transparency and Reflection are both set to • Metallicity 100. Specular Color. Transparency and Reflection values should always add up to 100. Only in this way can you make Reflection channels should always add up to 100. For example. and Specular Color passing through it. define the colors the surface reflects when direct light hits it. The channels in the Color group are Diffuse Color.

both inside and out. Ambience. They let you control how much direct light affects the surface of an object. If Ambience. these channels control how shiny. while Diffuse Color. Optics Channels So. the object appears yellow. and Specular Color is the color how much reflected light is filtered through the that appears in the object’s highlight. Refer to “Diffusion” on page133. It determines light hits the object. Bump Height controls the height of any bumps or Diffusion. “Ambience” on page135 and “Specularity” on page136 for more information. dark. “Refraction” on page141 for more information. and Specularity control how dents on the object’s surface. Specularity. or bright the object appears. Refer to “Diffuse Color” on Reflection and Refraction. and Specularity channels. Refer to “Bump light reflects off the object. Ambient Color and Specular Color control the color of that light. if you selected yellow as the The Optics group of channels controls the intensity Diffuse Color. would see one layer of material. the Value group. Diffusion. 130 Applying Materials . “Ambient Color” on page136. these channels control Transparent Color sets the color of any light that how transparent or reflective the object appears. indirect light interacts with the object’s surface. and Refer to “Transparency” on page139 and Specular Halo controls the size of the highlight that “Reflection” on page141 for more information. The interior of the object is empty. Understanding Volume Material Channels Surface materials define the properties of the Value Channels surface of an object. and Specularity define how the surface interacts with direct light. would be surrounded by material. The then another layer of material. passes through the surface of the object. intensity of the yellow color is controlled by the The channels in the Optics group are Transparency. Refraction channel sets how much the light that passes though the object is bent. Refer to “Volume Material Channels” on page142 for more information. In a physical environment. Refer to “Transparent Color” on page140 and “Specular Refraction is directly related to Transparency. In a physical environment. Ambience. The Halo” on page137. The of optical effects produced by the object’s surface.color that is reflected in all directions when direct Metallicity is related to Reflection. If you were to fly through the object you The second group of channels. and “Specular Color” on page137 for more Transparency and Reflection channels control how information. controls the color of the interior of the object. applied to the entire object. emptiness. for example. Height” on page138 for more information. Ambience. A volume material is channels in the Value group are Diffusion. and controls how much light affects an object. Volume Color. page134. These color channels are directly related to the Diffusion. appears when an object has a shiny surface. Refer to “Volume Color” on page142 for more information. Metallicity and Bump you were to fly through a volume material you Height. Refer to The remaining color channel. Diffusion channel. Diffuse Color.

you get a volume filled with blue spheres. dark. Channels control whether • Specular Color the interior of an object is bright. • Diffuse Color When you’re setting channel values for a volume material. if you apply blue spots as a volume material. Volume materials are made up of thirteen channels. the channels define not just Color channels the surface of an object. shiny. the material channels control the surface properties of the elements within the texture. dark. divided into three groups: When you create a volume material. In this example. Volume channels • Base Density • Edge Softness • Fuzzy Factor • Quality/Speed Bryce5 131 . or • Transparent Color transparent. If so. • Diffusion For example. you’re setting up how light will interact • Ambient Color with the object’s volume. When the interior of an object is filled with a texture. or dull.Blue spots become blue spheres when the texture is applied as a Volume Material. the channels control the surface properties of the elements within the Value channels texture. but its volume as well. • Ambience The channels then control whether those spheres • Specularity are bright. the Specularity channel is used to make the blue spheres within an object shiny. • Specular Halo In most cases the interior of an object will be filled • Volume Color with a texture. shiny.

In Mode AB. and Specular Transparent. Channels Base Density controls the density of the object. Fuzzy Factor. control the appearance of texture elements within You can have up to three texture components in a channel. “Fuzzy Factor” on page143. This channel defines how much material there is in the interior of an object. a texture or a information in the texture’s channels is used as the numerical value. and the material. Base Density. Refraction. For example. A component can be a color. Base Density controls how much light passes into the object. Transparency. Refer to “Base Density” on page143 for more. If you’re using a texture to set the Diffusion value. except that 2D/3DTexture Value Component the channel settings are applied to the object’s Color volume instead of its surface. using a texture to set Diffuse Color. Mode AB and Mode ABC. based on altitudes. only one component is used to set the channel’s value. Volume Channels The Volume channels control special volume properties of the object’s interior. The values from texture A are applied at low altitude and values from texture B are applied at higher altitude. Specularity. Understanding Material Components Edge Softness. channels. Specular Halo and Volume “Quality/Speed” on page144 for more. while Quality controls the render quality of the material. Values are used in the Diffusion. three components that determine the channel’s When you’re using a texture as a component. if you’re texture (picture) or a 3D texture. and Quality/Speed determine its settings. Refer to “Edge Softness” on Colors can only be used in the Diffuse. Metallicity. page143. Components are combined using one of three modes: Mode A.The channels in the Color and Value groups work exactly as they do for surface materials. while less dense objects allow more light in. the texture’s alpha channel determines the Diffusion intensity. As a result. Ambience. two components are combined to set the channel’s value. Edge Softness and Fuzzy Factor some channels let you use four textures and a value as control the quality of the edges and sharpness of components. A texture can be either a 2D value of the material channel. Each Bryce material channel contains components that Edge Softness. 132 Applying Materials . A solid object doesn’t allow any light to pass through it. and Quality/Speed Each Bryce material channel can contain up to channels. Bump Height. the texture. Ambient. the texture’s color channel is used. Reflection. In Mode A. Fuzzy Factor. the setting.

you material channels. In images. In some channels. Refer to “Combining Components” on page154 for more information. these grayscale values are used to map surface properties. so the One of the outputs a texture component can object appears black. are blended based on the alpha channel of texture Surface Material Channels C. used in the same way as a texture’s alpha channel. or you can open the Texture Editor and create your Diffusion own textures. A and B. White areas in the alpha channel represent 100% of the effect. the texture sets the Viewer shape of the bumps and the value sets how prominent those bump appear. Bryce5 133 . Diffusion set to 0% Diffusion set to 100% Images. produce is an alpha channel. In this example the shape of the bumps on the object is set by When light hits an object with diffusion set to the texture component in the Bump Height channel. This gives the object a flatly lit appearance. can choose from a number of preset textures. scattered in all directions. The image’s alpha channel is object’s surface. in all directions. or 2D textures. For example if you apply a Blue Checkers texture to the Bump Height channel. no light is reflected off its surface. When you use a texture as a component in a material channel. but the 100%. The alpha channel is a grayscale representation of the texture pattern or grain. or scattered. also contain an alpha channel. This section provides details on each of the surface When you’re using textures as a component. If the object’s diffusion is set A Word About Alpha Channels to 0%. you can use both a texture and a value. Diffusion determines how much direct light is reflected diffusely. and black areas represent 0%. all the light that hits it is reflected back height of those bumps is set by a value. the value determines how much Direct Light of the texture’s value is used to drive the channel. Surface reflects light diffusely The small arrows projecting off the surface of the object illustrate how diffusion works. the alpha channel acts as a Diffusion controls how much light is diffusely reflected off the mask for the image. In this case. the values of two textures.In Mode ABC.

and Diffuse Color is the color of diffusely reflected light. When light hits the object. the Diffuse Color appears wherever the object is hit Alpha Channel by direct light. since there is no green in 100% red. the texture’s alpha channel determines which areas Diffuse Color of the surface have high diffusion and which have Viewer low diffusion. So if you’re using 100% green. only that color is reflected off the object. the grayscale values in the texture’s alpha channel determine the diffusion of the objects. If you use a pure color. 134 Applying Materials . Be careful when using pure constant colors as the Diffuse Color because you may not get the results you’re expecting. it will appear black. only green light is reflected off the surface. values When Diffusion is set to a value greater than zero. When you use a texture to set the Diffusion channel. the amount of light that’s reflected diffusely is determined by the Diffusion channel setting. However. Bright areas in the alpha channel have a high diffusion value. the color of that light is set by the Diffuse Color channel. so no light is reflected off the object. This doesn’t cause a problem when the object is hit by white light because there is green in white. if you use 100% red light on the object. and darker areas have low diffusion values. Higher Diffusion Surface values reflects light diffusely This graphic shows how diffuse light passes through the Diffuse Lower Diffusion Color. Diffuse Color applied to areas hit Diffuse Color by direct light Diffuse Color acts like a filter through which all diffuse light passes.Setting Diffusion Using a Texture Direct Light When you assign a texture to the Diffusion channel.

if you set the Ambient Color in the Sky & Fog directions is palette to black. ambience values. regardless of the light source. channel. At 100%. Ambience set to 0% Ambience set to 100% Generally. So. For example. Lower Ambience val- ues Alpha Channel When you use a texture to set the Ambience channel’s value. not only from the area hit by light. If you want to create a realistic effect. the sum of the Ambience and Diffusion values should add up to 100. then the scattered Ambience channel value has no effect. If you set the back Ambient Color to white. the grayscale values from the texture’s When Ambience is set to a value higher than zero. the Ambience simulates the effects of light hitting the ambient value you set for the object is directly object from all directions. Ambience controls the general brightness of an object. the Ambience channel value will control how much of the available light is reflected off the object’s surface. The Ambience channel controls how much of the available ambient light is reflected off the object’s surface. or 100% ambience. and darker areas have low ambience values. The Ambience value affected by the Ambient Color you set in the Sky & controls the amount of light that is reflected off the Fog palette. The smaller arrows represent the light reflected off the When you assign a texture to the Ambience object’s surface.Ambience An object’s ambience is directly related to the general ambience of the environment. However. Light from all So. The higher the Ambience value. alpha channel determine which areas of the surface the object will reflect light from all over its surface. it’s best to set Ambience using a value. if you use a Bryce5 135 . or 0% ambience. the brighter an object appears. The Ambient Color in the Sky & Fog palette controls how much ambient light is available in the environment. the object appears Higher Ambience values unnaturally bright. surface uniformly. Setting Ambience Using a Texture The large arrows represent ambient light hitting the object’s surface. you can get some interesting effects using textures instead. have high ambience and which have low ambience. This makes the Bright areas in the alpha channel have high object look brighter. the values are determined by the grayscale values in the texture’s alpha channel.

invisible. Ambient Color Since the direct reflection creates a highlight on tints the entire sur- face the object. Specularity is the highlight reflected directly back at the viewer.splotchy texture. Specularity Specularity controls how much light is reflected back from the surface of the object directly at the viewer. Viewer sees high- Ambient Color light Incoming Light Reflected Light Ambient Color is the color that reflects off the entire surface of the object and is directly related to Ambience. the color channel in the texture is used as source hits the object. your object appears green. When the Specularity is set to zero. object appears. the shinier the strikes the object. Ambient Color is the color that appears no matter where light The higher you set the Specularity. Ambient Color Setting Ambient Color Using a Texture Ambient Color is the color that is reflected off the When you assign a texture to the Ambient Color surface of an object regardless of where the light channel. In other words. of external light. mixed in with normal ambient color of the object. the Ambient Color is shadow. or the “shininess” of the object. The Ambient Color channel is also related to the ambient color you set in the Sky&Fog palette. the texture’s directly linked to the Ambience channel setting. you can think of Specularity as the channel that determines the intensity of the highlight that appears on the object. you’ll get. the object appears dull. The Ambient Color is the Ambient Color. so if your environment surface areas. areas that appear to glow regardless is blue and your object’s ambient color is yellow. If color is applied to any area of the object that’s in the Ambience is set to zero. Surface is reflective The Ambient Color tints the entire surface of the image. The ambient color of the environment is added to the 136 Applying Materials .

The alpha channel may also create Setting Specular Color Using a Texture patterns in the highlight. When you assign a texture to the Specular Color channel. Bright By adding Specular Color. the color of an object’s highlight would reflect the color of the light source. Setting Specularity Using a Texture Specular Color is directly linked to the Specularity channel. the When you assign a texture to the Specularity Specular Color is invisible. component you select. and darker areas decrease the intensity. Brighter colors create larger the highlight’s intensity is determined by the texture’s alpha highlights and darker colors create smaller channel values. the texture’s color values is applied to the object’s highlight. using Specular Color you can set a specific color for your highlight. channel. Specular Halo set Specular Halo set using bright colors using dark colors Specular Halo controls the size of the highlight on your object. Specular Color Normally. the texture’s color channel is used as the High Specularity Specular Color. Specular Color is the color of the object’s highlight. the grayscale values in a texture’s alpha channel are applied to the object’s highlight. Alpha Channel The size is controlled by the luminance value of the When you use a texture to set the Specularity channel’s value. Specular Color applied to object’s highlight Specularity set to Specularity set to 0% 100% Specularity controls the intensity of the highlight of an object. you can make it appear areas of the alpha channel increase the intensity of as though a colored light is shining on the object. However. highlights. the highlight. In other words. Lower Specularity Specular Halo values The Specular Halo channel lets you control the size of the Specular highlight. If the Specularity is set to zero. Bryce5 137 .

you need to adjust the colors. However. to create gold use a results because the difference between RGB values yellow Diffuse color. the Metallicity channel has no effect. The bumps on an object’s reflected light. Check out the Specularity Lesson series in the Fast & Setting Metallicity Using a Texture Simple category in the Preset Materials Library to When you apply a texture to the Metallicity see Specular Halo in action. and darker areas decrease channel. differently to create different highlight effects. If you want to create When using a color. B=100). a red ring). all the light that’s reflected has no effect. the highlight appears uniform. The easiest way to use this channel is with a color. Metallicity makes objects look metallic because it tints the color of reflections. Metallicity is linked to Reflection. you may be able to set each color value with the Diffuse Color. Green. R=200. if one value is higher that the rest (for example. Setting Specular Halo Using a Texture Lighter areas of the alpha channel increase the When you assign a texture to the Specular Halo intensity of the color. try picking more desaturated specific types of metals. all the same). at 100%. Bump Height Metallicity The Bump Height controls the height of bumps in The Metallicity channel value acts as a filter for an object’s surface. channel. The Bump Height channel is linked to the Bump channel in the texture. G=100. the Bump Height channel Diffuse Color. channel.Colors are expressed as RGB (Red. channel. and Blue) values. half the reflected light is tinted with the without a Bump channel. These colors produce more predictable Diffuse Color. If the values are all in balance (that is. Specular Halo channels use the values from each of these channels to set the size of the highlight. you’ll get a highlight with a slightly colored ring (for example. If you use a texture At 50%. You can enter negative values in this is tinted. channel is used for the Specular Halo. 138 Applying Materials . the RGB value of the texture’s color the intensity. which turns bumps into dents. is less. This value controls how much of the surface are determined by the texture’s Bump reflected light is filtered through the Diffuse Color. For example. the texture’s alpha channel is used to determine the intensity of the Diffuse Color. If Reflection is set to zero. Metallicity set to Metallicity set to 50% 100% Depending on the component you use in this Metallicity controls how much of the reflected light is tinted channel.

If there is no other light being determined by the Shading mode. Transparency creates an optical effect. You’ll need to combine the effects of the other channels to simulate a realistic The Transparency channel controls how much light object. so you’ll need to add Refraction to the surface. an object set at 100% Transparency material is applied using normal shading. Transparency creates a punch- out effect. the texture’s alpha channel is used to determine which areas of the object are transparent. Any areas that are less than a 100% result in a normal transparency effect. appears invisible. Glass has a refraction Direct Light effect associated to it. You can create some interesting effects using The amount of light that can pass through an object’s surface is textures. For instance.Bump Height set to Bump Height set to Transparency set Transparency set to -100% +100% to 0% 100% Bump Height controls the height of bumps on the surface of Transparency controls how much of the surrounding your object. When the material is applied using Blend Transparency mode. To create a realistic transparent object. transparent bubbles all have can pass through the object’s surface. Setting Transparency Using a Texture When you apply a texture to the Transparency channel. For example. the more of the surrounding environment is visible through the The final look of the Transparency channel is object’s surface. Lighter areas of the alpha channel are not transparent while darker areas are. so you’ll need to add Specularity. Balloons have a flatter surface so you’ll need to add more Diffusion to the surface. environment is visible through the object’s surface. result in an object that’s alternately transparent and solid. highlights. The areas of the surface that are 100% transparent are completely ignored during shading so that they appear as gaps or holes it the surface. Bryce5 139 . The higher the Transparency value. you need to Transparency pay attention to details. When the reflected. a checkerboard texture will set with the Transparency channel.

Keep in mind that the Transparent Color interacts with the other colors in the material.Refer to “Shading Modes” on page155 for more on Shading modes. If the Diffuse color is yellow. the This is what the same material looks like when you use Blend Transparent Color blends with the Diffuse Color. However. 140 Applying Materials . The Transparent color tints everything you see through the surface of your object. Setting Transparent Color Using a Texture When you assign a texture to the Transparent Color channel. anything you can see through your object is tinted with the Transparent Color you select. when you’re using Refraction. Transparent Color is linked to the Transparency channel. and the Transparent color is red. then the Transparent Color takes precedence. the texture’s color channel is applied to the transparent areas of your object. This example was created using regular shading. If the Transparency is set to zero. Transparent Color Transparent Color The Transparent Color channel determines the applied to the color of the transparent areas of your object. Transparent Cage texture Color applied to Transparency channel You can create some interesting effects using textures in the Transparency channel. As a result. the Transparent Color is invisible. Light object is filtered through this color as it passes through the object’s surface. the object appears orange. If the Diffuse Color is white. Transparent Color tints any light that passes through the object. like this checkerboard object. Transparency.

This simulates the effect of light being refracted so sharply that it does not penetrate the object’s surface. Bryce5 141 . which scatters light. As you increase the Refraction value. The higher the value. For example. Refraction controls how much light bends as it passes through a transparent surface. Reflection The Reflection channel controls how much light. the color of the object’s surface as the colors reflected from the environment affect the object’s Refraction is linked to Transparency.Refraction The Refraction channel determines whether light bends when it passes through the surface of an object. the reflections as some of the light is bent directly back Refraction Index of water is 1.3. Refraction set to Refraction set to reflection directs light back at its source. Transparency is set to zero. Index value. Any light that’s visible through the surface of the object is then tinted through both the Diffuse Color and the Transparent Color. the edges of the object will become reflective. this value is at its source. The Refraction Index contains refraction Higher Refraction settings produce slight values for specific types of surfaces. Light is fil- Refraction set to Refraction set to tered through 140 300 Transparent In these examples you can see how the edges become more Color reflective as you increase the Refraction value. Higher Refraction settings also change expressed as 130 in the Materials Lab. Light is bent if Refraction The higher you increase the Refraction value. this channel has no effect. giving the 0 116 object a mirrorlike appearance. direct or indirect. is reflected off the object’s surface. If color. the is greater more the Diffuse Color is blended with the than 100 Transparent Color. The Refraction value is what makes transparent surfaces look like glass. Unlike diffusion. the more Diffuse Color is visible in the object’s surface. Light may bend as it passes through an object. depending on the Refraction values are expressed as 100 x Refraction Refraction value.

at 100% all light is This portion of reflected. Lighter areas of the alpha channel are reflective. light is tinted Setting Reflection Using a Texture by the Transparent Color and the Volume Color. At 50%. Volume Material Channels Incoming Light Volume materials use most of the same channels as surface materials. which you set with the object changes. applied to the interior of an object. the texture’s alpha channel is used to determine which areas of the object are reflective. Volume materials have several specialized channels. the color of The interior of an object can have color. Everything inside the object will appear tinted with this color The higher the Reflection setting. while darker areas are not. The Volume Color interacts with the Transparent Color. In addition to the channels already discussed. environment in the object’s surface. the more as all light is filtered through the Volume Color. not its surface. since you can see more of the Volume Color. the light is tinted by the Volume Color Reflection set to Reflection set to 50% 100% Reflection controls how much light is reflected off the surface of an object. If your surface is transparent. These channels all work the same as they do for surface materials. reflective the surface. 142 Applying Materials . As you increase the Reflection value. Viewer sees object on the surface of object Volume Color Reflection determines how much light is reflected off the surface The Volume Color channel controls the color of the object. When you apply a texture to the Reflection channel. half the light that hits the object’s surface is reflected. The only difference Surface is Reflected Light is that the channels control the properties of the Reflective object’s volume.

a sphere with a low Edge Softness rior of the object value will have a “hard” silhouette. Volume color is an excellent way of creating underwater light effects. the the Base Density to compensate. The Volume color tints everything inside the object. dense. that are less dense appear to be more transparent. so you may have to increase When you use a texture to set this channel. In Edge Softness set Edge Softness set areas where the object is very dense. Base Density set to Base Density set to 100 0 Base Density controls the density of the area within an object. A high Edge Softness value will almost totally obscure the edges of the sphere. Values greater than 100 adjust the dullness of the material. and values less than 100 adjust the sharpness of a material. Areas shape of an object. Objects with a low density will appear more transparent. Edge Softness Edge Softness controls the softness of the edges of Volume Color the silhouettes of objects with a volume material. Fuzzy Factor controls the dullness or sharpness of a material. Base Density Base Density controls how dense the object is. as you alpha channel is used to determine which areas of increase the sharpness of the object it becomes the object are solid and which are empty. it becomes less dense. more dense. Likewise. At 100 there is no dullness or sharpness applied. Base This channel is useful for obscuring the general Density works like Transparency in 3D space. more light passes through its volume. applied to the inte. For example. the more time they take to Fuzzy Factor controls dullness/sharpness of the texture within render. High values create very solid objects like rocks. Bryce5 143 . Setting Base Density Using a Texture As you increase the dullness of your object. Fuzzy Factor while lower settings create less dense objects like clouds. your object. no light to 0 to 100 passes through the object. The more to 0 to 200 transparent objects are. Fuzzy Factor set Fuzzy Factor set You should use this channel cautiously. Where the object is less Edge Softness controls the softness of an object’s silhouette. meaning that you’ll be able to clearly see the edges of the sphere.

The the scene only has to be rendered once. For sliders let you quickly set the value of a channel. • To choose a color using the Color Picker. click the color oval in one speed. As you increase the speed at which a material is rendered. can use to set a material channel value. or quality of the material and sacrifice speed. The selected color appears in the color oval. since the scene will have to be rendered once for each frame in the movie. used in the Value. hold down Option/Alt when you click the color oval. if you use an orange-colored texture to set the Diffuse Color channel. If you click on one of the columns. Ambient. set the intensity of a channel. since the slider that extends out from the channel. 144 Applying Materials . the color oval appears blank. you probably want to sacrifice quality and the numeric field shows the current setting. It also Values can be used with textures. or sharpen dull stone textures. Quality/Speed the color oval appears blank. animations. rendered. Values can only be The material loses detail as the quality decreases. As you increase the render quality of the of the channel rows on the Material Grid and material. Detail is introduced as quality increases. you decrease the speed at which it’s choose a color from the palette. Optics or Volume channels.You can use this channel to smooth sharp-looking When you’re using a color in these channels you clouds. For example. A value is indicated by either the numerical field in For still images you probably want to increase the the left side of the channel in the Material Grid. cannot combine it with a texture. channel. Colors can only be used in the Color channels: Diffuse. applied to a channel. Quality/Speed controls the render quality of the texture. The Volume channel can only be set with a color. the value Color Components would indicate how much of the texture color is A color component is an RGB color that is directly used as the Diffuse Color. you decrease its quality. In this case the describes how to set the parameters for each value sets how much of the texture is applied to the component. Quality/Speed set Quality/Speed set to 0 to 100 Value Components The Quality/Speed value controls the quality of the texture’s Value components are numerical values you use to render in relation to how fast it renders. Material Components The value slider in a channel lets you set a numerical value for the intensity of the channel and displays the channel’s current This section describes the various components you setting. If you choose a texture component for any of the Color channels. This channel represents the inverse To use a color as a component: relationship between render quality and rendering 1 In the Materials Lab. and Volume. Specular. Specular Halo.

you can assign component A to Diffusion and component D 3D textures have three different types of outputs: to Ambience. The Refraction channel Materials Lab. drag the slider next to the Transformation Texture Library channel whose value you want to set. In this case the texture you assigned to A is Color channels use the texture’s color to set the blended with the textures assigned to B and C to value of the channel. Alpha channel. used throughout the material. ABC. Pictures are images you import from either the Picture Library or from another The six buttons on the Texture Component window application. for a material. 3D textures are procedural textures let you set the type of component.A value of 100 means that all the texture The Texture Component Window information is used in the channel. you can mix 3D Textures and match components. There are two types of texture components you can use: pictures and 3D The Component window displays the selected component and its current attributes. When you’re setting channel values. the grid. To use a Texture as a component: Each texture component is assigned a letter: A. can only be set with a value. or D. so if you click column A in channel and so on. These outputs are the same channel using the blend modes AB and used differently by the material channels. B. the numerical value appears in the number field. • Click a column in the material grid. A Texture C. the colors in the Components” on page154 for more on blend texture appear wherever the object reflects light modes. These textures can be any combination of pictures and 3D textures. For example. As you Palette list drag. if you use a set a material channel value. diffusely. mapping mode. The Color channels can have up to four windows visible in the only use colors or textures. The Texture Component window displays the attributes of a selected texture component. Some channels let you set negative values. You can also combine textures within Color. The texture you assign to a component is Component window appears. Bryce5 145 . Display Deep Texture Editor To use a value as a component: Display Texture Texture Name • In the Materials Lab. the texture generated by Bryce and stored in a texture library. For example. Texture Components When you use a texture as a component. Bryce Use Picture Mapping Modes extracts values from the texture to use as a value Use 3D Texture Current Mapping Mode for the material channel. textures. Refer to “Combining texture in the Diffuse channel. and access the texture transformation controls and the Deep Texture You can assign up to four textures as components Editor. a value of 0 means that none of the texture is used. and Bump. You Not all channels use values. texture component A becomes active. so the texture you assign as component A in the Diffusion channel is The component window corresponds to the the same component A used in the Ambience columns in the grid.

texture. the effects of the Bump Height value unless you 2 In the Component window. The data in the channels of these pictures channel value. In this example. click the P button assign a texture to the channel. A default picture appears in the Component window. You must assign a this example. texture to the Bump Height channel to see the bumps or dents. As a result. a texture to set Specularity. The Bump channel in 1 In the Materials Lab. at the bottom of the Component window. application or ones you select from the Pictures the alpha channel information is used to set the material Library. the texture’s alpha A randomly selected texture appears in the channel information determines which areas of the Component window. you’ll see the pattern 2 If you want to change this texture. The P button changes the component to a 2D picture. Value. Optics. the Diffuse color was set using a texture. you won’t be able to see window. and Volume channels use the alpha To use a 3D texture as a component: channel information from a texture to set the value of the material channel. In the pattern of bumps or dents in an object. click the of the texture on the object. In fact. The Bump information in a 3D texture is used only To use a 2D texture as a component: by the Bump Height channel. The texture you selected appears in the Component window. triangle button next to the texture name at the top of the window and choose a preset texture from the menu. the Bump channel information from a texture is used to determine color information is used to set the material channel value. 2D Textures Specularity set Specularity set using a value using a texture 2D textures are pictures you’ve created in another When you use a texture to set the value of an Intensity channel. For example. when you use 1 In the Materials Lab. click a channel column.Diffuse color set Diffuse color set Bump Height set Bump Height set using a color using a texture using a value using a texture When you use a texture to set the value of a Color channel. 146 Applying Materials . click a channel column. A the texture determines the pattern of bumps or texture appears in the texture component dents in the object. Specularity was set using a are used as values in the material channels. object are shiny.

you can load different alpha channels or different RGB The picture appears in the Component information. 3 The filter is applied to your image. 2 Enter a name for the image as well as the You can invert the alpha channel by clicking image size and default color. You can also run any Photoshop filter window. the right one is the combined the top of the component window. one image three different ways. Once the picture is available in your library. You can apply filters to each of the three parts independently. select Select Plug-ins Folder at picture you want to use and click Open. image. the bottom of the menu. These three previews represent of the picture editor. the invert button. The Pictures Editor will contain the new image in one of the tiles. The left image is 2 Select a plug-in from the currently selected the RGB information of the image. If a plug-ins folder has been previously selected. a pull-down menu appears that 5 If the image you want is not in the library: displays the available Photoshop filters. the middle one plug-in folder. 3 Click the checkmark to return to the Pictures Editor. New button at the upper right of the Pictures Editor. click the pink button at is the alpha channel. How to add blank images into the library: • Access the Picture dialog and click the 1 Load an image into the library and click on the Paste text button. Picture Library. How to select a plug-in folder: The pink button displays the Pictures Library. has three square previews at the The picture appears in the top preview frames top of the window. • Click on the triangle to the right of the desired The Pictures Library appears. Bryce5 147 . 4 Click an image square to load an image. cannot be found. copy the picture you want to use to the Clipboard. The picture is loaded into the first image box and its alpha channels are loaded into the The New Image dialog appears. or you wish to select a new • Use the dialog controls to locate the plug-ins folder. the Photoshop filters dialog appears. second box. preview type. Using the Pictures Editor How to apply filters to pictures: The Pictures Editor in Bryce. The Load Image • If. for some reason. on either of the two components of this image or on the entire image. • Click the Load text button.3 To change the picture. also known as the 1 Select a picture from the picture tiles. 6 Click the OK icon to exit the dialog. or Select a folder for the plug-in. • In another application.

This means that the texture texture can change dramatically depending on how appears to change as you move your object. you need to decide how the texture is infinitely large 3D space. Object Space Parametric In this mapping mode. texture will not move as you move the object. For example. the texture scale as if it were a decal. textures are scaled In this mode. The texture also rotates along with mapping mode on a cube. the texture is applied onto the object proportionally to the size of your object. 148 Applying Materials . one iteration of the texture is placed on each face. The appearance of the applied to your object. Each texture you apply can have a different mapping mode. If you change the size of your object. Parametric mode applies the texture as a 2D decal. and only a small portion is mapped onto your object. if you use this changes with it. In World Space mode. click a channel. you can choose which portions of your textures you want to combine. since it’s applied to the object. the object. so the texture appears to move as you move the object. textures are applied to the object so the and scales as the object is scaled or rotated. the object is moving through the texture in 3D space. The texture is mapped onto the object so it rotates In Object Space mode. 3 Click the title of the Component window and choose either 2D Texture or 3DTexture. When you’re mixing textures (Mode AB or Mode ABC). This mode works best with 2D Pict textures.Texture Mapping Modes World Space Once you’ve decided on a texture to use as a In this mode. 4 Click the current Mapping Mode title and choose a mapping mode from the menu. 2 Select a mode for the channel. the texture is applied throughout component. To select a mapping mode for a texture: 1 In the Materials Composer. the texture is applied to the entire world. This means that the texture does not appear to move as you reposition or rotate the object.

from the front. World Top Cylindrical In this mode a 2D projection of the texture is In this mode. projects it onto your object. The texture appears as a projection on top of the object and streaks Cylindrical mode wraps a texture around the object starting down its sides. It is then projected from the sphere onto your object. World Top mode applies the texture to the top of the world. If you of your object. Use this mode when you want to map a 2D picture Spherical mode applies the texture to a virtual sphere and then onto constructed objects like buildings. your texture is mapped onto the front applied to the object from directly above it. the texture does not sides all the way to the back. Textures mapped using this mode are not mapped onto a virtual sphere that surrounds your scaled with the object. wrapping around the right and left move your object or rotate it. but does not scale the texture as you scale the object. object.Parametric Scaled Spherical This mode works like the World Space mode. Parametric Scaled mode applies the texture as a decal. it remains constant while the the center appear on the top and bottom of your object moves through it. a 2D projection of your texture is in 2D. Bryce5 149 . Edge pixels going to move with the object. object. only In this mode.

Mapping Mode Modifiers You can modify the mapping modes in the following ways. Object Front mode applies the texture to the front of the object. It also works well with terrains. Parametric Scaled Reflection Map Object Top mode applies the texture to the top of the object. The texture is then reflected off of the scales along with the object. Random mode applies the texture all over the object in a random pattern.Reflection Map Object Top In this mode. a 2D projection of your texture is This mode applies a 2D projection of the texture to applied to a virtual sphere that surrounds your the top of your object. Random This mode randomly applies a 2Dprojection of the texture all over the surface of your object. 150 Applying Materials . Object Front This mode applies a 2D projection of the texture to Reflection Map mode applies a reverse image of your texture to the front of your object. scales along with the object. This mode works best on objects with irregular surfaces. The texture rotates and your object. The texture rotates and scene. sphere and onto your object.

Symmetric Tiling Centered Transforms When you tile a texture onto an object in Centered transforms works with parametric symmetrical tiling mode. Y. When selected. Alpha Scaling Normally. It uses the texture’s alpha channel to control the amount of blending. Using the texture transformation tools. you can scale. the amount set with the slider will Repeat Tiling “scale” the amount provided by the texture’s alpha channel. it can be transformed along the X. The final look of the transformation depends on the mapping mode you use to apply the texture to the object. Decal Colors Decal colors blends the color of a texture with the affected component’s base color. the texture’s alpha channel will set the In Symmetrical Tiling mode. each repeated instance of mapping modes to force the transformation of the your texture is tiled horizontally and vertically. or rotate your texture. With alpha scaling turned on. In some modes. allowing the pict file to be applied smoothly to an object. This gives you more subtle control over Unlike symmetrical tiling. position. texture transformations Bryce5 151 . using the component’s slider. axis—just like a 3D object. This mode modifier only affects picture textures. The number of instances of the texture depends on the scale This mode modifier is enabled by default. pattern over the surface of the object. textures are seamlessly tiled across value without regard to the amount that was set the object. as textures to be applied around the center of the needed to seamlessly produce a symmetrical object surface. horizontally and vertically. This can make decalcomania effects easier to achieve. if you drive a component’s value with a texture. the image behaves like a sticker Transforming Textures placed on the surface of the textured object. or Z Tiling. the picture will repeat Since a 3D texture exists in three-dimensional itself across the surface in a similar way to Repeat space. Repeat Tiling repeats your texture across the surface of your object Pict Interpolation without any alteration in orientation. interpolates the pict file you are using. It applied to the texture. in which a seamless tiled the influence of the texture on the material pattern is achieved by flipping the texture component’s value. Unless Scale Pict Size is selected. the image may appear Scale Pict Size to be pixelated or jagged. With Pict Interpolation disabled.

since it doesn’t have to be repeated as many times to cover the surface of the object. If you find that the texture isn’t reacting the way you Scale Z=0% Scale Z= 50% Scale Z=100% want it to. Rotation Rotation Rotation Z=0° Z=45° Z=90° Adjusting the orientation in Z changes the angle of the texture along the Z axis. transforms can have a large impact on the look of the material. The transformation tools give you very fine control Rotation over the final appearance of the texture. frequency of the texture. Adjusting the scale in X changes the size of the texture along the X axis. you can control the Scale angle of the texture on the object’s surface. Increasing the scale of a texture decreases the frequency of the pattern. You may find it necessary to experiment with different settings to get the results you want. like Parametric. Refer to “Texture Mapping Modes” on page148 for more Adjusting the scale in Z changes the size of the texture along the Z axis. while in others. Using the Rotation control. You can create very different texture effects depending Using the Scale control.may not be very noticeable. 152 Applying Materials . on mapping modes. try changing the mapping mode. Adjusting the rotation in X changes the angle of the texture along the X axis. Scale Y=0% Scale Y= 50% Scale Y=100% Adjusting the scale in Y changes the size of the texture along the Y axis. you can change its size in all three axes. Rotation Rotation Rotation Y=0° Y=45° Y=90° Adjusting the orientation in Y changes the angle of the texture along the Y axis. Rotation Rotation Rotation X=0° X=45° X=90° Since a 3D texture exists in 3D space you can change its orientation in all three axes. Scale X=0% Scale X= 50% Scale X=100% Since a 3D texture exists in 3D space. you can control the on the texture’s orientation.

you can control where the texture appears on the object’s surface. Adjusting the position in Z changes the placement of the texture 3 As you pass the cursor over the tool. and orientation of the texture component. To transform a texture interactively: 1 In the Texture Component window. the tool along the Z axis. placement can be vital to the look of the material. and Z coordinates or 1 In the Texture Component window. if you’re placing a decal on an object. Y=0BU Y=50BU Y=100BU Adjusting the position in Y changes the placement of the texture 4 Click the OK icon to apply your changes. As you adjust the value. transformation you want to apply. you can change its position in all three axes. or Z value you want to adjust. Position Position Position X=0BU X=50BU Use the texture transformation palette to adjust the scale. Bryce5 153 . Since a 3D texture exists in 3D space. click the first button on the left at the top of the window. the material preview Position Position Position updates to show the results of your changes. click the interactively using the transformation tools. X=100BU position. along the Y axis. When you’re using a picture as a component. Position The Transformation palette appears. changes to display the different modes available.You can transform a texture numerically by To transform a texture numerically: adjusting the X. Y. Y. Position Position Position 2 Move the cursor over the tool you want to use Z=0BU Z=50BU Z=100BU until the mode you want is active. first button on the left at the top of the window. The Transformation tools appear. Drag left to increase the value or right to decrease it. Adjusting the position in X changes 2 Move your cursor over the control for the the placement of the texture along the X axis. For example. 3 Drag the cursor over the X. Using the Offset controls. use the Position controls to precisely place the image in the center of the object or on the correct face.

This editor uses some rather of the object complex texture-generation concepts to create textures for Bryce. Mode AB In Mode AB. Gray areas in the alpha channel use a components. Values from texture A set the Diffuse Color channel at • Mode A lower altitudes. Mode AB was used to set the Diffuse Color of three blending modes: channel. A. two textures. or rotate the texture. the alpha channel from texture C Altitude is based on the distance between the acts like a map that tells Bryce where to apply the ground level and the highest object in your scene. values from texture A and texture B. A color gradient create a completely new texture using the Deep between color A and color B appears in the middle Texture Editor. two textures are blended together Mode ABC based on altitudes. Texture B Combining Components You can combine material components using one In this example. while values from texture B set the channel at higher altitudes. the object and Texture A appears at the top. values from texture A are used. scale. Control/Ctrl+click the B value of a channel. • Mode AB Mode AB can be used to create snow covered peaks • Mode ABC on terrains or murky depths in infinite water slabs. You can either choose to learn all these concepts to create your textures precisely. C. if you use ModeAB in the Diffuse Editing Textures Color channel. All the white areas of the alpha channel use values from texture When you use this mode. Texture B appears at the bottom of combination of both textures. Component indicators appear in both the A and B columns of the channel. 5 Click the OK icon to apply your changes. the color in texture A appears at the bottom of an object’s surface. In this mode. Refer to “Creating and Editing Textures” on page169 for more information about learning texture-generation concepts. In 154 Applying Materials . the In Mode ABC. an object’s surface A. texture A and texture B. The component can be a value.4 Drag the mouse in the direction you want to between is a blend between texture B and texture move. a column of a channel. Bryce creates the blend by interpolating between the two textures. are blended based on the alpha channel of texture texture B is used to set the value of the channel. At the lowest altitudes. at higher altitudes. Texture A or use the editor as a type of lab where you combine random settings and see the results. black areas in the alpha channel use values from material is a blend between two texture texture B. picture. For example. or a 3D texture. Mode A To use mode AB to blend textures: In Mode A. and the color from You can edit the makeup of an existing texture or texture B appears at the top. only one component is used to set the • In the Materials Lab.

The shading mode can not only determine how the material is applied to the surface of the object. applied to the object. smooth. When Mode ABC is used to combine the three textures. In the example that follows.click the C column of a channel. but how it’s applied to the Shading Modes object’s volume as well. When an object is • Click the triangle icon next to the material shaded. B and C columns of the channel. you can define whether a surface is shiny. Control/Ctrl. Texture A Texture B Texture C Using a shading mode. you determine how those properties are applied to the object. Bryce5 155 . To choose a shading mode: Shading refers to the process of applying material channel values to an object. The shading modes available in Bryce determine how material channels are applied to create different effects. the spot texture (A) appears in the white areas of the checker texture’s alpha channel (C) and the lines texture (B) appears in the black areas of the alpha channel. Component indicators appear in the A. three textures were combined using Mode ABC in the Diffuse Color channel. To use Mode ABC to blend textures: 1 In the Materials Lab. the different values in the material are type buttons at the top of the Materials Lab. or opaque.Alpha Channel Texture Used Texture A Combination of A and B Texture B Using a material.

it simulates a real-world appearance using the Using Blend Transparency Shading material channel values. When this mode is active. visibility is controlled by Transparency. objects appear fuzzy on the edges and solid at the center.Surface Material Shading Modes Using Normal Shading This section explains the surface material shading modes. As a result. Objects are shaded according to the values you set in the material channels. object’s surface. Fuzzy Fuzzy mode changes the effective transparency based on the thickness of the object. Normal Normal mode applies the values of the material without modifying them in any way. Blend Transparency In Blend Transparency mode. This mode has no special effects. These areas appear as gaps or holes in the out” areas of the object’s surface. areas of the object that are 100% transparent are ignored. 156 Applying Materials . texture. This is the default mode and is appropriate for most objects. Transparent areas are not shaded and do not cast This cage was created by using blend transparency to “punch- shadows. Anything less than 100% Transparency results in This mode lets you create punch-outs when using a normal transparent areas.

Volume Material Shading Modes This sections explains the volume material shading modes. it is not available for 2D objects such as Squares or Disks. Bryce5 157 . When this mode is active. mode does not shade an object. the Flat shading mode is designed for clouds. If you apply it to a cone object. but does not apply any shading. Specular Color and Transparency Color have no effect. light-sensitive volume materials). Ambient Color. Flat Shading When you apply a material using Fuzzy shading mode. Light Light is a very specialized shading mode best used to create visible lighting effects. The color of the material is determined entirely by the Diffuse Color channel. Specularity. volumetric object without affecting the interior. This mode is useful for creating point lights without the rendering overhead that comes with true volume light objects (that is. it looks like a cone of and light effects to the exterior surface of a light. Basic Shading The Light shading mode is designed to create simple light Basic shading mode is designed to apply shading effects. while the center remains other self-luminous gaseous materials. volumetric objects are Only the Diffuse. gases and edges of the object appear blurred. Objects shaded with this mode appear transparent and self- illuminating. this blurry effect. Flat shading solid. Use the Transparency setting to adjust the degree of fuzziness. Ambience. Diffusion. The Flat shading mode applies your material as a volume material. When this mode is active. Ambient. All other channels are ignored. light. and Transparent Color shaded as if they have a surface material applied to channels are used to determine the color of the them rather than the actual volume material. meaning that light sources have no effect on the color or brightness of Since Bryce uses depth information to synthesize the object.

If you particles of the material become visible creating the effect of a don’t need to see shadows in the object. The Full shading mode applies your material as a volumetric material. By default. Since light sources can affect portions of your material. Density doesn’t control density as the color and brightness of an object. Ambience. Full Shading Full shading mode is designed for hard edged.In this mode. The Light Sensitive mode was used to apply material inside the bottle on the left. shaded and can be affected by light sources. active. but the particles in in density by using the Edge Softness control. Higher values create brighter particles light sources. Usually you should disable this filter unless you’re creating very specialized effects. When this mode is active. However. If you were shining a light through a cloud material. the This can greatly increase rendering time. Specularity. Light Sensitive You can control the starting point of this variation mode does not shade objects. Ambient Color. Only the much as it sets the light sensitivity of material exterior surface of the object will be affected by particles. Diffusion. your material are sensitive to light. Uniform Density mode sets the object to have a consistent density throughout the 158 Applying Materials . To get the best results for light objects. light and shadows will not be and lower values create darker particles. The object is most dense at the center and Light Sensitive mode is designed for creating visible becomes less dense as you approach the surface. Light Sensitive objects have a density that varies from center to surface. you would be able to see the clouds within the light cone. shadows will appear within the object. When Full shading mode is the Diffuse Color channel. make sure light beam passing through the bottle. the visible portions of the material are The result is like shining a light through a volume. and applies shading to the visible portions of the material. generated within the object. Specular Color and Transparency Color have no effect. The color of the particles is determined entirely by sharp objects like rocks. When the bottle is lit by a light source. light sources have a limited effect on In this mode. Uniform Density Objects can have varying densities. light effects such as light beams. the Receive Shadows filter is disabled. you may want to create objects that do not vary in density. use the Addi- tive blend mode.

Sky Integration Sky Integration mode is designed to increase the realism of volume objects in scenes that have hazy or foggy atmospheres.object. no shadows will appear on the object’s surface. objects or fog objects. light beams. set your This modifier prevents an object’s surface from Ambient Color control to zero and render against a accepting shadows cast by objects around it. but it won’t accept mode modifier selected will not cast shadows. moiré-like modifier at the same time. When the Receive Shadow filter is disabled. and so on. This results in harder- looking objects and faster rendering times. When you modify a shading mode using Additive. Distance Blur but they modify an existing shading mode. Often. When Sky Integration mode is active.e. The Distance Blur modifier fades the bumpiness well When this modifier is active. You can also apply more than one infinity (i. patterns appear in these cases as the pixels try to resolve the infinitely receding high frequencies of Additive bumpy water or grooved sand. the sky effects such as haze and fog are taken into account when the volume object is rendered. Objects with this shading object itself will cast a shadow. plain background. When This modifier is designed to minimize the problem you select a modifier it remains enabled until you created by highly bumpy textures fading into disable it. For best results. it appears almost white. shadows from other objects. The dark. and ghost images. material channels are before it hits the horizon. The density at the starting point is used throughout the object. the horizon). Bryce5 159 . objects This mode is very useful for creating realistic cloud appear as ghost images. This mode is very useful for creating planets and quarter moons. This helps blend objects realistically into the atmosphere. applied to the environment behind the object instead of to the object’s surface. Shading Mode Modifiers Shading mode modifiers are not shading modes.. Receive Shadows If you put an object on a bright background.

If you blend number of object attribute icons appear to the between a light Diffuse Color and a darker Volume right of the object. A depth in an infinite water slab. as you move This modifier is excellent for creating underwater higher up. This modifier can be used to create a sense of 2 Select the object in the Working window.Cast Shadows This modifier prevents an object from casting shadows. As you move further away. Self Shadows This modifier prevents an object from casting a shadow onto itself. The object’s surface still reacts normally with light but it does not cast any shadows. Distant objects appear darker This modifier gradually blends in the Volume color than closer ones. If you blend a darker Diffuse Color with a lighter Volume Color in an infinite slab. Areas that are closer to the camera will be tinted less with the Volume Color. more of the Volume Color is visible. Using the Volume Blend-Altitude. you can create the illusion of depth as you sink deeper into the water. you can simulate the effects of sinking deeper into a volume of water. The lower you sink. yet still shadow all the other elements of the scene. Areas at lower altitudes are tinted with the 100% Volume Color. you can simulate the effects of murky water on distant objects. less of the Volume Color is added. Volume Blend-Distance This modifier blends the Diffuse and Volume Colors of your material based on the distance from the camera. Volume Blend-Altitude Using the Volume Blend-Distance. The Materials Lab The Materials Lab is where you create and edit your materials in Bryce. you can simulate the effects of looking through murky water. the To display the Materials Lab: darker it becomes. 1 Create an object. This unique editor lets you combine a wide variety of components and channels to create an infinite number of different surfaces and volumes. 160 Applying Materials . based on altitude. depth effects. Color.

the channels in the lab change to display define how the object’s surface or volume reacts to the volume channels. The contents of the composer depend on the material currently applied to the object. Material Preview Window The Optics group contains all the channels that define any optical effects associated with the On the left side of the Materials Lab is the Material Preview. A Quick Tour of the Materials Lab The Materials Lab is set up like a visual chart that The Material Grid gives you a one-glance view of all the lets you see all the different channels that make up channels that make up your material. Each channel in the Color group has a color oval This button lets you switch between surface next to its title. Values Bryce5 161 . you can choose Objects menu> Edit Material or display the Edit palette and click the Edit Material tool. The sliders let you quickly set the value of each channel. When you toggle to The Value group contains all the channels that Volume. All of the channels in these three groups have sliders on the left side of each row. colors and textures to set channel values. object surface when it’s struck by light. the Optics object. In the top left corner is the mode toggle button. This group channels. Use the quick access buttons next to a selected object to access editors and get information about the object. This oval lets you quickly set a material and volume material. you can see all the The Color channels group contains all the material settings for each material channel and the texture channels that define the colors that appear on the components used to drive channel values. 3 Click the M icon. your material. This little window shows you what your object. metallic. contains all the channels that define the appearance of an object’s volume. Alternatively. If there is no material. The preview updates as you adjust the group is replaced by the Volume group. indicates what type of material you’re creating. the default material’s settings appear. The Materials Grid The center of the Materials Lab is called the Materials Grid. The buttons also color for the channel. material will look like when it is applied to an When you’re creating volume materials. bright or dark. In other words. they control whether the object is shiny. The Materials Grid is divided into three sections each containing logical groups of channels. At a glance. Surface is enabled by default. light. This is where you combine values.

C. Texture Component Windows Along the right side of the lab are the Texture To create a new surface material: Component windows. and D. When a texture component 2 Display the Materials Lab. values. 3 Set the material channels to define the properties of your material. component A is being used to textures applied through fourteen different channels. These controls let you animate you must use a value. 162 Applying Materials . labeled A. 4 If you’re using texture components. B. is active. At the top of each column is a Frequency slider. colors or texture components.can be used in conjunction with textures or on Along the bottom of the Materials Lab are the their own. it means that a component is being used to create and store materials. Setting the frequency is the same as scaling the texture. • Set a mapping mode for the texture. Component A Remember. This slider lets you quickly set the frequency of a texture component. position or rotation of the Component C texture using the texture transformation controls. colors and Ambience channel. Animation controls. Working in the Materials Lab When a texture component indicator appears in a This section describes how to use the Materials Lab column. you can: • Edit the scale. B. • Edit the makeup of the texture using the Component D Deep Texture Editor. between textures or animate the properties of a single texture over time. components (colors. channel. The four Texture Component windows correspond to the four columns in each channel in the Materials Grid 5 Choose a shading mode for the material by clicking the triangle icon at the top of the Materials Lab and choosing a mode from the menu. You build materials by selecting drive the Ambience value. to drive the value of the channel. Each channel is divided into four columns: A. In the case of the Refraction channel. These four windows are 1 Select an object. You may want to experiment with different setting to see the results of your Component B changes. these windows display a preview of the texture and provide access to texture editing tools. These columns represent texture components you can use to set the value of the Use the Animation controls to animate a material over time. and D. or textures) and combining them on the Materials Grid. channels can be set using values. C. For example. The column in which the indicator appears indicates which texture Building Materials component is being used. if a texture component indicator appears in column A of the A material is a combination of values.

Up Close displays a zoomed-in view of your object. click an empty column. The new material is applied To use a component in a channel: to the selected object. Copying and Pasting Materials 5 If you’re using texture components. • Edit the makeup of the texture using the Deep Texture Editor. To switch preview modes: To activate a component in the Materials • Click the triangle at the bottom of the material Grid: preview and choose an option from the menu: • Click an empty channel column. You can have an texture using the texture transformation object in your clipboard. To switch between components: 3 Click the toggle button to switch to Volume. • In a material channel.6 Click the OK icon. There are several different ways you can see the 7 Click the OK icon. 1 Select an object. • Click the Copy button below the Material Preview window. you can: The Materials Lab has its own dedicated clipboard • Edit the scale. To paste a material to the Materials 6 Choose a shading mode for the material by clipboard: clicking the triangle icon at the top of the • Click the Paste button below the Material Materials Lab and choosing a mode from the Preview window. This is the default view of your selected object. A component Normal displays your object as it looks in window appears. 4 Set the material channels to define the To combine a component with a value: properties of your material. menu. The new material is applied effects of your material on an object. The shading modes for volume materials are Using the Material Preview Area different from those for surface materials. then enter the Materials controls. 1 In a material channel. to the selected object. your scene. volume not its surface. so adjust the material’s chan- nels accordingly. To copy a material to the Materials clipboard: • Set a mapping mode for the texture. channel values are applied to the object’s 2 Drag over the value control for the channel. click the column that corresponds to the component you want to To create a new volume material: use. Lab and copy a material without disturbing the contents of your clipboard. position or rotation of the that lets you store materials. Remember. • Click in a new column. You should always use a texture component in the Base Density channel. 2 Display the Materials Lab. Bryce5 163 .

Render With Neutral Sky displays your Presets are a great way of understanding how object against a plain sky. affect the angle of the object in your scene. You can open one of the disabled. This option makes it easier to see were used to create the final material. click the triangle icon at the top-right of the Material Preview window. your preview contains the current presets and see what channel and components sky settings. The Materials Presets Library contains all the material presets available in Bryce. cookbook. Some of the shaders are organized as Render With Neutral Ground displays your lessons that can lead you through the process of object with a plain ground. 164 Applying Materials . The angle of the preview does not to your object. When this option is materials are made. To add a material from the Materials Presets Cylinder displays the material applied to a Library to an object: cylinder. You can also select presets in one motion by clicking the Materials Presets icon then dragging directly to Material Presets the desired material preset and releasing the mouse button. You can also drag over the category names Material presets are predefined materials. Current Selection displays the selected object exactly as it appears in the your scene. the creating interesting effects. Terrain displays the material applied to a randomly generated terrain object. • Drag the Preview area in the direction you 4 Click the thumbnail of the preset you want to want to view it from. The Materials Presets infinite plane. Presets to change categories into the category’s presets. you would any other material. Presets are stored in the Material Presets Library. Fast category. variety of commonly used surfaces. and metallicity. Torus objects are good for displaying material properties like altitude changes. add. 2 In the Working window. When disabled. For example. You can place Sphere displays the material applied to a them on your objects directly and edit them just as sphere. Library appears. the material without being distracted by The Material Presets Library can also be used as a patterns in the sky. click the triangle icon next to the Edit text button at the top of the Ground displays the material applied to an Bryce environment. and contain channels values that simulate a wide then release mouse button. Cone displays the material applied to a cone. Using the Materials Presets Library Box displays the material applied to a cube. Torus displays the material applied to a torus or object. 3 Click one of the Category names along the left To change the view angle of the preview area: side of the dialog. and height changes. try ground in your preview has the same texture opening the Specularity lessons in the Simple & as the object. 1 Select an object. slope In the Materials Lab. The preview switches to wireframe as you 5 Click the OK icon to add the selected material move it.

at any time by clicking the name or description. Box displays your material applied to a cube. or left to pan the object preview. 5 Drag the preview area to rotate the view of your object. You can add the material from any object to the Preset Materials Library. This is a good way of Cone displays your material applied to a cone. 7 Hold down Command/Ctrl and drag in the 3 Click a category name. The library switches to preview area to zoom in and out of the the category you selected. The preview area displays the object you selected. down. option from the menu. same material. To add a material to the library: Terrain displays your material applied to a 1 Select the object whose material you want to terrain. preview. The new preset will be added to the category 8 Click the Add button at the bottom of the you select. You might want to disable Render add to the library. the first available space within the current category. 6 Hold down the Spacebar and drag up. Render With Neutral Sky displays your object with a flat sky instead of the sky applied You can edit the name and description of any preset to your scene. right. 10 Enter a description of the preset in the Normal is the default view of your selected Description field and click the OK icon. Torus displays your material applied to a torus object. Cylinder displays your material applied to a cylinder. The Add Material dialog appears. The name and description will appear next to Up Close displays a close-up of your object. Your selected object will appear in the preview Ground displays your material applied to an area of the Preset Material Library dialog. object.Adding and Deleting Preset Materials Sphere displays your material applied to a sphere. With Neutral Ground as terrain materials look 2 Click the triangle icon next to the Edit text better when placed on a ground plane with the button at the top of the Bryce environment. Bryce5 165 . Your preset will be added to ground used in your scene. dialog. the material preview whenever the preset is accessed. saving your favorite materials. Current Selection displays your object exactly as it appears in your scene. 4 Click the triangle icon at the bottom right 9 Enter a name for the new preset in the Preset corner of the preview and choose a view Name field. infinite plane. Render With Neutral Ground displays your object on a flat ground plane instead of the 11 Click the OK icon.

Preset Materials Library dialog. The Open While there is almost an infinite number of dialog appears.To delete a material preset: 2 Select the preset or presets you want to export. your rendering time can increase exponentially. 3 Click the Delete button at the bottom of the Preset Materials Library dialog. Animating Materials Animating materials can add an exciting new Importing and Exporting Preset dimension to your materials—time. you can interpolate between textures over time or change the properties of a Importing and exporting presets is a handy way to single texture over the course of an animation. Reflection. you add the complexity of creating transparent. Using the Materials Animation controls. you can create subtle effects 1 Click the triangle icon next to the Edit text like changing a cube from water to ice or changing button at the top of the Bryce environment. The Preset Materials Library appears. the longer it first available space in the current category. You can create your own folders for presets. the seasons on a mountain. 1 Click the triangle icon next to the Edit text Rendering Transparency. but when The Preset Materials Library appears. exchange custom presets with other users. you need not use all the features of the Import. and Refraction button at the top of the Bryce environment. always requires longer rendering time. or refractive volumes. or Refer to “Adding and Deleting Preset Folders and Hold down Command/Ctrl and select a Categories” on page76 for more information on discontinuous set of presets. 1 Click the triangle icon next to the Edit text button at the top of the Bryce environment. lab all at once. materials with the added complexity of creating materials using multiple components and adding 3 Locate the file you want to import and click volumes. Instead of creating an animation with simple motion. 2 Click the preset you want to delete. In the Materials Lab. or Refer to “Animating Materials” on page350 for complete instructions on animating materials. 4 Enter a name and location for the file and click or Save. If you find that 166 Applying Materials . creating your own preset folders and categories. Speeding Up Materials 2 Click the Import button at the bottom of the Preset Materials Library dialog. reflective. 3 Click the Export button at the bottom of the The Preset Materials Library appears. letting you organize presets into your own categories. The animation tools are a great way of adding life To import a preset material file: to your scene. The contents of the file are placed into the The more complex your material. Hold down Shift and select a continuous series of presets. takes to render so you should use complexity only To export a preset material file: where it’s necessary. click the triangle icon next to the Material Preview window. The Save File dialog appears.

Bryce5 167 . This type of material creates specific types of effects. Reflection and Refraction values to zero. use Full Shading Volume textures sparingly. so you should limit these materials to specific areas of your scene. be prepared for a long wait while the scene renders.your scene is taking too long to render. you may want to try setting the Transparency. Additionally. If you spread Full Shading Volume textures everywhere throughout your scene.

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A material can make your object shiny. but the textures within that material are what make it look like wood. dull. By altering the make-up or pattern of a texture you can dramatically alter the appearance of a material. A material can contain up to four textures. water. or clouds. and textures are the power behind the material. pattern or bumps within a material. or transparent. Textures define the color. A material can bring any object to life. .8 Creating and Editing Textures One of the things that makes Bryce so unique is its materials. rock.

The shape of the create. phase of the noise and the filter applied to it. These outputs are The component can contribute any combination of then combined to create the final texture. If you use one or two they are combined according to the blend method you select. so the type of output you have in a texture depends entirely on how you want to use the texture in the material. It This diagram shows the structure of a texture. The way components are combined to create the final texture is determined by the Blend Mode you select. So you can have a final texture that contains Color output. For example. Alpha output. A texture can contain up to three components. you’d probably want all the components to contribute only Bump output. outputs. the more noise inside a component is determined by the complex your texture. random spots or These modes can create a wide range of effects. If you use three. can be made up of all three components or just Within each component is a combination of colors one. component can then contribute one of three types of output to the final texture.Texture Structure A component can contribute one of three types of output to the final texture: Color output. which determines the size and pattern of bumps in the texture. Alpha output. and Bump output. depending on the type of texture you want to and noise that create a pattern. which determine the colors in a texture. Each texture. the first two components are combined. “Phase” on page183 and “Filtering” on page186 for more on noise. anything in between. Components are combined differently depending on how many you use. Refer to “Noise” on page177. The more components you use. phase and filtering. or any combination of the three. The outputs in a texture are used by the material. if you’re using the texture as a bump map for the Bump Height channel in a material. A Bryce texture can be made up of three components. and Bump output. or it can have all Color output or all Bump. These components contribute the raw which determines the bright and dark areas in a patterns or textures within a texture. The Components are combined using Blend Modes. final texture. 170 Creating and Editing Textures . filter can create coherent patterns. and the resulting texture is then This diagram shows the structure of a texture including the combined with the third component to create the structure of a component.

The or filter. In total your texture can contain up to “Global Changes” on page194 for more on global twelve colors. and C2) combine to create a hybrid texture which is then combined with the third component (C3) to create the final texture. The noise in a component is made of base Noise The end result of the Global changes is the final which is modified by the Phase. A texture can have up to three components. noise. So they’re combined using the formula Understanding Component Structure (C1+C2)+C3=FINAL. These types of three colors which is added to the colors from the operations are called Global changes. the components create the final texture. texture can have its own color scheme. Alpha or Bump output. The difference between components and texture components may be a bit confusing. that make up a texture are called components. which to create a material. The Noise is modified the look and color of the texture. The texture itself also has components. you’re dealing with components. phase A component can have up to three colors. When The texture components are combined together to combined. A texture is a part of a material. The final A component consists of noise and color. It can be used to drive any of the material’s channels. Just remember that when you’re talking about a texture. Texture Components Before you get any deeper into the discussion of texture structure you should understand a little terminology. form the final Combination texture. It can be made up of up to three components that determine A component consists of noise and color. and the Filter. Refer to components. determines the shape or pattern of the noise. which controls the texture which can then be used in the Materials lab complexity of the noise. it’s called a material component. Components vs. The components by the Phase and the Filter. you’re using texture components. When you use a texture in a material. Any changes you make to the combination combined texture can also have a different set of texture changes the final texture. the first two components (C1 working with materials. Each component can then produce Color. changes. Bryce5 171 . When you’re When you use three components.

or appears gray. this pattern appears in the final material. If there’s no Alpha or Bump output only one. When you assign the texture to a material. The number of output types for the final there’s no Alpha or Bump information in the texture depends on the output you assign to the component. components. When you apply a texture to a material. Alpha and Bump. Transparency color channels. if you have two components that of output it produces. Each output type contributes something different to the final material. A component can produce one or all three types of outputs. more on using textures in materials. Alpha output Color Output Color output Bump output Color output is used by the color channels of a The three boxes in the Texture Component Window in the material. Specularity. Ambient. 172 Creating and Editing Textures . The colors in a texture usually appear in the form of a pattern or grain. the type of output you want. the output type for a component is indicated by the three output A component’s output type determines what type buttons along the right side of the Component of information it’s going to contribute to the final Window. Specular Halo. when you combine them the A texture can produce three different types of colors from both components are blended together output: Color. the output use it as part of a material which will then be information will be blended to produce a final applied to an object. The Output type also determines the component’s structure. A component that does not have a Color output won’t contain any color Assigning Output Types information. The same is true for the two other A texture can produce all three output types or types of output. Component Output You can assign more than one component to the same output type. How and what a texture output. texture. at least one of its components must produce color output. texture. and the result is applied to the final texture. produce Color output. The combined values are then used to drive the If a texture does not produce a particular output the box Diffuse.Components and Output In the Deep Texture Editor. contributes to a material is determined by the type For example. if you want your final texture to contain color output. For example. The color values you assign to a texture’s Materials Lab represent the three output types available for a components are combined to form a final texture. Refer to “Understanding Surface Material Channels” on Refer to “Texture Components” on page145 for page128 for more on these channels. If you do have more than one The main purpose of creating a component is to component with the same output type. you can see In order to produce an output type. a final texture the output types in the Texture Component must contain at least one component that produces Window in the Materials Lab.

You can see how the bump output in the texture controls the pattern of bumps on the object’s surface. When a texture’s material channel to determine the pattern and Alpha output is assigned to a material. click the A button on the right side of the component button on the right side of the component window. either to determine an effect’s intensity or as a guide map for combining multiple textures. You can see how the alpha pattern in how the color pattern in the texture appears in the material. 2 In the desired component window. the texture’s Alpha output is used Material containing texture to determine which areas are the most diffuse and which are the least diffuse. Original Texture When there is only one texture component in a material channel. if you assign a texture to the Diffuse channel. To assign Color output to a texture: To assign Alpha output to a texture: 1 Display the Deep Texture Editor. click the B button on the right side of the component window. Bryce5 173 . Original Texture Original Texture Material containing texture Material containing texture The texture in this example was applied to the Diffuse color and The texture in this example was applied to the Diffuse channel Ambient Color channels of the object’s material. You can see of the object’s material. 1 Display the Deep Texture Editor. the texture controls the diffuse intensity on the object’s surface. it’s used height of the bumps in a material. 2 In the desired component window. For example. The texture in this example was applied to the Bump Height channel of the object’s material. To assign Bump output to a texture: 1 Display the Deep Texture Editor. click the C 2 In the desired component window. window. the texture’s Alpha output is usually used to determine the intensity of a channel effect. Alpha Output Bump Output Alpha output is used by the various Intensity and The Bump output is used only by the Bump Height Optic channels of the material.

Also. You can create some very interesting patterns of color by modifying the noise. the colors in the The Component window displays the selected component and its component contribute to the colors used in the current attributes. or 3 components. When the Color Output is selected for a Color Modes Open Phase component. a component The colors in a component determine its color window becomes active. The method you choose depends on the final output of your Bryce scene. 174 Creating and Editing Textures . grain or bumps in the want to use to build your texture. effect. green and blue to create color. The three buttons on the Component window let There are two color models you can use to create you access the Noise palette. As you activate components. only the color information is combined Component Col. 1 Display the Deep Texture Editor. HLS side of the window indicate the type of output combines Hue. The Component window You can have up to three components in your Color texture. 2 Click the component selector in the top-left changing the colors or Color Blending Modes has no corner of the editor. So Alpha output even if Color is the only output type for the Bump Output component you’ll still see a pattern in your final texture. component. pattern. The buttons along the right combines red. the Filtering palette colors in the components: RGB and HLS. Each window displays a preview of the component elements. The selector lets you choose from 1. palette with the other components. 2. RGB and the Phase palette. Reset Component Open Filtering pal- Open Noise palette ette The color in a component is affected by the noise. If the Color output is not active for a component. Each of those components can contain several elements that The component selector lets you pick how many components you determine the color. The color pattern created by the changes in Color output the noise is applied directly to the final texture. Colors can be chosen using the color picker or the Color dialog. Color channels of the material. Each component can have up to three colors. scheme. create color.Component Elements A texture is made up of components. Lightness and Saturation values to produced by the component. To activate Color output for a component: 1 Display the Deep Texture Editor. RGB works To activate a component: best for most types of output. when you apply ors Randomize the texture to a material. filter and phase.

To choose colors for a component: 3 Click the triangle icon in the lower left corner of the window and choose a mode from the 1 Display the Deep Texture Editor. Red or Hue When the RGB model is used. When the HLS model is 3 Option/Alt-click the one of the color indicators used. There are several blending modes you can use to create a color scheme. For example. Green or Light 2 In the desired component window. When the HLS model is used. only green color values. only Hue values are output. you could set each component to output one of the different color values. only blue color values. 6 Click the OK icon. this mode outputs buttons along the bottom of the dialog. Blue or Saturation 4 Choose a color model by clicking one of the When the RGB model is used. make sure When the RGB model is used. display the colors used in the component. along the left side of the component window. and Blue or Satu- ration mode are available so that you can separate The three color indicators along the left side of the window color values among the components. this mode outputs only red color values. When the HLS model is 5 Enter color values or adjust the sliders to mix used. this mode outputs the C button is selected. make sure appears light gray. To mix colors for a component: 1 Display the Deep Texture Editor. The Color dialog appears. only Saturation values are output. Spline Interpol This mode creates a blend between all the colors in Color Blending Modes the component. 2 In the desired component window. only Lightness values are output. menu. This mode and the Green or Light. make sure the C button is active. a new color. 1 Display the Deep Texture Editor. click the C To choose a Color Blending mode: button.2 In the desired component window. color from the palette. An output type is active when the button 2 In the desired component window. None 3 Click one of the color indicators along the left side of the component window and choose a No blending is applied. the C button is active. Bryce5 175 .

range values are applied next and colors with the highest values (i. colors with middle This is what a color blend looks like using Linear Interpol 2. Blue 176 Creating and Editing Textures . Earth Map is excellent for creating planets. In this mode colors are applied in irregular patterns. Interferences This is what a color blend looks like using Randomized. This is what a color blend looks like using Spline Interpol. dark colors) are applied to the bands furthest from the center.e. to the contours of the component’s bump map. In this mode the red. Perturbed This is what a color blend looks like using Linear Interpol 3. This mode creates a linear blend between the first two colors selected for the component. Linear Interpol 3 This mode creates a linear blend between all the colors in the component. Banded In this mode colors are applied in bands. bright colors) are applied closest to the center. Randomized In this mode the three colors are blended and then applied randomly throughout the component. is applied to the lowest bump values and white is applied to the highest values to simulate polar caps. This is what a color blend looks like using Banded. Linear Interpol 2 This is what a color blend looks like using Earth Map. green and blue values of the first color in the component are used to create a Earth Map repeating pattern around the contours of the In this mode extra colors are generated according component’s noise. This is what a color blend looks like using Perturbed. The three colors you selected for the component are applied to the middle range of the bump map.e. The bands are determined by color values. Colors with the lowest value (i.

based on the object’s height. using the palette. you can only edit the existing noise. or Bryce5 177 . you layer other functions on This is what a color blend looks like using Altitude. Altitudes are based on the object’s height. but adds a white layer The Noise palette can increase or decrease the above the colors at high altitudes. Altitude This is what a color blend looks like using Orient. Sound is layered on top of this noise to create music. and Interferences. This is what a color blend looks like using Interpol + Interferences. Altitudes are amount of noise in any of the texture components. In this mode a white layer is added above the colors at high altitudes. In audio terms you can think of noise as the background static that you hear on old recordings. Noise is the background turbulence that creates the basis for texture patterns. Interpol + Interferences This mode is a combination of Linear Interpolation This is what a color blend looks like using Slope. colors in the component. This is what a color blend looks like using Interferences. However. Slope In this mode the three colors are applied to the object depending on its slope. top of the noise in your texture to create the final pattern or look of your texture. Like in audio. To display the Noise palette: 1 Display the Deep Texture Editor. 2 Click the Noise button at the bottom of the editor. This is what a color blend looks like using Spline with Snow. The Noise palette appears. Orient In this mode the three colors are applied to the object according to its east-west orientation. Any portion of the object below Noise ground is automatically colored blue. Spline with Snow There are two ways of creating noise: the Noise This mode performs a spline interpolation of the palette or the Noise Editor.

Click the Noise button in the top-left corner of • Adjust the direction of the noise.
on any of the component windows. • Apply a modifier to your noise, by choosing a
The Noise Editor is much more powerful than the Noise Mode.
Noise palette. It contains controls for creating The following sections describe the various parts of
noise from scratch. the editor and how to use them in the noise
creation process.
Octaves Noise Mode

Noise Type Noise Preview Noise Dimensions
Texture in Bryce can exist in 3D so your noise can
have up to three dimensions. Noise dimensions
determine which axes you can use to adjust the
orientation and frequency of the noise.

It’s easier to see the number of dimensions for your
noise if you use a cube in the Noise Preview.

No. of Dimensions Frequency Controls

Direction Controls 1D Noise 2D Noise 3D Noise
The Noise Editor lets you create noise and adjust its properties. These three examples show the difference between 1D, 2D and
3D noise.
To display the Noise Editor:
To choose the number of dimensions for your
1 Display the Deep Texture Editor.
noise:
2 Click the Noise button at the bottom of the
1 Display the Deep Texture Editor.
editor. The Noise palette appears.
2 Display the Noise Editor.
3 Click the top-left corner of the palette. The
corner turns green as you pass your cursor 3 Click one of the dimension buttons at the
over it. bottom of the editor.

Creating Noise Noise Type
The Noise Editor is the tool you’ll use to create There are 27 different types of noise available in
noise with a component or combined texture. The the Noise Editor. Random noise is the default
noise creation process involves several steps: (RND).
• Choose the number of dimensions in the Each noise type provides you with a different basic
noise. pattern to start your texture. Some are more linear
• Choose a Noise Type. This will give the basis or geometric while others are more random.
for creating a noise pattern or grain.
• Adjust the frequency of the noise.

178 Creating and Editing Textures

More complex noise types require more rendering You can change noise frequency using the
time. The time it takes to render the preview is a Frequency fields. The fields let you enter numerical
good indication of how long the final texture will values to adjust the noise frequency along the X, Y
take to render. or Z axis. You can also adjust the values using the
scroll arrows.
You should use the more complex noise types
cautiously. The number of dimensions in the noise determines
how many axes you can use to adjust the
frequency. For 1D noise you can only use the X axis.
With 2D noise you can use both the X and Y axes.
For 3D noise you can use all the axes.
If you try to adjust the Z axis frequency for a 2D
noise, your changes will have no effect.
Adjusting the frequency can radically change the
look of your noise. If you adjust the frequency in
separate axes, you can achieve even more
interesting effects.

These are examples of the some of the types of noise available.

The best way of choosing a noise type is to apply a Frequency Frequency Frequency
few to your component and see how they look. =10 =50 =100
Remember that this noise is only the basis of the Noise frequency settings control the repetition of patterns in a
texture. You can still edit this noise using the other component.
controls in the editor, so don’t discard a noise type
because it’s not perfect. The other controls can
help you fine-tune the noise.

To choose a noise type:
1 Display the Deep Texture Editor.
2 Display the Noise Editor.
3 Click the Type field at the top of the editor and
choose a noise type from the menu.

Noise Frequency Frequency X=10 Y=80 Z= 10

Noise Frequency determines how often the pattern In this example, the noise frequency was changed in only the Y
within a texture repeats. Frequency is like scaling axis.
the noise. Higher frequencies decrease the scale of
the noise so you can see the pattern more often. To change the frequency of noise:
Lower frequencies increase the scale of the noise so 1 Display the Deep Texture Editor.
the pattern repeats less often.

Bryce5 179

2 Display the Noise Editor.
3 Drag over the X field in the Frequency area to
set the noise frequency in the X axis.
Drag left to decrease the value or right to
increase it.
Rotation in Rotation in Rotation in XYZ
4 Drag over the Y field in the Frequency area to X XY
set the noise frequency in the Y axis.
Noise orientation controls the direction of the noise.
5 Drag over the Z field in the Frequency area to
set the noise frequency in the Z axis. To change the orientation of noise:
1 Display the Deep Texture Editor.
You can also drag over the scroll arrows to speed up
the increments. 2 Display the Noise Editor.
3 Drag over the XY field in the Direction area to
Noise Orientation set the noise angle in the X and Y axes.
Noise Orientation controls the direction of the Drag left to decrease the value or right to
noise. When you adjust the noise orientation, you increase it.
change how the noise is laid out within the texture. 4 Drag over the YZ field in the Direction area to
When you apply a texture, the direction of the set the noise angle in the Y and Z axes.
noise within the texture remains constant
You can also drag over the scroll arrows to speed up
regardless of the orientation of the object.
the increments.
Since noise can exist in three dimensions, you
adjust the direction of the noise in the X, Y, or Z Noise Octaves
axis.
Noise octaves are like musical octaves. In a musical
The number of dimensions in the noise determines scale, if you play F and then F an octave down,
how many axes you can use to adjust the you’re playing the same note, only it sounds lower.
orientation. For 1D noise you can only use the X If you play both notes at the same time, the sound
axis. With 2D noise you can use both the X and Y is more complex than if you played only one note.
axes. For 3D noise you can use all the axes. The same is true of noise. When you add an octave
You can edit the noise orientation using the to noise it becomes more complex but the type of
Direction numerical fields.The fields let you enter noise remains the same.
precise angles for noise orientation. You can also
use the scroll arrows to set the angle in increments.
Changing noise orientation can dramatically
change the look of your noise. You’ll see just how
different your noise can look when you rotate it
along a single axis. 1 Octave 2 Octaves 3 Octaves

These examples use RND Continuous noise and RND Linear
noise to show the effects of increasing octaves.

Increasing the octaves adds processing time to the
component.

180 Creating and Editing Textures

To change the number of octaves:
1 Display the Deep Texture Editor.
2 Display the Noise Editor.
3 Drag over the octaves field at the top of the
editor. In this example, Irregular mode was applied to RND Continuous
noise.
Noise Modes
More Irregular
Noise modes modify the octaves of a noise. As you
add complexity by increasing the octaves, the Noise This mode works exactly like Irregular except that
Modes let you modify the additional noise so that it this mode is more intense.
produces different effects.
Many of the Noise modes use dark and light values
to modify the existing noise. Also, you may not see
the effects of the modes if the Octave is set to 0.

To choose a Noise Mode: In this example, More Irregular mode was applied to RND
Continuous noise.
1 Display the Deep Texture Editor.
2 Display the Noise Editor. Maximum
3 Click the Mode field at the top of the editor
This mode uses the only the highest values, or
and choose a mode from the menu.
lightest areas, to produce the modified noise.
There are thirteen noise modes available:

Standard
This mode adds a new octave to the noise at half
the frequency and twice the amplitude. This is the In this example, Maximum mode was applied to RND
default mode. Continuous noise.

Mulitfractal
In this mode lighter areas create higher contrast
noise.
In this example, Standard mode was applied to RND Continuous
noise.

Irregular
This mode adds a new octave to the noise at half In this example, Mulitfractal mode was applied to RND
the frequency and twice the amplitude. However, in Continuous noise.
this mode higher frequency noise is modified more
than the rest. The end result is that more detail is
added to the noise.

Bryce5 181

With Rotation
In this mode each additional octave is rotated. With
Rotation mode it’s easier to see linear noise types.

In this example, Difference mode was applied to RND
Continuous noise.

In this example, With Rotation mode was applied to RND Linear
Maximum 90
noise. This mode repeats the noise at a 90° angle from its
original orientation and combines the original and
Minimum copy using only the highest values. This mode is
good for creating woven patterns.
This mode uses only the lowest values, or darkest
areas, to produce the modified noise.

In this example, Minimum 90 mode was applied to RND
Continuous noise.
In this example, Minimum mode was applied to RND
Continuous noise.
Minimum 90
Multiply This mode repeats the noise at a 90° angle from its
original orientation and combines the original and
In this mode all the values in the noise are copy using only the lowest values.
multiplied together. The results is a darker noise.

In this example, Maximum mode was applied to RND
In this example, Multiply mode was applied to RND Continuous Continuous noise.
noise.

Auto-phased
Difference
This mode automatically introduces phase shifts
In this mode all the values in the noise are into the noise.
evaluated. All the values that are equal create black
areas. When the values are different, the lower
value becomes darker. The more octaves you have
in the noise, the darker the modified noise.
Difference works even at 0 octaves.
In this example, Auto-phased mode was applied to RND
Continuous noise.

182 Creating and Editing Textures

Displaced Max
This mode creates a copy of the noise, displaces
noise by a small amount, and then lightens any
areas where the two overlap. This mode is good for
creating stone textures.

Original Noise Phase Noise

In this example, Displaced Max mode was applied to RND
Continuous noise.

Phase
Phase =10 Phase = 30
Phase introduces turbulence into your noise. The
phase displaces the grain or patterns within the
noise. When you design the phase, you’re creating
a displacement map along which the noise will be
modified.
You can control how the phase interacts with your
noise using the Phase palette. You can design your
phase using the Phase Editor. Phase =50 Phase = 250
The Phase palette controls the amplitude. The This graph shows how the phase interacts with the noise at
phase amplitude controls the intensity of the different amplitude settings.
displacement. As the amplitude is increased, there
is more interference with the original noise. To display the Phase palette:
You won’t have to increase the amplitude very 1 Display the Deep Texture Editor.
much before you start seeing the phase pattern you 2 Click the Phase button at the bottom of the
designed interfere with the existing noise. In fact, editor. The Phase palette appears.
it’s probably a good idea to keep the phase
• Click the Phase button in the bottom-right
amplitude low so that the phase pattern doesn’t
corner of any of the component windows.
overwhelm the noise.
The Phase Editor looks a lot like the Noise Editor. It
has the same type of tools and they work exactly
like they do in the Noise Editor. The difference is
that you’re using noise patterns, orientations,
frequencies and modes to design how the basic
Noise will be displaced.
Using the Phase Editor you can perform several
functions:
• Create 1D, 2D, or 3D phase.

Bryce5 183

• Change the type of noise. • Choose the number of dimensions in the
• Change the frequency of the phase. phase.
• Change the orientation of the phase. • Choose a noise type. This gives the basis for
creating a phase pattern or grain.
• Change the noise octaves.
• Adjust the frequency of the noise.
• Change the noise modulations.
• Adjust the orientation of the noise.
Octaves
• Apply a modifier to the noise by choosing a
Noise Mode Noise Mode.
Noise Type
Phase Preview You’ll notice that many of the steps for creating the
phase are the same as those for creating noise.
That’s because you are creating noise. The
difference is that instead of applying the noise to
the texture, the noise you create for the phase is
used to displace the existing noise.
The following sections describe the various parts of
the editor and how to use them in the noise
creation process.

Phase Dimensions
Frequency Controls Just like noise, you can set the dimensions of the
No. of Dimensions phase. The number of dimensions determines
Direction Controls which noise axes will be displaced when you apply
The Phase Editor lets you create noise to use as phase. the phase. For example, if you apply a one-
dimensional phase to a three-dimensional noise,
While the Phase Editor lets you create the noise only the X axis of the noise will be displaced.
pattern or grain within the phase, the Phase palette
controls how that phase is applied to the Its easier to see the number of dimensions for your
component or the combined texture. phase if you use a cube in the Phase Preview.

To display the Phase Editor:
1 Display the Deep Texture Editor.
2 Click the Phase button at the bottom of the
editor. The Phase palette appears.
3 Click the top left corner of the palette. The
corner turns green as you pass your cursor
over it.

Creating Phase
Phase is designed using the Phase Editor. The phase
creation process involves several steps:

184 Creating and Editing Textures

You can change phase noise frequency using the
Frequency numerical fields. The fields let you enter
numerical values to adjust the noise frequency
along the X, Y or Z axis. You can also adjust the
values using the scroll arrows.
The number of dimensions in the phase determines
how many axes you can use to adjust the noise
frequency. For 1D phase you can only use the X
axis. With 2D phase you can use both the X and Y
Combined Texture axes. For 3D phase you can use all the axes.
Adjusting the frequency of the Phase noise
disproportionately can have some very interesting
effects on your noise.

3D Noise 1D Phase
In this example, a 1D phase was applied to a 3D noise.

To choose the number of dimensions for your
phase:
1 Display the Deep Texture Editor.
2 Display the Phase Editor.
3 Click one of the dimension buttons at the Frequency X=10 Y=80 Z= 10
bottom of the editor. In this example, the phase noise frequency was changed in only
the Y axis and then applied to 3D noise.
Phase Noise Type
To change the frequency of phase noise:
There are 27 types of noise available in the Phase
1 Display the Deep Texture Editor.
Editor. Random Noise is the default (RND).
2 Display the Phase Editor.
Each noise type provides you with a different basic
pattern for the phase. The noise types available in 3 Drag over the X field in the Frequency area to
the Phase Editor are the same as those in the Noise set the phase noise frequency in the X axis.
Editor, so you can refer to “Noise Type” on Drag left to decrease the value or right to
page178 for more on noise types. increase it.
4 Drag over the Y field in the Frequency area to
Phase Frequency set the Phase noise frequency in the Y axis.
Phase frequency determines how often the pattern 5 Drag over the Z field in the Frequency area to
within the noise repeats. Frequency is like scaling set the Phase noise frequency in the Z axis.
the noise. Higher frequencies decrease the scale of
the noise so you can see the pattern more often. You can also drag over the scroll arrows to speed up
Lower frequencies increase the scale of the noise so the increments.
the pattern repeats less often.

Bryce5 185

The phase cannot To change the orientation of phase noise: be altered using a filter. The 2 Display the Phase Editor. the filter has a profound effect on the final look of your texture. the phase noise orientation was changed in only values of the variables. how many axes you can use to adjust the orientation. Filters are expressed as equations with variables.Phase Noise Orientation Phase Noise Octaves Phase noise orientation controls the direction of Phase noise octaves work exactly like the noise the noise within the phase. They introduce an extra level of complexity to the noise. it changes some aspect of the noise. Filters are edited using the Filtering palette. set the noise angle in the X and Y axes. You can control how the equation affects the noise by changing the In this example. The filter you apply to the noise in a component can change the entire look of the noise. “Noise Modes” on page181 for more on octaves. applies it only at high altitude or changes its spatial orientation. Refer to use the scroll arrows to set the angle in increments. When the equation is applied to the noise. increases its contrast. The filter refines the noise so that it has more or less detail. Refer to “Noise Octaves” The number of dimensions in the phase determines on page180 for more on octaves. palette displays the current filter and provides 3 Drag over the XY field in the Direction area to tools for editing the filter graph. The filter only affects the noise. Like frequency. You can also drag over the scroll arrows to speed up the increments. 1 Display the Deep Texture Editor. Phase Noise Modes You can edit the noise orientation using the Direction numerical fields. the Y axis and then applied to 3D noise. Drag left to decrease the value or right to increase it.The fields let you enter Phase noise modes work exactly like the noise precise angles for noise orientation. 186 Creating and Editing Textures . 4 Drag over the YZ field in the Direction area to set the noise angle in the Y and Z axes. Whatever the change. changing the orientation of the phase noise in only one or two axes can create Filtering some very interesting results. You can also modes. octaves. They modify the octaves of a noise. The phase is blended with the noise.

2 Click the Filtering button at the bottom of the • Dragging vertically changes the value of b. 2 Drag over the variable field you want to change. editor. Reset Button Filter Variables The graph area of the Filtering palette lets you interactively adjust the filtering effect. Each The shape of the graph changes as you adjust the equation can have up to three variables labeled a. and c. b values. The method you use depends 1 Display the Deep Texture Editor. changing the variable values or by changing the shape of the graph (which automatically changes To choose a filter: the variable values). Drag left to reduce the value or right Editing the Filter to increase it. Generally. To display the Filtering palette: • Dragging horizontally changes the value of 1 Display the Deep Texture Editor. corner of any of the component windows. In some filters a and b may stand for something unique. The best way of choosing which other things. filter you want to use is to apply it to a component There are two ways you can adjust a filter: by and see what happens. on how much you know about a particular filter. The Filtering palette displays the current filter and provides tools for editing it. If Filtering Component Filtering you’re not sure what the filter does. 2 Drag over the Filtering graph area. The values for each variable are displayed at the bottom of the palette. a controls the Choosing a Filter intensity of the filter effect while b controls the Each filter available in the Filtering palette offers overall height. Notice that the variables also changes as you move the graph. To edit the Filtering graph: 1 Display the Filtering palette. The shape of the graph changes as you drag. 2 Display the Filtering palette. or To change variable values: • Click the Filtering button in the top-right 1 Display the Filtering palette. Filters are equations which have variables. change the Equation Indicator Graph graph—it’s a much more intuitive way of working. Bryce5 187 . a.

creating a blocky stair-step type of effect. As it approaches filter. None In this example. Higher In this filter a and b control the contrast and height. 188 Creating and Editing Textures . Sine Wave—Sin (aX) + b Quantize This filter creates noise that appears as large This filter works like a Posterize effect. Use this filter to generate wood grains. When the graph for this filter has only a small To get additional bump information using this curve. it acts like a contrast filter. This creates high-contrast breaks in the noise. it bounces back on itself. Saw Wave was applied to RND Continuous This option deactivates the filter. This filter works like a Difference effect. When you set the value of a to a high number you’ll get areas with a larger amount of noise. When it’s number of lines that are oriented in the same applied. the height limits (set by b). The a variable controls the number of lines. For color output use this filter to get areas of high- contrast alternating color. When it’s applied. Absolute was applied to RND Continuous noise. values create a better effect. applied to the component. There are fourteen filters available. gray values jump from one value to the direction.3 Click the Filtering Equation area and choose a filter from the menu. In this example. No filtering is noise. set a to 2 and b to -1. In this example. while c controls the number of levels between white and black. Sine Wave was applied to RND Continuous noise. you’ll get more light areas in your noise Saw Wave and a higher level of detail in a bump map. The following sections describe the filters and gives you some idea of how to edit them. RND Continuous RND Continuous Noise Noise + Quantize Absolute—Abs(aX + b) In this example. next. Quantize was applied to RND Continuous noise.

Decrease the value of a to reduce the size of the wave and increase b to move the The Altitude Minus Slope filter works on the slope wave up. This filter smooths out the darkest areas of your noise. XPower was applied to RND Continuous noise. Gaussian—(a(X + b)) This filter smooths out darker areas of your noise and makes lighter areas noisier. Increase the value of a and make b negative to move the curve down. Gaussian was applied to RND Continuous noise. It’s a This filter applies noise only at certain contrast filter. In this example. different levels of Clip were applied to RND Continuous noise. However it has less effect on lighter areas and no effect on white. the overall brightness. When a is positive and b is negative. White areas become the noisiest. all the values will be and altitude of an object in World Space. noise is For a low contrast effect make the wave in the applied at low altitudes and on steep slopes. Using this wave. For a high contrast effect. noise is applied at high The a variable controls the contrast and b controls altitudes and on flat surfaces. make a negative and increase b. When a is negative and b is positive. combinations of slope and altitude. adjust the wave so that it hits both the top and bottom edges of the preview. In this example. Altitude Minus Slope—Xb + a (Altitude- Clip aX + b Slope) Clip is probably the filter you’ll use most.XPower—(X PWR a) + b To invert the colors in your noise. In this example. Bryce5 189 . graph smaller. expressed as mid-gray.

Altitude Minus Slope was applied to RND In this example. positive. A lower value creates a gradual or flat surfaces. At high altitudes b controls the transition. the lower the number. • To place noise on vertical surfaces make a=4 The higher the transition. at high altitudes b should be a negative number. (-4 is flat. 4 is vertical). • To place noise on flat surfaces make a=-4 and To apply noise at lower altitude. Slope was applied to RND Continuous noise and Continuous noise and then to objects in a scene.In this example. 190 Creating and Editing Textures . So. variables so that a is negative and b is positive. then to objects in a scene. and b=2. This filter modulates the scale of the noise Slope can range anywhere from flat and horizontal according to an object’s altitude. Slope—X(a * Slope + b) Altitude—X(a* Altitude + b) This filter applies noise based on an object’s slope. This is an excellent filter to In this filter a determines how fast the noise is use if you want to isolate a texture to vertical cliffs scaled by altitude. in World Space. to steep and vertical. transition.5. The b variable controls the To apply noise at higher altitudes make sure a is starting point of the transition. while higher values create sharper In this filter a determines the steepness of the noise transitions. reverse the b=1. The Slope filter works on the slope of an object in The Altitude filter works on the altitude of an object World Space.

the flatter an object has to be before snow appears on its surface. Orientation was applied to RND Continuous noise and then to objects in a scene. When a=0 the noise doesn’t interfere at all so the snow is perfectly smooth. It’s also a contrast filter. Smooth Clip This filter works exactly like the Clip filter. Snow Puddles was applied to RND Continuous noise and then to objects in a scene. except that this filter smooths out the transitions between darks and grays. Smooth Clip was applied to RND Continuous and then to objects in a scene. The a variable controls the contrast and b controls the overall brightness. Snow is west orientation. The higher the number. The c variable controls how steep an object has to be before the snow appears on its surface. It sets where the snow begins. applied according to an object’s slope and altitude. In this example. noise. Bryce5 191 . This filter turns noise into snow patches.In this example. In this example. When the a value is higher. Altitude was applied to RND Continuous noise In this example. the snow starts looking like the noise. Orientation—X(a * Orientation + b) Snow Puddles This filter applies noise based on an object’s east. The b variable shifts the altitude or snow level. The a variable controls how much the noise interferes with the smoothness of the snow.

and the result is then applied as the final texture. To apply a blend mode: When you’re using three components. depending on how many components you’re using to build the texture. the first two 1 Display the Deep Texture Editor. they’re blended using a single blend mode. components are blended together using a blend 2 Click the text above a component and choose mode. the different types of output can affect each other during the If you’re using only one component. The Deep Texture Editor also lets you control how those components are combined to create the final texture. with the third component using a second blend mode. • Click the text above Component 3 to choose a Blend Mode to combine the results of Component 1 and 2 with 3. only the first output will be applied to the final texture. choose a Blend Mode to combine components 1 and 2. output of another. So its possible that the Bump in the component are applied directly to the final output of one component may affect the Color texture. These modes are filters applied to the components to determine how the properties in each component are combined with the other components’ properties to form the final texture. the properties combination process. There are nineteen blend modes you can use to combine your components: Parallel This mode does not blend components.Combining Components The Deep Texture Editor gives you unparalleled control over the look and feel of each one of the components that make up a texture. The result of all the blending is then applied • Click the text above Component 1 to as the final texture. Blend Modes Components are combined using Blend modes. Use it when each component has a different output type. Depending on the Blend mode. but the control doesn’t stop there. 192 Creating and Editing Textures . This diagram explains when the blend modes are applied as you The number of blend modes you can use varies combine components to form a texture. then the result of that blend is combined a mode from the menu. When you’re using two components. If two components share an output type.

it is replaced with the transition. Average is normal blend mode where all the component values are mixed with equal weight. When Blend Maximum is applied to Bump output. components are combined. When you use this blend mode to combine components. For example. When two shades of gray are combined. Subtract In the case of Bump output. lets say Component 2 has Yellow. the result is proportionally darker. the result is brilliant colors that tend to compliment the original colors. the result is black. it doesn’t have the component is combined with a white component. the resulting bump map will have mostly low areas Multiply with very few high points. except that it creates blurring at points of sharp This is a good all-purpose blend mode to use for transition. this mode will flatten most areas since black is flat and darker values When you combine grayscale components using create flatter bumps. same effect on Bump output. Maximum. When a gray dramatically lighter. When you use this blend mode. Blend Minimum works the same as Minimum the result is gray. you’ll get a darker result. Wherever that color except that it creates blurring at points of sharp appears in Component 2. Minimum Everywhere that Yellow appeared. When Blend Maximum is applied to Bump output. if Component 1 has output= Color Maximum and Bump. they’re evaluated and the darker areas of both are combined to produce Average the result. they tend to turn out black or very dark. Purple and Black as its color scheme. the first color in Component 2 Blend Maximum works the same as Maximum. the result is gray. Bryce5 193 . When you combine them using the Combine blend mode. and component 2 has output=Color and Alpha. So Blend Minimum if one component is white and the other is black. When you use it with colored components. Combine Blend Maximum Combine is a blend mode for colors only. creating textures. and few deep pits. the two components are compared and the one that’s lighter becomes the result. you’ll see This mode is the opposite of Maximum. only the color from Component 1 will be When two components are combined using applied to the texture. colors from Component 1. Purple and Black. Yellow disappears from Component 2. the resulting bump map will have many high points Green and Blue and Component 1 has Orange. However. Subtract. When two Orange.For example. In this Add mode. This mode works best on Bump output. when a black component is combined with a Add combines colors so that they appear gray component. is used as an alpha channel.

represents the Blend Orientation final combined texture. So if other is more abrupt. This mode introduces an extra layer of noise and Global changes give you a way of applying a last uses it as an alpha channel for combining the two layer of complexity to your texture. called the Combination component. the Alpha output from component is used as an alpha channel to blend the Component 2 is used as a guide for blending. This mode blends components according to an object’s altitude. while the other is applied in only one direction. directions. Where Component 2 is dark. components are combined Component 1 is applied without change. that the color and values of Component 1 are applied to Component 2 based on the gray values When you choose Blend v2. components. you’re also adding more processing time. Where Component 2 is light.Blend v1 and v2 Since this mode adds another layer of noise. Component 1 appears in some areas of the new noise. For example. noise pattern or phase. Any changes you make to this final component are considered global changes In this mode. Component 1 is not applied. 194 Creating and Editing Textures . The first component appears at Global Changes low altitudes and the second appears at high altitudes. filter. is applied to areas that are flat and the other is applied to areas that are steep. These two blend modes let you use one of the components as an alpha channel for blending. Fast Slope works exactly like Blend Slope except that the transition from one component to the This mode only works on output of like types. and Component 2 appears in other areas. the two Alpha outputs are combined and the Color output is left Blend Altitude unchanged. Procedural Blend When you choose Blend v1. Where Component 2 is gray. The first component This mode usually results in more saturated colors. Using Blend Slope. Difference Fast Slope Difference finds the difference between the noise in the two components and displays the result. Component 1 has Alpha and Color output while Component 2 has only Alpha. the noise in the first Procedural Blend combines two components so component is used as an alpha channel to blend the two components. You can use this mode to simulate things The Combination component can have its own color scheme. In essence. the noise in the second in Component 2. Component 1 Blend Slope is made darker. components. The component window in the center of the editor. the Combination noise Blend Random values affect the noise within each component. These like moss that only grow on one side of a tree. attributes are applied to all the component elements. one component is applied in all since they affect the entire texture. according to an object’s slope.

if you choose Altitude in the type of noise into the texture.Global Colors 2 Repeat for each of the other two color circles. Global phase can be different than component The color circles in the Combination component window let you phase. After When you change the noise in the Combination the colors in each component are combined. Global Phase As you adjust the Global Phase value. so you can introduce a completely different apply colors directly to the final texture. globally) it applies to all the are blended with the combination component components equally. Likewise.e. Combination component. the noise in each individual component decreases. they component. They act as a final color filter for the texture. so you can introduce a completely different For example. the final component. the texture color is applied using the blend modes in the components Use this option cautiously. You can adjust global noise in the same way you would for a single component. (i. display the Noise Editor. Bryce5 195 . The Blending method decrease the noise globally. If you introduce too much complex noise patterns into a texture. The colors in the Combination component interact Global Noise with the combined colors in the three components. the noise in each of the components increases. The Noise palette appears. Global noise can be different than component phase. The more noise you intro- and then also applied by altitude. To adjust noise globally: 1 Click the top left button in the combination component window. the longer it takes to render and draw. To add colors directly to a texture: or 1 Click the top color circle in the Combination component window and choose a color from Click the top left corner of the Noise palette to the palette. type of phase into the texture. using the Noise palette or the Noise editor. So if you increase the noise in colors to produce the colors in the final texture.. when you You can also apply a final Color Blending method to the combination component. you apply to the combination component is applied on top of the other modes used in the components. Use the editor’s controls to design the global noise pattern or grain. 2 Drag the slider to adjust the noise value. duce into your texture. new phase is introduced into each of the components. This example shows a texture containing a texture with different Color Blending modes in it. you may find your render time increased significantly.

The last section of this chapter gives you noise in the Combination component. Take Click the top left corner of the Phase palette to a little of this and little of that. 1 Click the bottom-right button in the If you’re comfortable with equations and combination component window. some tips on reducing the complexity of your textures. this is an easy pitfall to combined noise. together and see if you like the result. However. The Deep Texture Editor can be used in two ways: by working with equations and algorithms or by To adjust phase globally: exploring and experimenting. If you introduce too much complexity. You will find Use the editor’s controls to design the global that experimenting with these deep functions can phase. the Deep Texture Editor gives you the The Phase palette appears. B or C column of the material To filter noise globally: channel to which you want to assign a texture. Component window.You can adjust global phase in the same way you would for a single component using the Phase The Deep Texture Editor palette or the Phase Editor. the Deep Texture Editor can be used as a large palette. The Global Filter affects the look of the rendering time. create the desired effect. When experimenting with the Deep Texture Editor. component window. noise in your texture. 1 Display the Materials Lab. or For those who don’t want to calculate. Tip: When you’re just exploring the editor. To display the Deep Texture Editor: you may find your render time increased signifi- cantly. 1 Click the top-right button in the combination A component window becomes active. blend them all display the Phase Editor. 2 Choose a filter and adjust its variables to The Deep Texture Editor appears. This lets you see the Use this option cautiously. The Global Filter is applied to the avoid. 3 Click the pink button at the top of the The Filtering palette appears. you can imagine. Any of the filters you used in the components can be used as the global filter. 196 Creating and Editing Textures . freedom to create any textural pattern or surface 2 Drag the slider to adjust the phase amplitude. phase in the component. produce unexpected results. set all the component outputs to Alpha. Refer to “Tips for Speeding Up Textures” The global filter only affects the noise. not the on page199 for more. algorithms. the longer it takes to render and produce. Global Filtering you may inadvertently create a very complex The Filter affects the final look of the noise within a texture that could add considerably to your component. 2 Click the A. The more complex the effects of your changes more clearly.

Bryce5 197 . click one of the Output buttons to choose an output type. 8 Click the bottom-right button on the Component window. The three windows along the top represent the three components you can use in a 7 Adjust the noise in the component by: texture and the center window represents the • Dragging the Noise slider on the Noise combined texture. editor controls to design or edit the noise You can access the Noise and Phase Editors from in the component. To build a texture: Along the top of the editor you’ll see the preview options. The Phase palette appears. 3 In the first component window. This tool lets you choose the 4 If your component contains color. noise. shown in the middle. You can choose up to three colors for each component. You representation of the texture creation process. colors. colors. The layout them using Blend modes. the texture. The three icons at the top of the editor let you choose a preview mode. click one of number of components you want to use to build the color circles and choose a color to apply to your texture. 5 Click the triangle icon below the color circles and choose a Color Blending mode for your The component selector lets you choose how many components you want to use to build a texture.e.. want to display the component. Working in the Deep Texture 9 Adjust the phase in the component by: Editor • Dragging the Phase slider on the Phase palette to increase or decrease the This section describes how to use the Deep Texture amplitude of the phase in the component. Editor to create and store textures. The • Click the top left corner of the palette to palettes let you control the noise. phase and display the Noise editor. then use the filtering applied to the texture. 2 Click the Component Selector to choose the number of components you want to use to build the texture. you’ll see the component selector.A Quick Tour: The Deep Texture Editor Building Textures The layout of the Deep Texture Editor is a visual A texture is a combination of components. window. within the Noise and Phase palettes. The Noise palette appears. palette to increase or decrease the amount The three buttons along the bottom of the editor of noise in the component. makes the editor very easy to use. The build textures by designing or editing components three components along the top combine to form (i. Below the preview control on the left. 6 Click the Noise button at the bottom of the The rest of the editor displays the component editor. let you display the three editing palettes. These three icons let you choose how you 1 Display the Deep Texture Editor. The component windows become active. phase or filters) and combining the final texture.

If it’s already displayed. phase. Changing Component Preview 16 If you want to change the noise of combined Each component window has a preview of the component. The Filtering palette appears. 15 Click the color circles in the Combination The elements you drop into a window replace component window. make sure you move between components. 198 Creating and Editing Textures . This a quick way of copying elements remaining components. a cube or component indicator is on the fourth a sphere. Using Drag and Drop in the Editor 12 Repeat steps 3–11 for each component in the The Deep Texture Editor lets you drag and drop texture. make sure the To choose a preview mode: component indicator is on the fourth • Click the flat surface. component elements. make sure the the elements mapped onto a flat surface. windows in the Materials Lab. Displaying the component on a cube makes it 17 If you want to change the phase of combined easier to see 3D noise and phase changes. if you were setting up a red. • Click the top left corner of the palette to If it’s already displayed. display the Noise palette. cube or sphere in the component. 14 If you have more than two components. You can also choose a Blending mode. make sure the display the Phase editor. the component indicator at the top of each For example. You can choose to display If it’s already displayed. click To drag and drop between windows: the text above Component 3 and choose a second blend mode. • Drag from the window you want to copy to the window where you want the elements to The result of blending all the components appear. component’s attributes. component elements between component As you edit the noise. green palette to be sure you’re editing the right and blue separation of the colors in your texture. final texture. display the Filtering palette. 19 Click the OK icon at the bottom of the editor. 11 Choose a filter to apply the component noise and adjust that filter’s variables. Blending mode. component. or filter of the windows. 18 If you want to change the filter of combined component. and choose colors for the the existing elements. top-right corner of the editor. then use the component indicator is on the fourth editor controls to design or edit the phase component. 10 Click the Filtering button at the bottom of the The texture appears in one of the component editor. in the component. component’s elements. component. you could drag the same elements to all three 13 Click the text above Component 1 and choose component windows and change the Color a Blend mode from the menu. display the Phase palette. Release the mouse button to drop the appears in the Combination window.

Some noise types The Save Texture dialog appears. after all they were created for a To save a texture: reason. All these parts can contribute to the component window. (like Vortex) require more time to process than 2 Enter a name for the new texture and click the others. • Click the knob in the top-left corner of the A good rule of thumb when working with complex component window. You should just use them cautiously. component displayed when you first entered the editor. which finally increases the rendering time. • Restrict the amount of noise you add to each component.Randomizing Textures The new texture appears at the bottom of the texture list. The list can be accessed from the A quick way of designing a texture without going Materials Lab. objects and textures is to make the texture element as simple as possible. The more complex the texture. They can also be the most costly. into designing noise or filters is to create random components. the rendering time: • The material that contains the texture may Undoing Changes have several complex attributes of its own. create in Bryce. which is • Click the knob in the bottom-right corner of part of an object. Just randomize the components elements and combine to calculate and the longer it takes to apply to an object. That you can access it quickly from the Materials Lab. like Transparency and Reflection. not all the components need to have noise. them to see what happens. When you’re creating the texture. The type of output you choose for the component determines what part of the Textures can be the most powerful effects you component is randomized. you always have To randomize component elements: to keep in mind that it’s part of a material. OK icon. Bryce5 199 . • Use a simpler noise type. The Reset control lets you undo all the changes • The size of the object may also contribute to you’ve applied to a component and returns to the the rendering time. The randomize buttons in the component windows Tips for Speeding Up let you randomize the elements in the component Textures window. click the knob in the top-right corner of the Noise component window. doesn’t mean that you shouldn’t use the more com- plex features as well. In fact. the longer it takes This is an excellent way of exploring the editor. The To reset a component: time to calculate this object would be staggering. Saving Textures These tips are meant only as a precaution to prevent You can save your texture as part of texture list so you from inadvertently creating a huge texture. Consider the effect of applying a complex texture to a complex material onto an infinite plane. 1 In the Combination component window.

• Cut down on the number of phase types you combine. This is the quickest way of increasing the complexity of your texture because global phase introduces more complexity into each component simultaneously. Be careful when you apply a Global Filter as this adds even more complexity to the noise. • Apply Global Phase cautiously. If each component has a different type of phase. Not all noise needs filters. combining them can increase calculation times. 200 Creating and Editing Textures . • Watch the amplitude of the noise. • Watch the number of octaves in the noise. Filtering • Filtering introduces complexity or detail into the noise of a component. you may want to use simpler noise.• Watch the frequency of the noise. Phase • When you’re designing the phase. Each octave adds another level of complexity. Higher frequency noise requires more time to calculate then lower frequency noise. Higher amplitude phase takes much longer to calculate. Make sure that you aren’t using a filter unnecessarily.

the Object Attributes dialog lets you transform objects numerically for greater precision. An object hierarchy lets you create a structure in your scene that organizes objects according to their spatial or logical relationships. or build complex models. To get the right look. you’ll need to position or rotate the objects to make sure they are in the right places within the scene. or you may need to resize an object so that it is in proportion to the rest of the objects.9 Arranging Objects In a scene. they won’t look right in the scene. As well. As you arrange objects. You can design beautiful landscapes. Bryce supports three basic types of transformations: size. but if they’re the wrong size or in the wrong position. . The tools in the Edit palette let you interactively perform these operations on any object in your scene. you’ll probably need to create some kind of object hierarchy. You can create an object hierarchy by grouping and linking objects. and rotation. These kinds of operations are called transformations. the arrangement of objects is as important as their form. The structure can make arranging objects much easier and faster. position.

any transformation you perform is a 3D transformation. World Space World Space is the coordinate system that defines all the space in the Bryce universe. objects move in relation to this absolute coordinate which changes as the camera changes. 0. and 0 for the X. X. they World Space is defined by three axes. Y and Z axes. World Space is defined by three axes that extend infinitely from a center point called world center. represents distances backward and forward. it defines the up. Y and Z. back and front of the object. reposition. This means that you’re changing the attributes of the object in each axis. By Object Space default. 202 Arranging Objects . It is constant Z and cannot be modified. When you transform objects in relation to World Space. Refer to “Transformation Tools” on page206 for more on using these tools. which When you use World Space for transformations. which is constant. The X axis each object carries with it its own coordinate represents distances left and right and the Z axis system. Positive values represent These definitions remain with the object no matter distances above ground level and negative values what transformations you apply to it. Object Space. all vertical space. all new objects appear at world center. Bryce has three ways of defining 3D space: World Space. left. It also describes how to create object hierarchies. system. Bryce and 3D Space X Z Since all the objects in your scene exist in 3D space (defined by XYZ). So in a sense. It is also the default space X used for transformations.This chapter describes how to use the Y transformation tools and the Object Attributes dialog to resize. When Bryce creates an object. rotate. right. move along the three absolute axes. represent distances below ground. align and randomize objects. When you’re using the interactive transform tools Y on the Edit palette you can use any one of the 3D space definitions. This center is defined numerically as 0. The Y axis that extends from world center defines down. changes as the object changes and Camera Space. that all meet at world center.

X Z Camera Space is defined by three axes that extend from the center of the camera. Y This is an example of an object transformed using World Space and then using Object Space. the object would become deformed since it increases along the absolute Y axis. along an axis that extends from its center. Bryce5 203 . Wherever you Because Object Space ignores the absolute move the camera. X. Y Z X Object space is defined by three axes that extend from the center of the object. If you used World Space. the object moves in relation to its internal coordinate system. For example. the object becomes taller without Y being skewed. it moves Camera Space is defined by three axes. X Z Camera Space When you transform an object using Object Space. you can increase the height of an object based on its own Y axis. When you transform an object using Object Space. that extend from the camera center. coordinates. Y and Z. these axes move along with it. not an absolute axis.

When you use Camera Space for transformations,
you’re moving objects in relation to the camera.
When you drag along the X axis in Camera Space,
you’re moving left or right from the camera. When
Each of the transformation tools has a triangle icon below it,
you move along the Y axis in camera space, you’re which lets you access additional tool options.
moving up or down from the camera. When you
move along the Z axis, you’re moving away or
towards the camera. Bryce Units
Since the camera can be rotated and repositioned, Bryce maintains an invisible, absolute, infinite 3D
it can sometimes be hard to tell which way is up, grid internally. This grid is comprised of 3D cube
left or right, because your view from the camera is increments, each of which is 20.48 x 20.48 x 20.48
no longer aligned to the absolute XYZ axes. “Bryce units” in size. All primitive objects (spheres,
cubes, etc.) are created at the same size as a 3D
Suppose you’ve rotated the camera and then you cube increment (20.48 x 20.48 x 20.48) called unity.
move an object along the Y axis in World Space.
Instead of moving up, it may appear to move off to
the left, since your view of the scene is not aligned
to the World Space Y axis. However, in Camera
Space, the object will move up, because the object
moves along the camera’s Y axis.
Y
Unity is the base size of all primitive objects created in Bryce.
Unity is always 20.48 x 20.48 x 20.48.

All interactive 3D transformations are relative to an
absolute (unity) size, position, and orientation for
Z all objects.
X
To reset primitive objects to unity:
When you transform objects using Camera Space, they move • Hold down Control/Ctrl+Option/Alt and click
along an axis that extends from the center of the camera. one of the object’s control points. The object
is reset to 20.48 x 20.48 x 20.48.

To choose a 3D spatial option for
transformations:
Coordinate Systems
1 Click the Edit button at the top of the Bryce When you’re transforming objects numerically in
window to display the Edit palette. the Object Attributes dialog, you can use one of
two coordinate systems: Absolute Coordinates or
2 Click the triangle icon below one of the Definition Coordinates.
transformation tools and choose a 3D spatial
option from the menu.
Absolute Coordinates
Absolute Coordinates use the World Space axes as
the reference for object transformations. When you
enter transformation values using Absolute

204 Arranging Objects

Coordinates, you’re defining how the object is This coordinate system uses the object’s internal
transformed along the World Space, or absolute, X, axes as a reference for transformations. When you
Y, and Z axes. enter transformation values using this system, you
change how the object is defined to include the
(2,2,3) position of its origin, its size, and orientation.
Y
(0,0,0)

X (0,0,0)

Absolute Coordinates use the World Space axes as reference, so
you’re repositioning the object along the absolute X, Y, and Z
axes. Z

Definition Coordinates use the object’s internal axes as
Definition Coordinates reference, so you’re redefining the object’s position along its
internal X, Y, and Z axes.
Definition (Object Space) Coordinates define how
an object is actually created. In object space, the In Definition transformations, the origin point of
origin of the object is located at X=0, Y=0, Z=0. the object always remains at Object Space 0, 0, 0.
All the other points in the object are defined by As you move or scale the object, it changes, moves
coordinates along the object’s internal X, Y and Z or grows along its internal axes, but the origin
axes. remains at 0, 0, 0. This can cause some
unpredictable results. For example, if you scale an
Y object using Definition Coordinates, the origin
point will no longer be in the exact center of the
X object. When you rotate the object, it won’t rotate
around its center.
(0,0,0)
Z

Definition Coordinates define how an object is created. The
origin is at 0, 0, 0, while all the other points that define the
object’s shape and size are coordinates along the X, Y and Z-
axes within the object.

Bryce5 205

Y 2

2

X

Z

Relative Coordinates use the World Space axes as reference, but
In this example, an object was scaled using Definition transformations are relative to the current position or size of the
Coordinates and then rotated. You can see that it no longer selected object.
rotates around its center.
Relative Coordinates is the only coordinate system
Transforming using Definition Coordinates is not available in the 3D Transformation dialog.
the same as using Object Space with one of the
Transformation tools. When you choose Object
Space for one of the transformation tools, Transforming Objects
transformations are performed using Object Space
axes as a reference, but the final position, or size, is
calculated using Absolute Coordinates. So in this Transformation Tools
case the object origin and all its points move along The transformation tools let you perform all the
with the object. object transformation operations available in
Bryce. The tools act as interactive controls. As you
When you use Definition Coordinates to transform drag over the tool, the operation is performed on
an object, you’re redefining how the object is the selected object.
created, so its origin does not change as the size
and position change. The transformation tools are located on the Edit
Palette.
Relative Coordinates To select a tool:
Relative Coordinates use the World Space axes as 1 Click the Edit button at the top of the Bryce
reference for object transformations, but the values window to display the Edit palette.
represent changes relative to the object’s current
2 Select an object.
position, or size. For example, if you enter a
position change of 2 units, the object moves two 3 Drag over the tool to perform a
units from its current position along one of the transformation operation.
World Spaceaxes

206 Arranging Objects

Resize Tool Object Origin Points
Every object in Bryce has an origin point. This point
defines the object’s center of rotation.

Use the Resize tool to resize objects along one or
all of the three axes. Origin
Point
Rotate Tool

The object’s origin point defines the object’s center of rotation.

In the Working window, the origin point appears as
Use the Rotate tool to rotate objects in 3D space. a small green dot. By default the origin point
appears at the center of the object’s bounding box.
Reposition Tool You can adjust the position of the origin point to
any point along the object’s surface or outside of
the object.
Where you place the origin point depends on the
effect you want to create. For example, if you
rotate an object when its origin point is at its
Use the Reposition tool to reposition objects along center, it spins in place. When the point is placed
any of three axes. outside the object, it rotates around the origin
point like a planet around the sun.
Align Tool

Use the Align tool to align objects along their tops,
bottoms, left sides, right sides, fronts, backs or
centers.

Randomize Tool

When the origin point is at the center of the object it rotates in
Use the Randomize tool to scatter or disperse place. When you move the origin point outside the object, it
objects in 2D or 3D space. orbits around its point.

Bryce5 207

To display the origin point:
• Enable Show Origin Handle in the General tab
of the Object Attributes dialog box.

To reset the origin point to the default
position:
• Hold down Shift while clicking on the origin
point of an object.

To set the origin point to the averaged center
of objects in the scene
Use the Nano-Edit mode to quickly see the effects of
1 Select the objects for which the averaged
transformation on a preview of your image.
center is to be determined.
This mode is useful when you’re working on a large
2 Hold down Command/Ctrl+Shift while
clicking on the origin point of a selected scene, as it saves on redraw time.
object.
To activate Nano-Edit Mode:
To cause the origin point to stay in position 1 Click the Nano-Edit button on the Display
while the object moves palette.
• Drag the object, and then hold down the
spacebar as you continue to drag the object to
a new position. When the smaller square inside the icon
(which represents an active Nano-Editor) is red,
Nano-Edit Mode the Nano-Edit Mode is on; when it is white, it is
off.
Nano-Edit Mode activates the Nano-Editor which
lets you perform camera transformations on a small 2 Reposition the camera using the Camera
preview of your scene, instead of the full scene. controls.

When this mode is active, the Nano-Editor appears To temporarily activate Nano-Edit Mode:
any time you perform a camera transformation. The
• Hold down Option/Alt+Spacebar before you
Nano-Editor window displays a small preview of
perform transformations. The Nano-Editor
your scene. The transformation is applied to the
appears only during the operation.
preview. When you close the editor, the
transformation is applied to the full scene.
Resizing Objects
When you create an object, it appears at a default
size. Once you place it in your scene, you may need
to resize it to make it proportional to the other
objects in your scene.
There are three ways of resizing objects in Bryce:

208 Arranging Objects

• using the Resize tool, in the Edit palette, to To resize an object along a specific axis:
resize an object along different axes 1 Make sure the Edit palette is visible. If it’s not,
• using the 3D Transformation dialog which lets click the Edit text button at the top of the
you enter precise values to resize objects Working window.
• using the control points on the object’s 2 Move the cursor over the Resize tool.
bounding box to interactively resize the object
3 When the state you want to use becomes
Objects are measured in Bryce units. When you active, drag to resize the object.
resize an object, you’re increasing or decreasing its
For example, if you’re using Resize Y Up, drag
size based on unity size. When you resize an object
to the right to increase the object’s height in
to 150%, you’re sizing it to 150% of unity. Refer to
the Y axis. The more you drag, the taller the
“Bryce Units” on page204 for more.
object becomes.
Hold down Shift to constrain the resize
Using the Resize tool
increments to 50% intervals when increasing
The Resize tool lets you resize a selected object the size of the object.
along any axis. Objects are resized from their origin
point. To resize an object in all directions:
The Resize tool has seven different states. As you 1 Make sure the Edit palette is visible. If it’s not,
move the pointer over the tool each state becomes click the Edit text button at the top of the
active. Working window.

Resize Y Up 2 Click the center of the Resize tool and drag
Resize X Left Resize Z Back right to increase the size of the object, or left
to decrease it.

To resize an object from two directions along
a single axis:
1 Make sure the Edit palette is visible. If it’s not,
click the Edit text button at the top of the
Resize Z Front Resize X Right Working window.
Resize XYZ From 2 Move the cursor over the Resize tool.
Center 3 When the state you want to use becomes
Resize Y Down
active, hold down Option/Alt and drag in the
The Resize tool has seven states. As you move your cursor over direction you want to resize the object.
the tool each state becomes active.
For example, if you’re using Resize Y Up, when
The different states let you resize the object along you hold down Option/Alt as you drag, the
different axes. Resizing along the Y axis increases/ object becomes longer both up and down
decreases the object’s height. Resizing along the X along the Y axis.
axis increases/decreases the object’s width. Using
the Z axis for resizing increases/decreases the Objects can be resized using any of the three
object’s depth. spatial definitions (World, Object or Camera). The
definition you choose depends on the effect you
wish to create.

Bryce5 209

To choose a spatial option for resizing:
1 Make sure the Edit palette is visible. If it’s not,
click the Edit button at the top of the Bryce Original object
window.
2 Click the triangle icon next to the Resize tool
and choose an option from the menu.
3 Object Space resizes your selection relative to
itself (see “Object Space” on page202).
Rotated 180° on its X
World Space resizes your selection in absolute axis
world coordinates (see “World Space” on
page202).
Camera Space resizes your selection relative to
the camera (see “Camera Space” on page203).
When you set Object, World, or Camera Space for Flipped on its X axis
the Resize tool, it is also the option set for the
other two transformation tools. However, spatial
options are global for the transformation tools This example shows an object that has been rotated 180° and
only. The option you select in the Edit palette does the same object flipped on its X axis.
not affect the 3D Transformations dialog.
To flip an object:
Flipping Objects 1 Make sure the Edit palette is visible. If it’s not,
Flipping is not the same as rotating an object 180°. click the Edit button at the top of the Bryce
Flipping mirrors an object along an axis instead of window.
rotating it. 2 Click the triangle icon next to the Resize tool
and choose a flip option from the menu:
Flip X inverts your object’s dimensions along
the X axis.
Flip Y inverts your object’s dimensions along
the Y axis.
Flip Z inverts your object’s dimensions along
the Z axis.

To undo resize operations:
1 Make sure the Edit palette is visible. If it’s not,
click the Edit button at the top of the Bryce
window.
2 Select an object.
3 Click the triangle icon next to the Resize tool
and choose Unscale from the menu.

210 Arranging Objects

Numerical Resizing Interactive Resizing
Sometimes you will need more precise control over While you can resize objects using the Resize tool
the size of your object. The 3D Transformations or the 3D Transformation dialog, there are resize
dialog lets you enter specific resize values for a controls on the object’s bounding box that let you
selected object. resize objects directly in the Working window. You
may find this a much more intuitive way of
All transformations you enter in this dialog are
transforming your objects.
performed in World Space regardless of the spatial
option you chose for the Resize tool. When you select an object, a bounding box appears
surrounding your selection. At each corner of the
Resize values are expressed as a percentage of the
box, and at the center of each face, is a control
current size of the selected object. You cannot
point.
enter negative numbers in this dialog.

To resize an object numerically:
1 Make sure the Edit palette is visible. If it’s not,
click the Edit button at the top of the Bryce Control
window. Points

2 Select an object.
3 Click the triangle icon below the Resize tool
and choose 3D Transformations from the
menu. The 3D Transformations dialog An object’s bounding box has control points at the corners and
appears. at the center of each face that can be used to resize the object.
4 Enter a percentage in one or all of the axis As your cursor passes over the corner control
fields. points, it changes to a generic Resize cursor. As it
The percentage determines the new size of the passes over the control points on the faces, it
object based on its original size. For example, changes to an X, Y or Z. This indicates the axis
to double the object’s size in all directions, along which you can resize the object by clicking
enter 200 in the X, Y, and Z fields. To resize and dragging at that point.
along a single axis, enter values in only one
axis field.
Since you are dealing with World Space
transformations in this dialog, if you resize an
object along only one or two axes you may
unintentionally skew the object’s shape.
To resize the object without skewing it, use the
numeric entry fields in the Object Attributes dialog. The corner control points resize the object along all three axes.
Using this dialog can resize the object based on its The control points on the faces of the bounding box resize the
original position, with no unintentional skewing. object along a single axis.
Refer to “Definition Coordinates” on page205 for
more. To resize an object along a single axis
interactively:
1 Select an object.

Bryce5 211

Rotate Using the Keyboard around Z You can also use the keyboard keys to resize As you move your cursor over the tool a rotation state becomes objects: active. 1 Make sure the Edit palette is visible. This Rotate transformation may be useful if the object is around Y on the ground and you want it to remain there. taking off should be tilted upwards. When you place the object in a scene. • Hold down Shift to constrain resizing to Using the Rotate tool 50% increments. 212 Arranging Objects . The Rotate tool has three states. window. Rotating Objects As you pass your cursor over the face. down. 2 Move the cursor over the Rotate tool. the Most object have a specific up. Rotate The object resizes in all directions from the around X bottom center of the object. 2 Drag one of the control points on the corners of the bounding box. then press Command/ active.2 Drag one of the control points at the center of a bounding box face. The Rotate tool lets you rotate a selected object along any axis. different axes • Hold down Command/Ctrl while dragging • using the 3D Transformation dialog. create them. 1 Select an object. right. Press = to return the object to unity size and click the Edit button at the top of the Bryce snap it to the Grid. which lets to resize in the opposite direction from you enter precise rotation angles the selected corner point. Press * to double a selected object’s size. If it’s not. There are three ways of rotating objects in Bryce: Drag right to enlarge it. an airplane that’s 1 Select an object. or left to shrink the • using the Rotate tool to resize an object along object. For example. Object Space or Camera Space. Y or Z to indicate the back and front associated with them when you axis you’re resizing along. • using the object’s control points to interactively rotate the object • Hold down Option/Alt while dragging to resize from the center of the object. cursor changes to an X. Ctrl+Option/Alt and drag the point. one of the states becomes the mouse button. To rotate an object around an axis: Press / to halve a selected object’s size. left. Objects can be rotated in World To resize an object from the bottom center: Space. or tilted downward when it’s descending. As you move the 2 Click the Y face control point and hold down cursor over the tool. its orientation may need to be altered to achieve a To enlarge or shrink an object interactively: desired effect.

The 3D Transformations dialog lets you enter specific Using the control points on an object’s bounding rotation angles for a selected object. Hold down Shift while dragging to constrain Rotation values are expressed as degrees. with 360° rotation operations to 45 degree increments. The three spatial options are also available for the For example. Bryce5 213 . Since you’re dealing with World Space transformations. Since rotations are relative. Refer to “Absolute Coordinates” on page204 and “Definition Coordinates” on page205 for more on these coordinate systems. If it’s not. click the Edit button at the top of the Bryce window.3 When the state you want to use becomes All transformations performed using this dialog use active. you may enter negative values and To choose a spatial option for rotation cumulative values (greater than 360° or less than - 1 Make sure the Edit palette is visible. The fields. appears. Numerical Rotation In a complex scene. being a single full rotation. Camera Space rotates your selection relative 4 Enter a degree value in one or more of the to the camera (see “Camera Space” on Rotate fields. 2 Select an object. 360°). option you choose in the Edit palette does not affect the 3D Transformations dialog. to rotate an object 45° around Y. If it’s not. Resize and Reposition tools. it is also set for the other two tools. If it’s not. The values in the window. Object Space rotates your selection relative to itself (see “Object Space” on page202 ). page203). To rotate an object numerically: 2 Click the triangle icon next to the Rotate tool 1 Make sure the Edit palette is visible. and choose an option from the menu: click the Edit button at the top of the Bryce window. just enter values in the appropriate tool. box. objects are rotated with respect To undo rotation operations: to the World Space X. orienting objects may require Interactive Rotation more precision than the Rotation tool offers. World. option you chose for the Rotate tool. Y. 1 Make sure the Edit palette is visible. The 3D Transformations dialog on page202). You can also rotate an object numerically using the click the Edit button at the top of the Bryce Object Attributes dialog. When you select enter 45 in the Rotate Y field. and choose Unrotate from the menu. Attributes dialog rotate the object using either 2 Click the triangle icon next to the Rotate tool Absolute coordinates or Object Space coordinates. drag in the direction you want to rotate World Space coordinates regardless of the spatial the object. and Z axes. or Camera space for the Rotation other axes. you can freely rotate an object directly in the Working window. The degrees determine the angle of rotation. To rotate around Object. 3 Click the triangle icon next to the Rotate tool World Space rotates your selection in and choose 3D Transformations from the absolute world coordinates (see “World Space” menu.

one of its states becomes active. As Points you move the pointer over the tool. To position an object along a specific axis: Holding down Option/Alt while dragging on a 1 Make sure the Edit palette is visible. 214 Arranging Objects . Positioning Objects 3 When the state you want to use becomes active. 2 Hold down Command /Ctrl and drag on any corner control point. Reposition Y To rotate around a single axis: 1 Select an object. you’ll need to use the Reposition tool in conjunction with the Resize and Rotation tools to create the desired relationships. by dragging the object to a different location. corner control point lets you rotate the object click the Edit button at the top of the Bryce in very fine increments. To free rotate an object: Reposition Z Reposition X 1 Select an object. a state becomes active. If it’s not. The control points Bryce lets you position objects in four ways: using at the center of each face rotate the object along a the Position tool to move objects along a specific single axis. In this section the object’s bounding box. drag in the direction you want to move The composition of your scene depends on the the object. 2 Move the cursor over the Reposition tool. and Reposition Z. using the 3D Transformation dialog to enter specific offset positions. You can tell which axis you’re rotating around by releasing the Command /Ctrl key for a moment. window. As you move your cursor over the tool. 2 Hold down Command /Ctrl and drag on any face control point. let you free-rotate your object. The corner control points term “object” also refers to the camera and lights. An object’s bounding box has control points at the corners and at the center of each face that can be used to rotate the object. or by using the arrow keys to nudge objects. Reposition Y. position of the objects relative to other objects. The cursor changes to an X. Using the Reposition Tool The Reposition tool has three different states: Control Reposition X. Y or Z. The Reposition tool has three states. In most cases. groups and families down Command /Ctrl and pass your cursor over the as well as lights and the camera. axis.Rotation control points appear when you hold Positioning applies to objects.

you’re repositioning it with respect to the camera. 2 Click the triangle icon next to the Reposition 2 Select an object. Bryce5 215 . on page202). Offset values are expressed in Bryce units of • Hold down Z while dragging to constrain measure (refer to “Bryce Units” on page204). World. The values in the choose in the Edit palette does not affect the 3D Attributes dialog position the object using either Transformations dialog. page203). When you select Object. movement to the Y axis. dragging them to different locations in your scene. • Hold down X while dragging to constrain All transformations performed using this dialog use movement to the X axis. object relative to world X. object. or Camera Space for the Rotation tool. it is You can also position an object numerically using also set for the other two tools. Y. Numerical Repositioning When you drag an object. You movement to the Z axis. World Space moves your selection in absolute world coordinates (see “World Space” 4 Enter a value in one or all of the Offset fields. Interactive Repositioning 2 Click the triangle icon next to the Reposition The simplest way of positioning objects is by tool and choose Unreposition from the menu. If it’s not. window. The option you the Object Attributes dialog. World Space coordinates regardless of the spatial • Hold down Y while dragging to constrain option you chose for the Reposition tool. you are moving the Resize. 1 Make sure the Edit palette is visible. If it’s not. If it’s not. Refer to “Absolute Coordinates” on page204 and To undo position operations: “Definition Coordinates” on page205 for more on 1 Make sure the Edit palette is visible. menu. This dialog To reposition an object interactively: lets you enter specific offset values for a selected • Drag the object to a new location. click the Edit button at the top of the Bryce click the Edit button at the top of the Bryce window. and Z coordinates. Remember that since this dialog only performs The three spatial options are also available for the transformations in world space. and Rotate tools.To choose a spatial option for repositioning: To reposition an object numerically: 1 Make sure the Edit palette is visible. The value determines the number of Bryce Camera Space moves your selection relative units the object is offset from its current to the camera (see “Camera Space” on position. click the Edit button at the top of the Bryce window. tool and choose an option from the menu: 3 Click the triangle icon next to the Reposition Object Space moves your selection relative to tool and choose 3D Transformations from the itself (see “Object Space” on page202 ). The most precise method of positioning objects is by using the 3D Transformations dialog. The 3D Transformations dialog appears. may enter negative numbers in the Reposition fields. Absolute coordinates or Object space coordinates. these coordinate systems.

PageUp Aligning Objects Bryce’s alignment features let you position several PageDown object with respect to each other.Nudging Objects To nudge an object along the Z axis: Nudging lets you move objects by pressing the 1 Select one or more objects.48 Bryce units in size.48 x 20. units). arrow keys and the PageUp and PageDown keys. • Hold down Shift to nudge objects in 1/2 unity size increments (10. Nudging uses World Space coordinates to • Hold down Shift to nudge objects in 1/2 reposition objects. Using the Grid • Hold down Shift to nudge objects in 1/2 unity size increments (10. the unity size increments (10. The Grid is used for Snap To operations and acts as common reference for alignment operations.08 Bryce units).24 Bryce units) The Grid can be used as a guide to help you precisely position objects in your scene.24 Bryce units) The Grid gives you a common reference for all alignment operations. Use the Arrow. 2 Press either the Right or Left arrow keys. 20. Refer to “Bryce Units” on page204 for 1/256 unity size increments (0. One To nudge an object along the Y axis: grid unit is equal to unity size. and unity position is 1 Select one or more objects.24 Bryce units) object is moved in 1/4 unity size increments (5. 2 Press either the PageUp or PageDown keys.08 Bryce The example provided in the following procedure units).08 Bryce more on Unity.48 Left x 20. Each time you press a key. Alignment transformations are performed with Up Right respect to the Grid. Bryce maintains an internal Down grid that is comprised of 3D cube increments. • Hold down Option/Alt to nudge objects in 1/256 unity size increments (0. illustrates how the grid can be used to position a pyramid beside a cube. To nudge an object along the X axis: 1 Select one or more objects. 216 Arranging Objects . 1/256 unity size increments (0. 2 Press either the Up or Down keys. PageUp and PageDown keys to nudge objects in World Space.12 • Hold down Option/Alt to nudge objects in Bryce units). always snapped to a position on the grid. If all your objects are at unity size you can use grid • Hold down Option/Alt to nudge objects in units to precisely align objects.

use the Nudge controls to move in precise increments along the grid.. use the Snap to Grid Align option in the Edit palette to move the object to a point on the grid. To align objects along an axis: 1 Make sure the Edit palette is visible.48 x 20. Bryce5 217 . return all the objects you’re aligning to unity. they fill Align X right exactly one grid unit.48 x 20. Align X left Align X center Align Y top First. 4 When the state you want to use is active. a state becomes active.... click the mouse button. Using the Align Tool The Align tool has ten states. As you move your cursor over the Align tool. click the Edit button at the top of the Bryce window. 0. Finally. Align Y center This returns the objects to a perfect multiple of Bryce’s grid units. • You can return existing objects to unity by holding down Command/Ctrl+Option/Alt and clicking one of its control points.. As you move the pointer over the tool. based aligning. If it’s not. 3 Use the nudge controls to move the object. 0. Align Y bottom Align XYZ center 2 Determine the objects’ positions relative to the grid. Bryce provides two options for aligning multiple objects: anchor-based aligning and non-anchor- Nudging moves objects in grid increments. • For existing objects.48 Bryce units). they are unity size (20.To precisely position objects using the grid: 1 Make sure all the objects are unity size.. the states become active. 3 Move the cursor over the Align tool. Align Z back Align Z front Align Z center • When you create an object.then align the objects to the grid using the Snap To Grid Anchor and Non-Anchor Based Aligning option. • When you create primitives like cubes or spheres. it usually appears at World Center or 0. . 2 Select two or more objects.

The first object you select is the anchor object. The Snap To Options let you automatically align objects to the grid. 2 Select an object. and choose Snap Together. To snap an object to World Center: To choose an aligning option: 1 Make sure the Edit palette is visible. an anchor object. 218 Arranging Objects . 2 Select an object. Y. click the Edit button at the top of the Bryce 3 Click the triangle icon next to the Align tool window. All other objects are aligned to this object. 1 Make sure the Edit palette is visible. Bryce operation that does not move. 3 Select the objects you want to align. 2 Click the triangle icon next to the Align tool. 2 Select an object.Anchor-based aligning considers the first selected 4 Click the triangle icon next to the Align tool object to be the anchor of the aligning operation. If it’s not. Y=0. much like creating a on the grid. gravity effect. 2 Click the triangle icon next to the Align tool. and choose Snap to World Center. To drop or lift objects to ground level: or ground level. and choose Anchor-Based Aligning. 1 Make sure the Edit palette is visible. click the Edit button at the top of the Bryce window. If it’s not. Y. window. If it’s not. click the Edit text button at the top of the click the Edit button at the top of the Bryce Working window. World Center. click the Edit button at the top of the Bryce To snap objects to the Grid: window. The Snap to Land option lets you snap an object to Refer to “Using the Grid” on page216 for more any object directly below it. snaps the selected object to the top of any object directly below its center “Y” control handle. 1 Make sure the Edit palette is visible. Z=0. objects are are aligned the X. An anchor object is the object in an alignment When you activate the Snap to Land option. The selected object moves to coordinates Snap To Options X=0. The X. objects. and Z centers of all selected objects With non-anchor-based aligning. If it’s not. 3 Click the triangle icon next to the Align tool and enable/disable Anchor-Based Aligning. 3 Click the triangle icon next to the Align tool Landing Objects and choose Snap to Grid. If it’s not. To snap objects to the center of the anchor object: 1 Make sure the Edit palette is visible. or World Center. and choose Snap to Ground. and Z center of the anchor aligned to the bounding box of all the selected object.

When you run the to the object’s bounding box. Then. otherwise the object lands on the ground plane. Refer to “Animating” on page319 for more on animation. In this example. Bryce5 219 . and that have no sloped character. the selected object lands on the ground. you can quickly create falling rock and choose Snap to Land from the menu. 2 Select an object. animations by placing rock objects throughout or your scene with a terrain below them in one frame. For 3 Click the triangle icon next to the Align tool example. a corner of the selected object is over the “land” To snap an object to the top surface of an object. but since there are no objects directly under its Y control handle. If it’s not. Landing operations work best with objects that have click the Edit text button at the top of the not been rotated. This option can create many interesting effects. istics. in a different frame. These objects were aligned using the Land Selection option.Using Snap to Land. Working window. object below it: 1 Make sure the Edit palette is visible. select all the rocks and Click the Down arrow icon that appears next choose the Snap to Land option. all the rocks will appear to fall onto the terrain. a selected object snaps to the top of any object that’s directly below its Y control handle. The second object must be directly below the Y control handle. animation.

click the Edit button at the top of the Bryce Randomizing Objects window. The dialog click on the tool. When you using the 3D Transformations dialog. 3D Disperse/Size 3D Disperse/Rotate scatters and rotates your selection randomly in 3D space. it cycles though its different uses Bryce units for positioning. 3D Disperse/Size/Rotate scatters. these increments to align objects based on grid increments (20. 4 Click and drag over the Randomize Amount As you click the Randomize tool each of its states becomes sphere. 220 Arranging Objects . mode you want to use is active. 2D Disperse/Rotate scatters and rotates your 2D Disperse/Size/Rotate selection randomly along the horizontal (X and Z) plane. dispersing objects throughout your scene without 3 Click the Randomize tool repeatedly until the having to manually position each object. active. 2D Disperse/Rotate There are eight modes available: 2D Disperse scatters your selection randomly 2D Disperse/Size along the horizontal (X and Z) plane. 2D Disperse or Click the triangle icon next to the Randomize tool. 2D Disperse/Size/Rotate scatters.48=one grid unit).Aligning Numerically Using the Randomize Tool The most precise method of aligning objects is by The Randomize tool has eight states. The Randomize Amount sphere is the blue sphere to the top-right of the Randomize tool. 2D Disperse/Size scatters and resizes your 3D Disperse selection randomly along the horizontal (X and Z) plane. so you can use modes. 3D Disperse scatters your selection randomly in 3D space. and choose a mode from the menu. To randomize objects: 1 Make sure the Edit palette is visible. The Randomize tool is a great way of randomly 2 Select a number of objects. resizes and 3D Disperse/Rotate rotates your selection randomly along the horizontal (X and Z) plane. resizes and rotates your selection randomly in 3D space. 3D Disperse/Size scatters and resizes your 3D Disperse/Size/Rotate selection randomly in 3D space. If it’s not.

the parent object is at the top of the hierarchy and its children are below it. When you You can control exactly which transformations are resize a group of objects. a hierarchy can make positioning and rotating easier since you can transform an entire hierarchy all at once instead of separately.Object Hierarchies However. In the case of linking. you are resizing all applied to a child object using the options on the objects in the group simultaneously. The moving parts like this train engine. Any transformation you apply to the parent object is applied to all its children. remains unchanged. Bryce5 221 . like a tree or a large terrain. as the child moves the parent work. transformations applied to a child object do not affect the parent. Grouping vs. Children in the hierarchy can also have children creating a branched hierarchy. A hierarchy adds structure to the objects in your scene. The children are have no moving parts like this terrain group. The same is true for animating. You can quickly create motion animations by changing the position of a parent object. As you move the parent all difference is how the objects within each hierarchy the objects in the hierarchy move. Hierarchical Structure A hierarchical structure consists of a parent object or objects and its descendants. the parent object Group hierarchies are good for creating complex objects that is the primary object in the link. since all its children will move with it. Linking Both grouping and linking let you create functional Linked hierarchies are good for creating objects that have or spatial relationships between objects. In a hierarchy created using links. Within a group all the objects act as one. This can make arranging and animating objects much easier. being transformed. This type of Linking tab in the Object Attributes dialog. This type of hierarchy is good for creating objects that have moving parts or An object hierarchy lets you create relationships between objects. If you have group all the objects in the group move. When you’re arranging objects. hierarchy is good for creating complex objects with static parts. Hierarchies can be created by either grouping or linking objects. multiple linked objects in a hierarchy. As you move the any objects linked to the parent. animating two objects simultaneously. the parent Within a linked hierarchy objects behave differently object at the top of the hierarchy is the parent depending on which object within the hierarchy is object in the first link you created.

the parent object is the final group you create. a default name is used (for example Sphere 1). Object hierarchies are indicated by indents. The Advanced Motion You cannot create a group using a child object. A parent object is listed at the far left of the area. the parent In this hierarchy the parent object is a group that has four object is the group. You could also create a hierarchy where a group is Parent Object linked to a parent object. bottom of the window. In this group hierarchy the parent group has four children one and are not reused regardless of the number of of which is a group that contains three children. In this case. This will let you see all the different link hierarchies together. If you were to objects you create or whether the object has been transform this hierarchy. All the objects within the group children one of which is the parent object of a link hierarchy are the children. a group. A hierarchy can be made up of both linked and To view a listing of the hierarchy: grouped objects. 222 Arranging Objects . parent group would be applied to all the children. any operation you perform on Child Object the Parent at the top of the hierarchy is applied to all its children. Only Lab appears. If you have multiple groups within that has two children. The name of an object that appears in the Hierarchy List can be set using the Object Child Object Attributes dialog. make sure there are hierarchy is by grouping the parent objects from no objects selected. If no name is set. its children appear indented beneath it. In a hierarchy created using groups. parent objects can be part of a group. the hierarchies in your scene. final group you create would become the parent 2 Click the Advanced Motion Lab button at the object of the hierarchy. When the par- ent is in a group all its children are also part of the group since they must follow the parent. any operation you perform on the deleted. Parent Object Child Object In this link hierarchy. the parent object of the hierarchy would be the parent from the first link you created. Viewing Object Hierarchies Parent Object The Hierarchy List area of the Advanced Motion Lab lets you see a list of all the objects in your scene. These names are unique for each item in the scene. the parent object has one child and that child has two children one of which also has a child. In this case. So if you were to transform this hierarchy. One way of creating this type of 1 In the Working window.

In a parent-child link. from the parent object. Expanding and Collapsing a Hierarchy A child object will start its movement from its The arrow buttons next to an object’s listing original position and always maintain a constant indicate whether the hierarchy is expanded or distance from the parent. Linking Objects When you link two objects. However. Parent moves Child moves If the parent is moving along a path. when the child object moves. displays all the hierarchies in your scene. located along the bottom-left side of the lab. the parent controls the If you rotate the parent. parent object moves. hierarchy shows a listing for all the children. the child will match the In a parent-child link. the parent object is unaffected by the child object. Child moves However. This means that when the moon around a planet. • Click the arrow icon that appears next to a listing’s name to expand it. The movement of the child object depends entirely To expand/collapse a hierarchy listing: on the type of transformations you apply to the parentobject. A collapsed hierarchy shows only the determined by the original positions of the objects parent objects in the hierarchy. so does the child object. you connect them in a Parent-Child link. but maintain a constant distance dictates the movement of the child. the parent object does not. the movement of the parent object trajectory of the parent’s path. Click the arrow again to collapse the listing. The Hierarchy List area. An expanded before they were linked. Parent doesn’t move The Advanced motion Lab buttons displays the Advanced Motion Lab where you can see the hierarchy listing for your scene. The distance is collapsed. the child will orbit around it like a actions of the child. Bryce5 223 .

3 Click the Linking tab.If both the parent and the child are moving along a path. 224 Arranging Objects . The icons along the right side of the object’s bounding box let 3 Click the Linking tab. A series of icons appear next to the The first object you select becomes the child object. The object object’s boundingbox. You cannot create a link where the parent object is To break a link: the child of its own child object (i.e. 5 Click the OK icon to link the two objects. The Object Attributes dialog appears. 1 Select a child object. you interactively link objects. The Object Attributes dialog appears. 4 Click the Object Parent Name menu and 2 Click the Link icon and drag the linking line to choose the name of the object you want to use the object you want to use as the parent as the parent object. The parent object turns blue. 2 Click the A icon that appears next to the object’s bounding box. 5 Click the OK icon to unlink the two objects. 2 Click the A icon that appears next to the object’s bounding box. you drag the link line to becomes the parent object. 4 Click the Object Parent Name menu and choose None. To link objects using the Object Attributes dialog: 1 Select the object you want to use as the child object. the child object moves along its path while matching the trajectory of the parent object’s path. a loop). To link objects in the Working window: 1 Select the object you want to set as the child object. object.

100% places the object at the end of the path. Once you’ve created a link. Using the options available in the Linking tab on 4 Enable the Constrain to path button to the Object Attributes dialog. transformation on a group. When you perform a don’t want applied to the child. all the objects are equally affected. When an object is constrained to the path. parent object transformations are applied to child • Disable the button to unconstrain it. you’ll need 3 Disable the buttons for the transformation you to group objects. Parent to Child Transformations Options 2 Display the Object Attributes dialog. The options in this dialog also let you set where on the path an object begins its motion. or if you rotate a group. like the walls and turrets of a constraining. parent will affect the child. all the objects A Geometric path is an object that acts like a track rotate around a single axis.Linking Options 3 Click the Linking tab. For more information about geometric paths. castle. all the objects Geometric Path Linking Options change size. Bryce5 225 . are applied to a child: 1 Display the Object Attributes dialog. using the linking want to group the objects that comprise more options in the dialog you can disable or enable complex objects. You may constrained to the path. objects and how objects are constrained when they’re linked to a path. 2 Display the Object Attributes dialog. exactly which transformations applied to the 4 Enter a percentage in the Position field. As your scene becomes more complex. Your choice of objects to place in a group depends when you link an object to a Geometric Path. To set where the object sits on the path: 1 Select an object linked to a geometric path. To set which parent object transformations and 0% places it at the beginning. it can only move along the path. However. When it’s not constrained it acts like a regular child of the path. Grouping Objects 2 Click the Linking tab. you can determine 3 Click the Linking tab. Normally. refer to “Creating Geometric Paths” on page88. Its movement is not constrained to the path. it is on how you want to organize your scene. you can control which constrain the object to the path. for controlling the motion of objects. If you scale a group. Grouping lets you control a set of objects as a single unit. To constrain/unconstrain an object to a geometric path: 1 Select an object linked to a geometric path.

families are not treated as a single unit with regards to transformations. you can put all the elements that make up the background of your scene in to one family. Nesting can be an easy way of managing more complex scenes. Families Families are a way of creating “logical groups. You can even nest groups within groups. relationships between objects as you transform them. You can also create groups to maintain the spatial To select objects within a group: relationships between objects as you transform 1 Hold down Control/Ctrl and click on an object them. If a child object is part of your selection the “G” icon will not appear. You can also click the G button next to the selected objects’ bounding box. 2 Select the object you want from the menu. all You can also create a group to maintain the spatial trees in another and so on. Click the G button next to a selection’s bounding box to create a You can group objects to keep all the components of a complex group. like the boards in this fence. or press Command/Ctrl+G. You cannot create a group using a child object. object like this train engine together. You can place as many objects as you like in your group.” Unlike regular groups. all the items with a particular material in another. 226 Arranging Objects . Families help you keep track of elements in your scene. Groups are essential to creating Boolean objects. Boolean operations will not work unless the objects are part of a group. Refer to “Boolean Operations” on page73 for more on Boolean objects. and can be used for selection purposes. inside the group bounding box. To create a new group: 1 Select all the objects you want to group. 2 Choose Objects menu>Group Objects. For example.

3 Click on a color. You can easily see which objects belong to the same family when there no objects selected in the Working window. The color is applied to the wireframes of all the objects in the family. Avoid using black or white since they are difficult to see. The Families button in the selection palette displays a list of all the families in your scene. Bryce5 227 . To create a new family: 1 Select all the objects you want in the family. 4 You adjust these colors by dragging the rectangular color swatch at the bottom of the dialog.Each family has a different object color. The color appears only when the object is not selected. 2 Click the dark gray box next to the selection’s bounding box. To select a family: 1 If the Animation controls are visible at the bottom of the Bryce window. 2 Click the Family button and choose the name of the family you want to select from the menu. or red since it’s the color of a selected object. click the Time/ Selection Palette toggle to display the Selection palette. since a selected object’s bounding box appears red. The Family dialog appears. Click the dark gray box next to a selection’s bounding box to create a family. 5 Enter a name for the family in the text field.

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10 Editing Objects Every object in Bryce has attributes that allow you to control everything from its position in the scene to how it animates along a path. . This chapter describes how to edit object properties and also covers how to use the Torus and Mesh editors. Some objects have special editors specifically designed to adjust the attributes that are unique to the object type.

You can also use this tab to set up a tracking link. box. When you create an object. and whether or not it’s locked. 1 Select an object. the the bounding box handles. • link objects Boolean state. and display quality. size. • set up object tracking There are two ways of editing an object’s attributes: the Object Attributes dialog and the Object Controls that appear next to the object’s bounding box. rotation. or The Restore control returns the object to its default press Command-Option-E/Ctrl+Alt+E. position. display of motion paths and setting the motion path type. However. The icons that appear in this list When you use the Restore control. preview. Every object in Bryce has a default size and shape. object name. regardless of the number of the Abutton next to the object’s bounding transformations you’ve applied to it. Material Composer and any editors associated with the object Editing Object Attributes • group objects in a selection • add objects to families Every object in Bryce has several attributes that let • land objects you control the object’s size. vary depending on the type and number of objects selected.Restoring Objects • Linking contains options that let you set up a link between two objects. or click size and orientation. the cursor changes to a 1 when passed over the object’s bounding box. 230 Editing Objects . rotation. To display the Object Attributes dialog: you can return an object to its original state at any time. position. 2 Choose Objects menu> Edit Attributes. these default properties are discarded and replaced. To restore an object: These icons let you: • Hold down Control/Ctrl+Alt and click one of • access the Object Attributes dialog. Object Attributes Dialog The Object Attributes dialog contains three tabs The Object Attribute icons that appear next to an object’s which let you set various object properties: bounding box let you access different editors and set object • General contains options that let you set the attributes. the default size is used • Animation contains options for controlling the to define its size and placement. Object Attribute Icons The Object Attribute icons appear as a list of buttons along the right side of an object’s bounding box. As you transform and edit objects.

3 Choose a color that represents an existing This control lets you set up a Tracking link between family. • Select an object or group of objects. the transformations you apply to the parent object affect the child.If your selection falls outside of your Working This control lets you set up a parent-child link window. 2 Click the Family icon that appears next to the Tracking Icon object’s bounding box. the 4 Click the OK icon. you want to be the parent object. Refer to “Tracking Objects” on page344 for Linking Icon more on tracking. A link line extending from the child object to To display the Object Attribute dialog: the parent appears as you drag. it shows the current name. Refer to “Families” on page226 for more information. 2 Click the Link icon and drag it to the object This control displays the Object Attributes dialog. To add selected objects to a family: As you drag the Link icon. two objects. or enter a name to create a new family. 1 Select an object or group of objects. The color you select selected object pivots as the target object changes becomes the object’s wireframe color. orientation. family. and scale of the object. To link one selected object to another: Object Attributes Icon 1 Select the object you want to be the child object within the link. blue. a link line extends from the child 1 Select all the objects you want to add to the object. It also displays the Family dialog. Refer to “Linking Objects” on To display Object Attribute icons: page223 for more information. mouse button when the parent object turns position. When the objects are linked. The Family dialog appears. 2 Click the A icon that appears next to the object’s bounding box. When an object tracks another. Release the When the dialog opens. As a result. the icons appear in the rightmost area between two objects. Bryce5 231 . position. the object always faces its target. Families Icon This control indicates the family to which the object belongs. available on the screen.

1 Select an object or group of objects. or until the control As you drag the Tracking icon. Refer to If this icon does not appear when you have a “Applying Materials” on page127 for more on multiple selection. 232 Editing Objects . If the selection contains nested groups. stationary object. Ungroup Icon This control only appears if you’ve selected a group or a number of objects contained in a group. it means that you can’t group Materials. a tracking line extends from the disappears. When you click this control all the Material Icon objects in the selection are grouped. 2 Click the U icon that appears next to the object’s bounding box. A group bounding box 1 Select the object you want to be the stationary appears around all the objects. This control displays the Materials Lab. To ungroup a selected group of objects: Group Icon 1 Select all the objects you want ungrouped. When you use this control. Refer to “Grouping Objects” on page225 for more on grouping. the Materials the selected objects because of an object hierarchy Lab displays the material currently applied to the conflict. any group in the selection is ungrouped. This control appears only if your selection contains multiple objects. Release the mouse button when the target object turns blue. object. you can continue clicking this control until all the groups are ungrouped. 2 Click the Tracking icon and drag it to the object you want to be the target object.To set a selected object to track another: 2 Click the G icon that appears next to the object’s bounding box. Material Preview area of the lab. A large bounding box around a number of objects indicates a group. and the object appears in the for more information. Refer to “Object Hierarchies” on page221 selected object. When you click this control. A tracking line extending from the stationary object to the target appears as you drag. To group selected objects: To display the Materials Lab: 1 Select all the objects you want grouped.

Refer to “Landing Objects” on page218 for Boolean operations. When hierarchy. This control appears as either an arrow pointing up or down. Neutral defines any selected object. Bryce5 233 . The name is also used to identify an object in a an imported polyhedron object or a light. control how an object acts in a Boolean operation. if a boolean Land Object Icon attribute is set to Negative. more information. Refer to “Object Hierarchies” on page221 for more To display an object’s editor: on hierarchies. objects. or group as non-Boolean. Editing Boolean Attributes 2 Click the E icon that appears next to the bounding box. An object’s name identifies it within the scene. the object snaps to the top of the object below it. the editor for the object type Hierarchy List area of the Advanced Motion Lab. the object subtracts an area from a positive object. 3 Enable one of the check boxes at the top of If the selected object is below ground. depending on the position of the object selected. 1 Select the object you want to land. listed in the General tab of the Object Attributes dialog. a symmetrical lattice. a torus. When you click this control. This control works like the Land Selection option available in the Edit These are examples of some of the objects you can create using palette. The object snaps to the 2 Make sure the General tab is displayed. is a terrain. For example. This is the default setting for all objects. Boolean attributes. top of the object directly below it. This control only appears if the object you selected object names are used to select a specific object. it snaps the dialog: to the bottom of the object directly above it. Refer to “Boolean Operations” on page73 for a To land a selected object: complete discussion of Boolean operations. To set an object’s Boolean attributes: 2 Click the Arrow icon that appears next to the 1 Display the Object Attributes dialog. No Boolean operation can be performed on a neutral object. 1 Select an object or group of objects. Object hierarchies appear in the you click this control. When you have many objects of the same type.2 Click the M icon that appears next the Editing Object Names bounding box. The Object Name field in the General tab of the Object Attributes dialog lets you name a selected Edit Object Icon object. a stone. you have selected opens. object’s bounding box.

It can speed up rendered when you render your scene. or point. 2 Make sure the General tab is displayed. Animation controls and the Selection palette. Show Origin Point Locked This option displays the selected object’s origin This option locks any selected object. Some button in the Object Attributes dialog. Locked “Object Origin Points” on page207 for more on objects appear grayed out in your wireframe view. objects. or material assignment. 234 Editing Objects . 1 Display the Object Attributes dialog. To select a locked object: or group as solid when grouped. 1 Click the Time Selection Palette toggle at the Negative defines any selected object. The display options available in the General tab of the Object Attributes dialog let you control how If you want to unlock the object. You can still manipulate your can still select and edit it. bottom of the Working window to display the or group as negative when grouped. Think of a Selection palette. the final render. preventing unintentional changes to size. 3 Enable the Show as Box button. or group as an intersecting object when Use the Time Selection Palette toggle to switch between the grouped. 2 Click an object type button. Positive defines any selected object. rotation. Show as Box This option displays any selected object. 2 Make sure the General tab is displayed. to change the object’s center of rotation. 3 Enable the Locked button. The object work in a complex scene because it displays remains visible in the Working window. negative object as a “cutting object. 3 Enable the Show Origin Point button. This is useful when you just want to When you apply this option to an object. objects. objects. objects. To lock an object: To display an object’s origin point: 1 Display the Object Attributes dialog. where you simpler objects. origin points. objects. but it will not display in object using the bounding box control points. 3 Enable the Hidden button. or Hidden group as a box. and choose the Editing Display Quality Attributes desired object from the menu that appears. 1 Display the Object Attributes dialog. Refer to position. You can then edit the position of the point group. it is not work with the object’s position. 2 Make sure the General tab is displayed. 2 Make sure the General tab is displayed. of these options can speed up the redraw of your scene. To display an object as a box: To hide an object: 1 Display the Object Attributes dialog. disable the Locked the object appears in the Working window.” Intersect defines any selected object.

The numeric entry fields on the General tab of the Object Attributes dialog describe an object’s To rotate an object: position. adjust these attributes by entering values in one or all of the numeric fields. the selected objects are scaled to the the object up or down. Y. object’s rotation around the X axis. object’s position on the X axis. The values in this dialog use either Absolute or 3 Enter a value in the Rotate X field to set the Definition coordinates for transformations. 5 Enter a value in the Size Z field to set the 3 Enter a value in the Position X field to set the object’s size in the Z axis. object’s position on the Y axis. object when you change the Offset. To set an object’s size: 1 Display the Object Attributes dialog. orientation. and size in 3D space. new coordinate. the selected objects are moved to the new coordinate. 3 Enter a value in the Size X field to set the 2 Make sure the General tab is displayed. The controls on the Linking tab of the this dialog. You can enter negative values here if you need to. Using Definition coordinates can create some unpre. To set an object’s origin point: 2 Make sure the General tab is displayed. To set an object’s position: 4 Enter a value in the Size Y field to set the 1 Display the Object Attributes dialog. there are no values displayed in the 4 Enter a value in the Position Y field to set the Size fields. If you then enter a value in any link attributes and tracking attributes. values greater Z axes as a reference for transformations. This axis moves Editing Link Attributes the object backward or forward.Editing Transformation Attributes field. object’s size in the X axis. You can 1 Display the Object Attributes dialog. there are no values displayed in the Object Attributes dialog let you set parent-child Position fields. Absolute coordinates use the World Space X. Rotate and Size values. 2 Make sure the General tab is displayed. Y and Z fields. 5 Enter a value in the Rotate Z field to set the dictable results because you’re redefining the entire object’s position on the Z axis. 1 Display the Object Attributes dialog. If you then enter a value in any Size object’s position on the Y axis. 5 Enter a value in the Position Z field to set the object’s position on the Z axis. this dialog. Systems” on page204 for more on these 4 Enter a value in the Rotate Y field to set the coordinate systems.360. object’s size in the Y axis. than 360 or values less than -360. Bryce Definition coordinates redefine how the object is reduces the value to an absolute value within a created in Object Space. This axis moves When you select multiple objects and access the object left or right. Link attributes control how an object is linked to When you select multiple objects and access another. Bryce5 235 . 2 Make sure the General tab is displayed. This axis moves field. Refer to “Coordinate range of 0 . and You can enter negative values. 3 Enter values in the Origin X.

but representation of an object’s trajectory over the transformations applied to the child object do not course of the animation. Transformations applied object’s motion path. the To set motion path display options: stationary object pivots so that it’s always facing 1 Display the Object Attributes dialog. Object Attributes dialog let you control when the motion path is displayed. the stationary object’s motion path appears. The options on the Animation tab of the Object The Link options let you set the parent object for Attributes dialog let you control how an object’s the selected object and choose which parent object motion path is displayed in the Working window transformations will affect the child. 236 Editing Objects .Linking Editing Animation Attributes When you link an object to another. 4 Enable one of the Orientation options. The Tracking options let you set the target object for the selected object and define which axis of the 3 Enable one or all of the display options: stationary object will face the target. Whenever the target object moves. Refer to “Motion Paths” affect the parent. These options set which object axis will track the target. Choose None to break a link. 3 Click the Track Object Name field and choose a Show Always displays the motion path at all name from the menu that appears. even when the object is not selected. no To set an object to track another: motion path is drawn. 1 Display the Object Attributes dialog. These options control which Parent object transformations affect the child. and how that path is drawn. Tracking The Motion Path Display options let you control when an When you set up a tracking link. Refer to “Linking Objects” on on page330 for more on motion paths. page223 for more on linking. only when the object is selected. Normally. A motion path is a graphical to the parent object affect the child. When it is disabled. object tracks the target object as it moves or rotates. Hide Trajectory enables or disables the display of the motion path. Choose None to break a tracking link. times. drawn and when the object is selected. you create a Animation attributes control the display of an parent-child relationship. a motion path is displayed as it is being 2 Click the Linking tab. the target. 4 Enable a Propagate option. The motion 3 Click the Object Parent Name field and choose path display options on the Animation tab of the a name from the menu that appears. Show When Selected displays the motion path 2 Click the Linking tab. To link objects: Motion Path Display Options 1 Display the Object Attributes dialog. 2 Click the Animation tab.

The motion path position of the object as it moves through the attributes let you display additional information on animation. does not repeat the motion. the Editing Toruses object tilts up. It then swings Align Options around to the front of the path and starts over.Motion Path Attributes Motion Path Geometry Options When a motion path is created. you change the shape of the path to create different effects. To set motion path attributes: 1 Display the Object Attributes dialog. The handles represent key Make One Shot performs the motion once and frames. A torus object is any pre-made donut-shaped object in Bryce. 3 Enable one or all of the attributes: 3 Enable one or all of the options: Show Handles displays or hides the path’s control handles. unless you apply a rotation. orientation remains constant as it moves along a motion path. Tangents motion on the path will continuously repeat. an object’s points for this feature to work. You must have at least four position key frame Normally. To set motion path geometry options: 1 Display the Object Attributes dialog. help you see the slope of the curve. automatically updated as you change the inner 2 Click the Animation tab. The motion path geometry options let a motion path. Bryce5 237 . This is the default setting. This makes forward on the path and then back. the path easier to see when you move the Make Circular closes the path to create a camera. The Torus editor lets you adjust the inner To set align options: radius of any torus object. circular path. Do Not Align disables aligning. The extending from each control handle. 2 Click the Animation tab. The preview is 1 Display the Object Attributes dialog. Make Pendulum creates a repeating cycle in Show as Ribbon displays the motion path as a the action along a path. radius. it looks like a curve The shape of a motion path is determined by the that extends out from an object. The object will move along the path until it reaches the end. The align options let you force the object’s orientation to match the slope of the motion path so that as the path curves up. and you can preview the torus object from 3 Enable one of the following options: different angles by rotating the preview image. You can zoom in and out of the preview window. Show Tangents hides or displays lines Make Repeat creates a loop in the action. The shape of the curve has no effect on the object’s orientation. 2 Click the Animation tab. The object will move flat ribbon in the working window. Align adjusts the object so that its orientation matches the shape of the path.

desired effect. radius is the size you want. You can smooth objects that are very rough or remove the smoothing previously Use the Torus editor to adjust the inner radius of a torus object. To display the Torus editor: It is not a good idea to smooth or unsmooth stones. Smooth stones look very unnatural. value in the Radius field. 2 Click the Ebutton that appears next to the You can also specify the inner radius by typing a object’s bounding box. dialog. Editing Imported Meshes and Stones Imported objects (such as DXF or 3DMF objects) and native Stone objects are both treated as meshes inside Bryce. to retain their realism. drag on the Torus in the To smooth imported objects or stones: preview window. or Press Caps Lock to toggle the continuous spin To unsmooth imported objects or stones: mode. Release the mouse when the 1 Click the imported object or stone. • In the Torus editor. 3 Adjust the value of the smoothing range by dragging the gauge along the left side of the dialog. hold down Control/Ctrl + Option/Alt and drag on the Torus in the For instance. These objects are highly dependent upon 1 Click a Torus object. angles under 90° to preserve the sharpness of cubes. hold down Control/Ctrl 4 Click the Smooth button until you achieve the and drag on the Torus in the preview window. In that case. you may wish to smooth all Preview window. • In the Torus editor. The Mesh Editor lets you adjust the smoothness of an object’s surface. applied to DXF objects. set the maximum angle to To preview a torus from different angles: 85 before smoothing. The more you click. 238 Editing Objects . the clumpiness of the polyhedral shape as well as 2 Click the Ebutton that appears next to the the bumpiness in the assigned procedural texture object’s bounding box. To zoom in and out: The gauge sets the maximum angle you wish to be smoothed. 3 Adjust the value of the smoothing range by dragging the gauge along the left side of the 2 Click the check mark. 1 Click the imported object or stone. To adjust the inner radius of a torus: 1 In the Torus editor. the smoother the object becomes. 2 Click the Ebutton that appears next to the object’s bounding box.

the sharper the object becomes.. 4 Click the Unsmooth button until you achieve the desired effect. you may wish to unsmooth all angles under 90°. the object changed from an Egyptian pyramid. In this example. 2 Click the Edit button at the top of the Bryce window to display the Edit palette. The Convert tool lets you quickly turn an object into any other. 3 Click Command/Ctrl+D. To convert an object to another type of The Save dialog appears. You can change a square into a light. Any transformations you applied to the original object are preserved through the conversion. The gauge sets the maximum angle you wish to be unsmoothed. In that case. box that turns into a cone over time. 2 Click the E button next to the object’s bounding box. or an infinite plane into a cone. Conversions cannot be animated.to a rocky desert by converting the pyramid primitive into a plane.. object: 4 Choose a location and filename for the mesh 1 Select the object you want to convert. . You can’t have a The Edit Mesh dialog appears.. set the maximum angle to 85 before unsmoothing. Converting Objects 3 Click the double-headed arrow in the top-left corner of the palette and choose an object The Convert tool in the Edit palette lets you covert type from the palette that appears. any type of object into another type of object with a single click. To export a mesh object: 1 Select the mesh object you want to export. The more you click. a terrain into a sphere.. object. Bryce5 239 . For instance.

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and more make the Bryce Sky&Fog palette responsible for a great deal of the natural. look and feel of Bryce images. All this. For example. red sunlight is invisible until it strikes an object. If it’s a blue object. and how much moisture (Haze. . it is an infinite 3D representation of natural environmental phenomena. plus natural reflection. it takes on a purple cast and so on. Fog) is present in the atmosphere. refraction.11 Creating Skies A Bryce sky defines the virtual environment of your scene. All of the elements in your sky interact with each other just as they would in the real world. then the object exhibits red highlights. the Bryce virtual environment is not merely a backdrop. Colors in your environment interact with everything in your scene just as they would in nature. Unlike many other 3D applications. or supernatural. The colors in the sky change depending on the position of the sun.

One of the most spectacular effects is the Volumetric World effect. the sky property will appear to change over time. Using this technique.. skies can be animated. The Sky & Fog Palette The Sky&Fog palette is where you’ll set up the attributes of your environment. Any property of a sky can be changed at different points along the animation timeline. or from clear to cloudy. When this effect is enabled all the light in your scene appears as visible rays. visual controls in the form of thumbnails to help you see how changing the value of an attribute You can add even more realism to a sky by enabling affects your sky. you can create a scene that changes from day to night. the scene becomes a window looking out into a real world.. Like any other scene setting. or have a bright rainbow streaking across the roof of your world. When the animation plays.The objects in your scene may look incredibly realistic on their The other-worldly look of this spaceship landing was created own . Refer to “Animating Skies” on page354 for more on animating skies..but when you add a sky.. . Using these effects you can create night skies full of stars. This is similar to the effects of light shining through clouds on a hazy day. 242 Creating Skies . one of the many environmental effects available for skies. The palette uses . using Volumetric World.

in the the bottom of the thumbnail. and color blending. You used to set the color for a given sky attribute. Sky Mode Haze Intensity Sky Lab Day/Night Toggle Shadow Intensity Cloud Height Fog Height Randomize Skies Memory Dots Cloud Coverage Fog Color Cloud Color Cloud Frequency Ambient Color Sky Dome Color and Amplitude Sky&Fog Sky Mode Options Haze Color Sun Color Options Sun/Moon Position The Sky&Fog palette’s thumbnails let you set values for sky The set of controls at the end of the palette does not have visual attributes. rainbows. You can preview your changes in the Sky Lab dialog. • Atmosphere contains controls for rainbows. You can also change the camera position in the preview area. like can also click the triangle icon below the memory cloud color or fog color. Click the Sky Lab button. guides. You can see their effects in the Preview rings and horizon illusions. as when you are adjusting dialog. This dialog contains controls for fine-tuning the setting of a control. Each control has at least one color swatch along which looks like a cloud with a rainbow. Bryce5 243 . The name of the control you’re adjusting appears in the Text Display area of the Control palette. visible lights. • Sun&Moon contains controls for positioning set the position of the sun or moon. Next to the thumbnails are a series of controls that The dialog contains three tabs: let you set the frequency and amplitude of clouds. • Cloud Cover contains controls for editing cloud textures and setting up cloud animations. sun and moon rings. area. click the downward pointing triangle at the lower corner of the preview area. These swatches are Sky&Fog palette to display the Sky Lab dialog. dots and choose Sky Lab from the menu. this area displays the environmental effects like clouds. and current control’s value. but you can see their effects in the Preview area. and store sky the sun and moon as well as adding effects like properties. • To view the different preview options. You Working with Sky Lab can also use this area to help guide you if you The Sky Lab button provides access to the Sky Lab prefer numeric precision.

To link Sky&Fog attributes directly to your scene: Working with the Sky & Fog palette • Click the triangle icon below the memory dots at the right edge of the palette and choose The Sky&Fog palette has several settings that you Auto Update from the menu. or even different parts of the interface. Click on the bar below the thumbnail to access the color picker. or you can enter numeric values if you need to precisely match specific All the current Sky&Fog palette settings are colors.• To change the position of the camera. To pick a color for an effect: • Click the color bar below the thumbnail. store your favorite Sky&Fog settings. Unless you have marqueed a small region to be Using the Control Thumbnails updated. at the right edge of the palette and choose Reset Sky from the menu. To save Sky&Fog settings: tor. The thumbnails are visual guides. To orbit around the scene. switch to HLS mode and adjust saturation or • In the Sky&Fog palette. drag the preview in the direction you want to move the The Sky&Fog palette options let you link the view of your scene. make to the Sky&Fog palette settings will You can also use the palette’s memory dots to store start a render of your scene with the new sky settings as you experiment with different settings. you can select colors from anywhere in your scene. palette controls directly to your scene. Use the Memory dots to store your favorite Sky&Fog settings. drag the Setting Palette Options preview. try Option-click/Alt-click to get the second color edi. stored in the selecteddot. For more control after picking with the color picker. 244 Creating Skies . click on an empty dot lightness (less saturated colors can make for more (empty dots are gray). To reset Sky&Fog palette settings to their To change the intensity of an effect: defaults: • Drag to the left or right inside the thumbnail • Click the triangle icon below the memory dots to change the intensity of the effect. realistic fog and haze effects). every change you make will begin a com- pletely new render. every change you scene and how the sun tracks your camera view. Using these dots you can safely explore many Sky&Fog configurations without losing your favorite settings along the way. environmental attributes. While the eyedropper is active. and they are also used to set the attributes of Sky&Fog effects. Memory dots appear along the right side of the palette. can use to control how the palette affects your • When this option is enabled. A Saving Sky & Fog settings color picker appears and your pointer changes The memory dots in the Sky&Fog palette let you to an eyedropper.

sion. so you may want to save your • Click the triangle icon next to the thumbnail favorite skies as presets before ending a Bryce ses. exploring possibilities you may never find any other way. Darker Sky is a darker version of Soft Sky. or between sessions. Atmosphere Off. To reset Sky&Fog settings to default: As you switch between the modes. This dot always appears full. but not through the modes. The current settings are replaced with the settings The Sky modes act as the base of your sky. mode looks like. Dark Sky. this way you can create some truly alien environments. This mode is settings.To switch to a saved Sky & Fog setting: Working with Sky Modes • Click on a full dot (full dots are blue). or The uppermost dot cannot be cleared. modes control lets you set the base colors and light tones for your environment. It uses Click the Randomize Sky button to randomly generate sky darker shades of color and tones. you can always return to the default settings by clicking on the top Memory Dot. It features Randomizing skies is a very powerful way of softer shades of blue and lighter tones. the standard behavior of colors in the sky with respect to sun position is disabled. Custom Sky. click the uppermost also changes to give you a preview of what the memory dot. Sky Modes Randomizing Skies Soft Sky is the default state of the sky. and choose a mode from the menu. To randomize your sky: • Click on the Randomize Sky Button. When this mode is selected. Custom Sky lets you choose your own colors for the sky. To delete a saved Sky&Fog setting: To select a sky mode: • Option/Alt-click on a full MemoryDot. When you randomize the sky all the settings in the palettes are replaced by randomly generated values. • Click the Sky mode thumbnail to cycle through the four modes. • Drag left or right inside the thumbnail to cycle Memory dots are saved with the scene. Bryce5 245 . and inside it. There are four modes An active dot will be blue with a white point available: Soft Sky. The Sky stored in the dot. good for creating more brooding skies. the thumbnail • In the Sky&Fog palette. Remember.

Sun Glow Horizon Color Color To render objects against a plain background: 1 Click the triangle icon next to the Sky Mode Sky Color thumbnail and choose Atmosphere Off from In Custom Sky mode you can pick your own colors for the sky. color of all the shadows in your scene. regardless of sun position. All the other atmosphere effects you add later will interact with the base mode. The thumbnail changes to the Custom Shadows in Your Scene Sky control. objects in your scene will reflect red light. 3 Click the Sun Glow Color swatch and choose a color from the color picker. This mode is useful when color from the color picker. Color This is the color of the halo around the sun. It will also impact the color of Stratus clouds near the horizon. for instance. and uses a 2 Click the Atmosphere swatch and choose a single color for the sky. sunlight. Setting Sky Attributes Once you’ve selected a Sky mode. This setting eliminates the affects objects in this mode. you have the basis for your virtual environment. relative to sun position. The thumbnail changes to the Atmosphere Off control. the menu. color from the color picker. unless you are making outer space scenes. The Sun color still value to 0. you need to render objects against a simple colored 3 Drag left inside the Haze control and set the (or black or white) background. 246 Creating Skies . There are two other attributes that To set custom sky colors: affect how all the other effects will appear: 1 Click the triangle icon next to the Sky Mode Shadows and Ambient color. this will be the least obviously used color in your scene. Use the Shadows control to set the color and intensity of 4 Click the Horizon Color swatch and choose a shadows in your scene. In most cases. thumbnail and choose Custom Sky from the menu. All the objects in your scene cast shadows. in which case this could be very useful for you. This color will in certain cases affect your scene below ground level if you have a haze setting of greater than zero. If you have red suggestion of a horizon. Atmosphere Off disables the standard sky color behaviors. Using 2 Click the Sky Color swatch and choose a color the Shadow control you can set the intensity and from the color picker. The Sky Color is the main sky color in this Shadow mode.

Bryce5 247 . a value. volume bar. As well. The position of shadows is dependent on the position of the sun. 2 Drag left or right inside the Shadow control thumbnail. enable the Cloud Shadows option. display the Sky&Fog objects with a transparency color will change the palette by clicking the text item on the menu color of the object’s shadow. then enter option. or drag the slider. sun also affects the color of shadows. Use the Sky Lab dialog to set sky attributes numerically. the brightness of shadows changes. The Sky Lab dialog color of shadows. Use the Shadows control to set the color and intensity of shadows in your scene. The range is 0 to 100. Dragging left decreases the intensity and dragging right increases it. the color of the control. appears. The shadow control is not the only control for shadows. materials can dramatically change the shape and 2 Click the Sky Lab button. Shadows=10 Shadows=90 As you change the value of the Shadow control. If you want the cloud layer to cast shadows on the 3 Click the Sun & Moon tab to display the Sun & ground below. Semi-transparent or transparent 1 If it’s not already visible. and the default value is 90. Refer to “Cloud Cover” on page256 for more on this 4 Click the Sun/Moon Shadows field. By default. Moon palette. the Clouds in Bryce do not cast shadows. This field governs the intensity of shadows rendered in your image. The object’s material properties also affect the To set shadow intensity numerically: color of shadows. To set shadow intensity: 1 Display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce window. Since the sky interacts The cursor changes to a two headed arrow as you drag over the directly with objects in the scene.

For realistic effects. and at night you can set it to gray-blue. any color you assign to an Use the Fog and Haze controls to set the intensity and color of object’s surface ambience is mixed with red. Refer to “Ambience” on page135 for more on Fog material ambience. and To set Ambient Color: even realism to your scenes. you can set Ambient Color to red or pink. The Ambient Color tints the surfaces of all objects in your scene that have some Haze Color level of ambience. mystery. You can also set the ambient color by using the Ambient color swatch in the Sky Lab. At dawn.Ambient Color distant horizon. Haze can add the illusion of a You can set intensity. distant objects. Using Fog you can control thumbnail and choose a color from the create the illusion of depth without having to add color picker. 248 Creating Skies . Fog and Haze effects. or in the afternoon. It acts like a thin layer • Click the color swatch below the shadow of cloud close to the ground. Adding Fog and Haze Fog can create a sense of depth in your scene. from the camera. Fog can make the camera. The Fog and Haze controls in the Sky&Fog palette let you control the color and The Ambient Color is the color of all the light that intensity of these effects. Fog can add an element of sensuality. ambient color should be a little blue to get nice blue-ish shadows. and color attributes for the fog. Haze Intensity Ambient Color is used as the source color for material Ambience. Light from the Fog sun interacts with ambient color to produce the color for both highlights and shadows. Notice how the feeling of depth was created objects appear to disappear the farther they get without the addition of background objects. For example. if the Ambient Color is red. In this scene. at noon. the Fog and Haze are two atmospheric effects that can fog was used to add depth to the road as it moves away from add realistic depth to your scene. height. surrounds the objects in your scene. Any other color you apply to the object’s surface is mixed with the Ambient color to Fog Color create the final surface color.

5 Click the Base Height field. the color and intensity of the fog changes to interact with To set Fog color: the color of the sun. This field sets the height of fog rendered in To set the amount of Fog: your scene. Bryce5 249 . then enter a value. the Fog value changes. Drag to the left to decrease Base Height provides control over density at the amount of fog. In these cases Drag up to increase the height and down to the sun is very close to the ground plane where the decrease it. then enter a value. you had to move the entire scene up or down relative to the atmosphere. In earlier it. you may get some odd looking results when increase or decrease the height of your fog. this effect. rendered scene. fog exists. and to the right to increase low altitudes. 2 Click the color swatch beneath the Fog thumbnail and choose a color from the color picker. throughout the scene. and the default value is 0%. To set Fog attributes numerically: 1 If it’s not already visible. you can see how the fog changes in these skies as 4 Click the Fog Density and/or Thickness fields. The height and amount values are displayed in the The Blend with Sun feature lets you create exactly Text area of the Control palette as you drag. you’re creating a sunset or sunrise. Fog=10 Fog=90 3 Click the Atmosphere tab. Since the fog remains constant throughout the 2 Drag vertically inside the Fog control to scene. assuming there is a value greater 1 Display the Sky&Fog palette by clicking the than zero in the Fog field. display the Sky&Fog palette by clicking the text item on the menu bar. The range is 0 to Sky&Fog text button. To set Fog height: 1 Display the Sky&Fog palette by clicking the Blending the Fog Color Sky&Fog text button. 100%. The range is 0 scene. For example. so the fog should react to the sunlight. 2 Click the Sky Lab button. Its color and intensity are the same to 100%. These fields set the amount The fog acts as a global layer covering the entire of fog rendered in your image. 1 Display the Sky&Fog palette by clicking the Sky&Fog text button. and the default value is 0%. such as in valleys. versions of Bryce. As the sun approaches the Fog. It translates 2 Drag horizontally inside the Fog thumbnail to the entire atmospheric effect up or down increase or decrease the amount of fog in your without changing the density or thickness. The Sky Lab dialog appears.

in the scene. 3 Squash and stretch the sphere. 1 Display the Create palette. 6 Set up the values for channels in the material. to set the intensity of the fog color 5 Click the Volume button at the top of the lab. until it is the 4 Click the Blend with Sun button. the effect of puffy smoke was created by To link Fog color to the Sun controls: applying a volume material to a flattened sphere object. or drag the slider. or gas. 2 Click the Sky Lab button. 250 Creating Skies . 7 Enter a value in the Luminance field. 6 Enter a value in the Color field. To get the best effect. desired shape. display the Sky&Fog palette by clicking the text item on the menu To create localized fog: bar. Objects” on page206 for more on transforming objects. Refer to “Transforming 5 Make sure the Blend Fog button is enabled. to set how much of the fog color is 4 With the object selected. Cumulus or one of the CloudBump textures work well. set both these fields to Refer to “Building Materials” on page162 for 100. A flattened sphere usually makes Softness channel to blur the edges of the a good fog volume. A sphere object appears appears. sphere object. The your fog. There may be times when you want to create localized pockets of fog. more on creating materials. • Choose a cloud-like texture from texture Localized Fog components. This technique can also be used to create visible smoke. or drag the slider. 3 Click the Atmosphere tab. Stratus. when it’s blended. 1 If it’s not already visible. In this example. appears next to its bounding box. The Sky Lab dialog 2 Click the Sphere tool. The Materials Lab appears. area covered by the fog is then controlled by the • You need to set a high value for the Edge size of the object. this way the object looks like fog. click the M icon that blended with the sun. For this type of effect • Pay special attention to the Base Density you’ll need to use an object with a volume material channel as this sets the transparency of applied to it. In this example. the Fog is linked to the sun so you can see the changes in the fog color and intensity as the sun gets closer to the horizon.

move the object to 1 Display the Sky&Fog palette by clicking the the area where you want the fog to appear. The Sky Lab dialog appears. and affects the scattering of color of the Haze effect in your Bryce scene. Bryce5 251 . In earlier versions of Bryce. It translates the entire atmospheric effect up or down without changing the density or thickness. The haze always appears at the horizon. and the sky. display the Sky&Fog palette by clicking the button at the top of the Bryce window. Haze=0 Haze=90 To set Haze color: You can see how the haze changes in these skies as the Haze 1 Display the Sky&Fog palette by clicking the value changes. Haze is applied to the entire scene equally. To set Haze intensity: 8 In the Working window. Density controls density of the lower part of The Haze control lets you set the intensity and the atmosphere. 2 Click the Sky Lab button. 3 Click the Atmosphere tab. Drag to the left to decrease the the ocean) stretches out towards the horizon. To set Haze intensity numerically: 1 If it’s not already visible. light around the sun. 4 Enable the Haze option. The higher the altitude of the atmosphere. The range is 0 to haze is used to create the distinction between the water plane 100. you had to move the entire scene up or down relative to the atmosphere. the wider the band of haze at the horizon. such as in valleys. enter values in the Haze Density. of haze. Base Height provides control over density at low altitudes. with the density at “sea level” remaining Altitude control will affect the height of this band unchanged. These fields govern the amount of haze Haze creates the illusion of a distant horizon. At amount of haze and to the right to increase it. Sky&Fog button at the top of the Bryce window. With haze set to zero.7 Click the OK icon to exit the lab. Haze 2 Drag horizontally inside the Haze thumbnail to increase or decrease the degree of haze in Haze is the natural effect you see when a plane (like your scene. Sky&Fog button at the top of the Bryce window. and the default value is 4. In this scene. Also note that the Cloud down. the rendered into your scene. and Base Height fields. 5 In the Haze area. your horizon will have an Thickness scales the whole atmosphere up or unnaturally hard edge. Thickness. this distant point a different color appears over the horizon and light becomes fuzzy.

The Setting the Color Perspective Blend with Sun feature lets you simulate this effect. or use the have less illumination. 2 Click the Sky Lab button. In Bryce you can sunsets. set both these fields to Blending the Haze color with the Sun 100. when it’s blended. 1 If it’s not already visible. the haze color distance that characterizes the appearance of and brightness change depending on the position of the sun. For realism. The default values of color perspective are very delicate: if you change them. The Sky Lab dialog bar. 4 Click the Blend with Sun button. picker. In Nature. 8 To get the best effect. The net result is that as a dark area recedes into the color of the horizon changes as it gets closer to the sun. and red least efficiently of In this example. the distance. The blue component of that shade comes in faster than the green. then red with create a natural-looking color scheme.2 Click the color swatch beneath the Haze 5 Make sure the Blend Haze and Blend Fog thumbnail and choose a color from the color buttons are enabled. make things change any color you like with distance. then orange. Similarly. Color perspective is half of aerial perspective. 252 Creating Skies . it will turn blue before it turns white When you’re using this feature to create sunsets. Color perspective controls the rate at which the red. Since the Haze always appears at the horizon it should change color as the sun sets or rises. brighter and bluer than the fog. appears. This is because the Earth's atmosphere scatters blue light more efficiently than green. so an effective nocturnal slider. At nighttime. while the other half is the loss of contrast with distance. the atmosphere is white or a pale shade of gray. which in turn comes in faster than the red. increasing distance. 6 Enter a value in the Color field. the haze should be a little blended with the sun. display the Sky&Fog palette by clicking the text item on the menu 2 Click the Sky Lab button. you 7 Enter a value in the Luminance field. white you should choose the haze color carefully so as to areas will turn yellow. The Sky Lab dialog 3 Click the Atmosphere tab. To link Haze to the Sun controls: expect unpredictable results! 1 If it’s not already visible. You can see how all. or pale gray in the far distance. the haze is linked to the sun. This creates very realistic looking distant scenes in Nature: Dark areas turn blue and light ones yellow to orange to red. Color perspective is the change in color with When the two elements are linked. to set the intensity of the haze color haze color could be dark blue-gray. or use the Fog and Haze colors should be the same. appears. or almost slider. to set how much of the haze color is the same. display the Sky&Fog To set the color perspective: palette by clicking the text item on the menu bar. green and blue components of the atmosphere come in with distance.

You can add clouds to your scene in five easy steps: Bryce5 253 . Sky clouds can also cast shadows on the animated using the Cloud Motion controls. They can also be plane.3 Click the Atmosphere tab. They can block out the light of the water in this scene. If you want to have this effect. use a cloud animated just like other objects. and Cloud Frequency and Amplitude controls let you set the general appearance of your clouds. Clouds in Bryce There are two kinds of clouds in Bryce: clouds in the environment and cloud planes. and cloud planes can be sky. The clouds objects in the scene. These clouds are infinitely in the sky can be animated by changing their color. distant so you cannot fly through the clouds in the position or frequency. Cloud Altitude. The Cloud Coverage. Refer to “Animating Skies” on page354 for more on animating clouds. Cloud Frequency and Amplitude The clouds in this scene were created using Cumulus clouds from the Sky and Fog palette. sun and change the color of the light that hits the Both types of clouds can be animated. 4 Click the Color Perspective button. Adding Clouds The Sky&Fog palette provides several controls that set the attributes of clouds in your sky. They cast shadows and can interact Cloud Height Cloud Cover with other objects. 5 Click the RGB controls to control the rate at which the red. controls let you set parameters for automatically animating clouds. and blue components of the atmosphere come in with distance. Clouds you add to your sky interact with the light An infinite cloud plane was used to create the mist above the in your scene. green. Cloud planes are infinite planes that act as objects Sky Dome Color Cumulus Color in your scene. Use the cloud controls to set the attributes of the clouds in your scene. The Cloud Color sets the color of the clouds. These ground below. By changing the texture you can alter the shape and position of the clouds within the sky. You can change the look of the clouds by editing the texture used to create them.

darker clouds at a lower altitude. These clouds are very responsive to Sunlight color and Sky Dome color. display the Sky&Fog • Set the cloud coverage and color palette by clicking the Sky&Fog button at the • Set cloud height top of the Bryce window. position. You can also choose both cloud types. Ambient color. or for more complex editing. and pattern within the texture determines the final look of the cloud in your sky. or neither. To add Stratus clouds to a sky: . 2 Click the triangle in the corner of the palette and choose Stratus Clouds. • Set the frequency and amplitude of clouds 2 Click the triangle in the corner of the palette and choose Cumulus Clouds. Editing Cloud Textures Clouds in Bryce are created using a procedural texture with a cloud pattern. size. clean clouds that appear at high altitudes. thinner and more wispy. Cloud Types Cumulus clouds are thicker. display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce window.• Select the type of cloud To add Cumulus clouds to a sky: • Adjust the cloud texture 1 If it’s not already visible. The texture used for a cloud can come from either the Bryce texture library or you can create your own. You can edit this texture using either the Sky Lab palette. and less responsive to Cumulus color or Ambient color. The Stratus appear at higher altitudes and appear Selecting neither cloud type creates a clear sky. Cumulus color. The color. thin. To edit cloud texture in the Sky Lab dialog: 1 If it’s not already visible. The sky in this scene uses Cumulus clouds. These clouds will take on tints There are two types of clouds you can add to your of Sunlight color. 254 Creating Skies . or Cumulus Bryce environment: Cumulus and Stratus. Stratus clouds are bright white. 1 If it’s not already visible. you can use the Texture Editor. clouds are generally found at lower altitudes and appear thicker and fluffier. display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce window. The sky in this scene uses Stratus clouds.

6 If you want to add additional turbulence to the The Cloud Cover tab provides controls that let you edit the cloud texture.2 Click the Sky Lab button. Bryce5 255 . The cloud texture and its components appear in the component windows. • Click the Noise button at the bottom of the 4 Click the grey + or .Turbulence buttons to editor. 2 Click the Sky Lab button. the texture preview updates. 1 If it’s not already visible. If you’re not familiar with using the Deep Texture Editor you may get some very unpredictable results which may result in clouds that don’t look much like clouds. appears. As you change a texture. adjust its Phase: To edit cloud textures in the Deep Texture Editor: • Click the Phase button at the bottom of the editor. 8 If you want to add more complexity to the texture. • At the top of the Noise control. Before you start editing the clouds texture you may want to refer to“Creating and Editing Tex- tures” on page169 for more instruction on how to use the editor. complexity of the patterns within the texture. texture’s components. The Deep Texture Editor appears.Complexity buttons to want to edit. increase or decrease the amount of detail in the texture. frequency of the noise in any of the texture’s components. 7 If you want to change the colors of a component. 5 Click the Edit button. increase or decrease the amount of noise in The Noise control lets you adjust the the texture. 4 Click the Edit button below the type of clouds 3 Click the Cloud Cover tab. display the Sky&Fog The Phase control lets you adjust the palette by clicking the Sky&Fog button at the amplitude of the phase in any of the top of the Bryce window. The Phase control appears. • Adjust the Noise slider to increase/ decrease the frequency of the noise in the • Increasing the Complexity increases the texture. The Sky Lab palette 3 Click the Cloud Cover tab. The Sky Lab palette appears. adjust the texture’s Noise: textures that are used to create the clouds in your scene. color. click the button associated with the component you 5 Click the blue + or . if you want to start over. The Noise control appears. click one of the color indicators in 6 Click the Reset button to restore the original the component window and choose a new settings. 7 Click the OK icon to apply your changes. you want to edit. • Increasing the Turbulence creates a more dense pattern within the texture.

you can see how the clouds change in these skies as • At the top of the Filtering control. For example. control thumbnail. By changing the equation of the filter to the value of the variables. You can think of it as 2 Click the color swatch beneath the Cloud adjusting the volume on a radio without changing Coverage thumbnail and choose a color from the station. display the Sky&Fog • Change the filter equation and variable palette by clicking the Sky&Fog button at the values to adjust the filter applied to your top of the Bryce window. Drag left to decrease menting with different equations and see what hap. 256 Creating Skies . texture. The Filtering control displays a graphical representation of the filter applied to your texture. The more cloud coverage you have in a sky. coverage and right to increase it. and a low setting means 3 Click the Cloud Cover tab. display the Sky&Fog palette by clicking the Sky&Fog button at the Cloud Cover top of the Bryce window. The Cloud Coverage control in the Sky & Fog palette lets you 9 If you want to change the pattern in the interactively set the quantity of clouds in the sky. pens. 1 Display the Sky&Fog palette by clicking the Adjusting cloud coverage changes the quantity of Sky&Fog button. the darker the environment. the color picker. apply a filter: • Click the Filter button at the bottom of the editor. Cloud Coverage • Adjust the Phase slider to increase/ Cloud Color decrease the amplitude of the phase. The Sky Lab dialog see in the sky. Cloud Cover controls the quantity of clouds you can 2 Click the Sky Lab button. 1 If it’s not already visible. that there are very few clouds in the sky. since To set cloud color: less sunlight can pass through the clouds. button associated with the component you To set cloud coverage: want to edit. A high coverage means that there is appears. 4 Drag the slider or enter a value in the Cloud Cloud cover also indirectly controls the brightness Cover field. clouds but not the frequency. click the the cloud coverage value changes. click the button associated with the component you want to edit. 2 Drag left or right inside the Cloud Coverage Filtering is a rather complex operation. texture. Try experi. To set cloud coverage numerically: 10 Click the OK icon to exit the editor. of the environment. a very dense cloud layer. you can change the patterns within the cloud Cloud Coverage=10 Cloud Coverage=90 texture. The Filtering control appears. • At the top of the Phase control. 1 If it’s not already visible.

in smaller. you can see how the clouds change in these skies as the cloud altitude value changes. The Sky Lab dialog as a thicker band of haze at the horizon. more distant cloud formations. For example. if you have a haze setting greater than zero. the sky will be too unnaturally bright for realistic night scenes. To set cloud height: 1 If it’s not already visible. display the Sky&Fog palette by clicking Sky & Fog on the menu bar. There are two things to remember when working with this control. The Cloud Height controls in the Sky & Fog palette let you interactively set the height of the cloud layer in the sky. Use Frequency and Amplitude to control the types of cloud Cloud Height=10 Cloud Height=90 formations in your scene. the wider the haze region will be on the horizon. remember to lower your altitude setting if you are creating a nighttime scene. heights result in larger. more languorous cloud 3 Click the Cloud Cover tab. Lower appears. First. 4 Drag the slider or enter a value in the Cloud Height field. 2 Drag horizontally inside the Cloud Height control thumbnail. By combining these two controls you can change your clouds from light and fluffy to dark and brooding. as well 2 Click the Sky Lab button. Second. Drag left to decrease altitude and right to increase it. the Cloud Height will affect the size of your Haze band. formations and a thinner band of haze at the horizon. Greater heights will result Sky&Fog text button. Bryce5 257 . Cloud Height Frequency and Amplitude The Frequency and Amplitude control lets you set the types of cloud formation you’ll see in your sky. Since high altitudes increase the size of the horizon Haze region.Cloud Height To set cloud height numerically: The height of your clouds has an impact on the 1 Display the Sky&Fog palette by clicking the appearance of your sky. The higher the altitude.

3 Click the Cloud Cover tab. For late afternoon and early evening realism. Sky Dome Color lets you create late your cloud formations. Frequency values range from 2 at Amplitude field. 3 Drag vertically to control the amplitude of your cloud formations. 2 Click the Sky Lab button. To set Cloud Frequency and Amplitude: Sky Dome Color 1 Display the Sky&Fog palette by clicking the Sky Dome Color lets you create a color wash over Sky&Fog button at the top of the Bryce your scenes. and the “spikes” will get closer together. To set Frequency and Amplitude numerically: Frequency 1 If it’s not already visible. while everything that was cloud will be clear sky. Drag left for larger. This means that you can exchange positive and negative spaces in your sky. Drag right. when you have color in the sky even though the sun drag horizontally to control the frequency of has set. resulting in 258 Creating Skies . 4 Drag the slider or enter a value in the Frequency field. and the spikes increase in height. everything that was previously clear sky will be clouds. scene. If you invert the amplitude. This color simulates the natural effect that occurs 2 In the Cloud Frequency and Amplitude control. This will create a Drag away from the horizontal center. The Text Display area shows you the numerical value Sky Dome Color of the amplitude as you drag. The Amplitude field controls the top to 150 at the bottom. Note: It is possible to invert the spikes. try using a touch of orange or yellow. The Amplitude values range from the amplitude (edge softness) of clouds in your 50 at the left to 500 on the right. afternoon or evening scenes. formations with harder edges. The Sky Lab dialog appears. even if there is no sunlight present. window. The Sky Dome Color control in the Sky & Fog palette lets you choose a color from either the color picker or the color dialog. The Frequency field controls the frequency (scale) of cloud formations in your scene. resulting in smaller formations. more luxurious formations. Drag toward the horizontal center for softer-edged formations. Amplitude 5 Drag the slider or enter a value in the This graph shows the effects of different Frequency and Amplitude settings on a sky. display the Sky&Fog palette by clicking the text item on the menu bar.

display the Sky&Fog 4 Drag the slider. 1 If it’s not already visible. link the cloud in the sky to the camera palette by clicking the text item on the menu view. display the Sky&Fog this effect. appears. 2 Click the color bar beneath the Cloud Height control thumbnail and choose a color from the 4 Click the Fixed Cloud Plane button. cast of color over your entire scene. This way. 2 Click the Sky Lab button. creating a kind of time-lapsed effect. 1 If it’s not already visible. As you move higher up in a Bryce environment. bar. the clouds in your environment will appear to zoom by. change as you move higher up. 1 If it’s not already visible. display the Sky&Fog the camera. or enter a number in the palette by clicking the text item on the menu Speed field. display the Sky&Fog palette by clicking the text item on the menu 3 Click the Cloud Cover tab. Using a Fixed Cloud Plane 4 Drag the slider or enter a value in the Turbulence field. The Sky Lab dialog appears. well as specify the direction of motion. The Sky Lab dialog Refer to “Animating Skies” on page354 for appears. so that it appears as if you’re To set the direction of motion: getting closer to the clouds. Bryce5 259 . 3 Click the Cloud Cover tab. If you want to counter 1 If it’s not already visible. 1 If it’s not already visible. regardless of the To use a fixed cloud pattern in your sky: position or color of the sun or moon. the cloud pattern shifts. If To set cloud speed: you want the clouds to appear fixed as you move 1 If it’s not already visible. you can use the Fix Cloud Plane option palette by clicking the text item on the menu to freeze the cloud pattern so that it doesn’t bar. more on animating skies. 2 Click the Sky Lab button. To set cloud turbulence: 2 Click the Sky Lab button. 4 Click the Link Clouds to View button. display the Sky&Fog 2 Click the Sky Lab button. The Sky Lab dialog palette by clicking the text item on the menu appears. The Sky Lab dialog appears. The Sky Lab dialog stationary. To link clouds to view: 3 Click the Cloud Cover tab. color picker. display the Sky&Fog palette by clicking the text item on the menu To set Sky Dome color: bar. 3 Click the Cloud Cover tab. wherever the camera moves the bar. Setting the Cloud Motion Linking Clouds to the Camera View You can set the speed and turbulence of clouds as If you move the camera view during an animation. so that they seem to remain 2 Click the Sky Lab button. clouds will follow. bar. bar.

The sun position control sets the direction your natural light is coming from whether it is sunlight or moonlight. with the sun at one end and the moon at the other. making the scene Positioning the Sun darker. The position can be set using the Sun control in the Sky & Fog palette. The color of the sun affects all the colors of all the objects in the scene. 260 Creating Skies . the sun appears closer to the horizon. You can create time- elapsed effects by changing the position of the sun over the course of an animation. As you drag over the control. it is night. The control works like a trackball. and if it is at the horizon. the light comes from the north. Working with the Sun You can think of the control as a compass: if the highlight on the Sun Control sphere is positioned The sun is the source of all natural light in your scene. if it is below. it is sunrise or sunset. it is day. The sun can be animated just like all the other elements of your Bryce scene. The position of the sun controls the time of day in your scene. When the sun position is closer to the edges of the control. Moon The control works like a trackball. Refer to “Animating Sun or Moon Position” on page356 for As you change the position of the sun. 4 Drag the Cloud motion control to specify the Sun angle of motion. look of your scene. Sunlight color tints all the other visible colors. and so on.3 Click the Cloud Cover tab. changes. the “time of day” more on animating the Sun. both elements move in the direction you drag. If the sun is above the horizon. Its attributes have a profound effect on the at 12 o’clock.

. positioning the sun at the horizon in front of the camera. As you move the sun You can create a sunset or sunrise by positioning you’re also moving the moon. or the “time of day. you’ll see the moon just rising over several reflective and shiny objects. The colors in your sky will change depending on the position of the Sun Control. the moon is rising behind you. There is always one body visible in your 2 Click the Day/Night toggle button in the top- sky. In this example. the sun shines from The link between the sun and the moon can be seen by directly above the sun. the moon. the position of the sun controls where the highlight appears. Bryce5 261 . The angle of the shadows changes as the sun changes. when the sun dips below the horizon in front of you. or numerically by specifying values in the Sky Lab. you can see the effects of the sun’s position on If you turn the camera 180°.. If your object is shiny. sun.When the sun is in the center of the control. You can position the sun manually by using the Sun/Moon control. Day and Night To switch between night and day: Your sky normally contains two bodies: the sun and 1 Display the Sky&Fog palette. and there are no other light sources. You can also position the sun exactly where you want it to appear in your scene. like it would at high noon.” just like in the real world. At night it is the moon and in the day it is the left corner of the sun position controls. This means that the sun so that it is visible on your horizon. The two bodies are connected and always remain at Sunrise/Sunset opposite ends of the sky. the horizon as well.

The range is 0 to +360. 262 Creating Skies . and double-click the Sun control. create the illusion of the sunrise or sunset colors. Sunsets or sunrises can be created by moving the sun closer to 5 Enter a value in to the Altitude field. type a value into the Azimuth field. zon as you like by nudging the Sun Control until the light is visible in your scene. if you apply the window. on the hori. However. page252 for more on this feature. The range is -90 to +90. Refer to “Sun/ the working window. or the moon. This feature makes the sun appear 3 Hold down Control+Option/Ctrl+Alt. 2 Hold down Control+Option/Ctrl+Alt. You can also use the Sky Dome color to give your Positive values are above the horizon. The Y the horizon. Linking the Sun to the Camera To position the sun manually: Normally. you’d have to reposition the sun every 1 Display the Sky&Fog palette by clicking the time you changed the camera to maintain a certain Sky&Fog button at the top of the Bryce effect or sunlight angle. this effect. You may also want to enable the Horizon illusion for the sun. 4 In the Sun Controls area. The Sky Lab palette appears 3 Click the Sun & Moon tab. your sun will track the camera. negative val- sunset/sunrise added color. 2 Drag the larger highlight area in the Sun The position of the sun relative to the camera Position controls to the position where you remains the same no matter where the camera is want the light to originate. ues below. Link Sun to Camera. effect as you move the camera. For a more realistic sunset you may want to link the To position the sun with precision: fog and haze to the sun so that they react to the sun color as it approaches the horizon. field controls the height of the sun relative to The colors in the sky automatically change to your scene. and in larger as it approaches the horizon. The Azimuth field controls the east-to-west position of the sun. This way you can set up the sun position once and then not worry about losing the You can position the sun. To position the sun numerically: 1 Display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce window. Refer to 1 Display the Sky&Fog palette by clicking the “Blending the Fog Color” on page249 and Sky&Fog button at the top of the Bryce “Blending the Haze color with the Sun” on window. click where you want to Moon Horizon Illusion” on page267 for more on position the sun. positioned. 2 Click the Sky Lab button.

The moon is normally the most prominent object in but objects in your scene will reflect purple. illuminated. the sun maintains a constant distance from the camera. When the sunlight is disabled. The 2 Click the Sky Lab button. 3 Click the Sun & Moon tab. In a night scene it provides all the natural light in the environment. To set the Sun Color: When the sun is linked to the camera. Black represents the lowest intensity and white the highest. a purple Working with the Moon sunlight color will not paint your entire sky purple. your sun will 1 Display the Sky&Fog palette by clicking the always remain in the same position relative to Sky&Fog text button. page319 for more. the When you’re using Visible World. Bryce5 263 . Wherever you move the camera the sun will follow. Sky&Fog text button. the night sky. The grayscale bar at the bottom of the color palette lets you set the intensity of the sun. As it 1 Display the Sky&Fog palette by clicking the moves. This is an easy way of 2 Click the Sky Lab button.) 4 Click the Link Sun to View button. Sun Color Light in nature is not usually visible until it strikes an object. but does not throw light. This feature can also be very useful when you’re 2 Click the Sun Color swatch. and choose a color animating your scene. (The scene will still be 3 Click the Sun & Moon tab. Wherever the camera moves the sun follows. The Sky Lab palette only light visible in your scene comes from appears. choosing purple moon’s attributes can greatly affect the final look will paint your entire scene purple. the camera. the sun moves relative to the Camera. the sun Sky&Fog text button. When you’re using normal light. 4 Click the Disable Sun Light button. remains in the scene. To disable the sunlight: When this option is enabled. individual light sources. Black turns the sun off and white sets the sun to its brightest intensity. The Sky Lab palette appears seeing how a sunset will look against different skylines. Refer to “Animating” on from the color picker. You can also use the color palette to set the intensity of the sun. of your scene. Disabling the sunlight To link the sun to the camera: You can remove the sunlight in your scene by 1 Display the Sky&Fog palette by clicking the disabling it. Like the sun.

To position the moon numerically: 1 Display the Sky&Fog palette by clicking the The moon’s position and phases can be animated Sky&Fog button at the top of the Bryce using the Animation controls and the timeline. east-to-west position of the sun/moon. • The moon will be positioned exactly opposite these values. type a value into the directly opposite. sky. or numerically by specifying ues above. You can position the sun. The two are always at opposite ends of the 4 Click the Sun & Moon tab. zon as you like by nudging the Sun/Moon control Unlike the sun. or place the Sun behind the camera so that the moon appears in front of it. page356 for more on animating the moon. The Sky Lab palette appears. The moon is positioned at the same time as the Sun. Refer to “Animating Sun or Moon Position” on window.Its position in the sky affects all the angles and 2 Drag the smaller highlight area in the Sun/ intensities of all the shadows in the scene. on the hori- the brighter the moon appears. The brighter the earthshine. The range is -99 moon by either moving the smaller highlight or by dragging the to +99. You can position the moon manually by using the Positive values are below the horizon. You can position the moon relative to your scene. the moon is 5 In the Sun Controls area. 264 Creating Skies . You can also position the moon exactly where you want it to appear in your To position the moon with precision: scene. The brightness is affected by the illumination reflected off the earth. negative val- Sun/Moon control. 6 Enter a value into the Altitude field. window. highlight portion of the Sun Position trackball. or the moon. so you can invert . values in the Sky Lab. 3 Hold down Control+Option/Ctrl+Alt. The The position of the moon is represented by the smaller highlight Altitude field controls the height of the sun/ portion of the position control trackball. The the moon’s position is represented by the smaller range is 0 to +360. so wherever the sun is positioned. and double-click the Sun control. 2 Click the Sky Lab button. Azimuth field. the moon has phases which until the light is visible in your scene. sun. 1 Display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce To position the moon manually: window. Positioning the Moon 3 Click the Day/Night toggle to display the moon icon. and the default value is 60. The moon is always opposite the sun. simulate the effects of the moon’s shadow becoming more or less prominent during a month. Moon Position control to the position where you want the light to originate. them to position the moon numerically. 1 Display the Sky&Fog palette by clicking the 2 Click the Day/Night toggle to display the moon Sky&Fog button at the top of the Bryce icon. The Azimuth field controls the In the Sun/Moon control on the Sky & Fog palette.

In an animation. Moon Brightness and Sharpness The moon is directly affected by the light reflected from the earth. 4 Enable the Moon Phase option. The Moon Phase control lets you set the phases of the moon. Earthshine numerically. A realistic moon does not have sharp edges and may appear blurry on hazy nights. The phase is controlled using the Moon Phase 3 Click the Sun & Moon tab. “Animating Sky & Fog settings” on page355 for 2 Click the Sky Lab button. Sky&Fog button at the top of the Bryce • Enter a value in the Earthshine field to set window. The change in the phases of the moon can indicate the passage of time. click where you appears. In Bryce this effect is controlled by the Earthshine setting which makes the moon brighter or darker. aspects of the moon as it orbits the earth. The Sky Lab dialog more. Drag right to 1 Display the Sky&Fog palette by clicking the increase the brightness and left to decrease it. 2 Click the Sky Lab button. the brighter the moon’s shadow. The Sky Lab dialog and in the working window. Bryce5 265 . Refer to window. Moon Phases 5 Drag over the Moon Phase control. controls in the Sky Lab palette.4 Hold down Shift+Control+Option/Ctrl+Alt. 6 Click the OK icon to exit the dialog. The phase The moon phases control simulates different changes as you drag. appears. you can use the moon Sky&Fog button at the top of the Bryce phase to simulate the passage of a time. The Softness control lets you set the moon’s edge softness to give a more realistic feel. To set the brightness of the moon’s shadow: The moon phase is a visual clue to the time of the 1 Display the Sky&Fog palette by clicking the month. 4 Enable the Moon Phase option. want to position the moon. 3 Click the Sun & Moon tab. The brighter the reflection. To set the moon’s phase: 5 Drag the Earthshine slider.

contains all the controls you’ll need to add them to 5 Enable the Halo Rings option. In Bryce. enter a value in the Intensity field. To set the moon’s edge softness: 1 Display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce window. or drag the slider. environmental effects and the Sky Lab palette 4 Enable the Sun/Moon Visible option. The Sky Lab dialog appears. 2 Click the Sky Lab button. image of the sun or moon. Using the Sky Lab palette. Drag right to In this example. These rings are slider. If you look directly at the sun on a hazy day. the sun looks window. All these illusions are called 3 Click the Sun & Moon tab. the sky is To add Sun/Moon rings: always changing. The elements in a sky aren’t constant. your scene. If it’s sunset. if it’s hazy appears. enough you can even see the sunlight streaking out of the clouds. 2 Click the Sky Lab button. or left to sharpen them. If it’s Sky&Fog button at the top of the Bryce night. bigger. If it rains. scene look like a sweltering desert. If you look right at the sun on a hazy day. a secondary ring to increase the effect. 6 In the Rings area. reflecting weather patterns or the 1 Display the Sky&Fog palette by clicking the time of day. you can set the radius of the rings and add 6 Click the OK icon to exit the palette. created by the reflection off ice particles in the air. this effect. • Enter a value in the Softness field to set This effect creates concentric circles around the Softness numerically. 5 Drag over the Softness control. you can use the Sun/Moon Rings to create If you want to add a secondary Sun/Moon ring. The color of the rings is controlled by the color of the sun/ Adding Environmental Effects moon. there’s a rainbow. you’ll 7 Enter a value in the Radius field. to set the radius of the ring. rings have been added to the sun to make the soften edges.6 Click the OK icon to exit the dialog. enable the Secondary Ring option. to set the brightness Sun/Moon Rings of the ring. 3 Click the Sun & Moon tab. or drag the be able to see rings surrounding it. The Sky Lab dialog you’ll see rings around it. Sometimes. there are stars. 4 Enable the Moon Phase option. 266 Creating Skies .

The spooky look of this night scene was created by applying a To add a rainbow to your sky: Horizon Illusion. As the color or intensity of the sun changes. 4 Enable the Sun/Moon Visible option. meaning you can’t have a rainbow at night. Bryce5 267 . you probably In the real world rainbows appear after rainstorms noticed that the sun appeared to get larger as it as arcs of light displaying all the color in the approached the horizon. or The Atmosphere tab of the Sky Lab dialog contains all the drag the slider. As well. Rainbows are linked to the sun. enter a value in the Disk Size field. huge. This illusion can be simulated using Sun/ A rainbow is only visible if the sun is visible. the position of the rainbow in the sky is dependent on the position of the sun. The same is true for the spectrum. 2 Click the Sky Lab button. 6 In the Sun/Moon size area. or drag the slider. you can add a secondary rainbow to create the illusion of reflection. Rainbows appear to be infinitely distant from the camera. gets as it approaches the horizon. In addition.Sun/Moon Horizon Illusion Rainbows If you’ve ever watched a sunset. The Sky Lab dialog appears. to set the overall size of the sun/moon anywhere in the sky. 7 Enter a value in the Horizon Illusion field. to set multiplier used to controls you’ll need to create rainbows. determine how much larger the sun or moon 4 Enable the Rainbows option. window. the sun or moon will Sky&Fog button at the top of the Bryce appear to grow larger as it approaches the horizon. 1 Display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce window. To change the size of the Sun or Moon as it 2 Click the Sky Lab button. You can’t approach them by moving the camera. Moon size. so does the rainbow. 3 Click the Sun & Moon tab. The Sky Lab palette appears. At certain times of the month it appears effect that can be added to any sky. 1 Display the Sky&Fog palette by clicking the When the illusion is active. 5 Enable the Sun/Moon size Option. In Bryce a rainbow is an atmospheric moon. so the pot of gold is always just out of reach. approaches the horizon: 3 Click the Atmosphere tab.

4 Click the Volumetric World button. Stars appear in the night sky and are affected by the moon’s brightness and color. 3 Click the Atmosphere tab. This controls the rainbow’s transparency. This value sets the width 1 Display the Sky&Fog palette by clicking the of the rainbow. It will add consider- ably to your scene’s rendering time. of particles in the air being illuminated by light 6 Drag the Density slider or enter a value in the sources. The Sky Lab palette appears. Sunlight also becomes visible. enable the Secondary Bow option. more visible sunlight. Sky&Fog button at the top of the Bryce 6 Drag the slider or enter a value in the Opacity window. it’s also a time consuming one. or a star field based affected by all the objects withinit. on the stars we see from the Earth. sources in your scene into visible light sources. Higher values result in brighter. They are also infinitely distant. field. meaning that it is randomly generated star map. they do not get closer as you move the camera. If you want to add a secondary rainbow to your sky. 2 Click the Sky Lab button. Volumetric World 5 Drag the Quality slider or enter a value in the The Volumetric World effect simulates the effects Quality field. 268 Creating Skies . you can see how the moon affects the color and intensity of the stars aroundit. In Bryce this effect turns all the light Density field. In this example. so that any color you applied to the sun appears everywhere in the scene.5 Drag the slider or enter a value in Radius field To add visible sunlight to your scene: in the Rainbow area. Normal Environment Volumetric World In this example you can see how the Volumetric World effect transforms a scene. Star Fields Bryce lets you create night skies complete with stars and comets by using the Sky Lab. You can create a star field that is based on a Visible sunlight is volumetric. Although Volumetric World is a very beautiful effect.

5 Enable the Random field option. see become more visible. new stars are not Sky&Fog button at the top of the Bryce generated. field: 4 Enable the Celestial option. stars that are usually too dim to window. Intensity field. generated star map. When you are using a star The Star Field Position Control lets you choose field based on the stars we see from Earth. you can 3 Click the Sun & Moon tab. To change the amount of visible stars in a star 3 Click the Sun & Moon tab. Star Field Intensity Star Field Position Control Changing the intensity of a star field lightens or darkens the visible stars. the amount of 5 Enable the Stars option. 5 Enable the Stars option. stars that are visible. their relative intensities do not change. The Sky Lab appears. 2 Click the Sky Lab button. and the portion of the star field that is visible in your scene. 1 Display the Sky & Fog palette by clicking the 2 Click the Sky Lab button. Shift-clicking the Random field button generates the default random star field. The control works like a trackball. ton. create a star field based on a randomly 4 Enable the Celestial option. with the stars of the northern hemisphere on one side and Bryce5 269 . The Sky Lab appears. can control the intensity of the stars. 1 Display the Sky&Fog palette by clicking the Sky&Fog button at the top of the Bryce To change the intensity of a star field: window. This will 3 Click the Sun & Moon tab. which portion of the star field is visible in your scene. Customizing Star Fields 2 Click the Sky Lab button. customize certain parameters of the star field. Instead. You can get a different random configuration of 6 Drag the Intensity slider or enter a value in the stars by Option/Alt-clicking the Random Field but. window. Star Field Amount To add a Star Field based on Earth’s star You can increase or decrease the number of stars in map: the star field by changing the Stars Amount. 1 Display the Sky & Fog palette by clicking the 5 Enable the Custom field option. Sky & Fog button at the top of the Bryce 3 Click the Sun & Moon tab.To add a Star Field based on a random star changing the intensity lightens and darkens the map: stars uniformly. When 1 Display the Sky&Fog palette by clicking the you change the amount. 6 Drag the Amount slider or enter a value in the Amount field. After you have generated your star field. The Sky Lab appears. 2 Click the Sky Lab button. Sky & Fog button at the top of the Bryce window. You 4 Enable the Celestial option. 4 Enable the Celestial option. The Sky Lab appears.

the stars of the southern hemisphere on the other. skies available in Bryce. Comets The Sky&Fog palette does not need to be active for You can add comets to your night skies. The Sky Lab palette your favorite skies. and releasing the mouse button. or click the arrow next to the preview area in the Sky Lab dialog. text button at the top of the Bryce window. you’ll usually only get one or two comets per star You can select presets in one motion by clicking and field. To add comets to a night sky: 1 Display the Sky&Fog palette by clicking the Adding and Deleting Preset Skies Sky&Fog button at the top of the Bryce window. holding the triangle icon. To add a sky to the preset library: 4 Enable the Celestial option. 2 Click on the preset thumbnails to view preset As you drag over the control. Using the Preset Skies Library The preview area displays the sky from your scene. comets are not a common sight in the night sky. The sky from your scene appears You can adjust the intensity and amount of comets in the preview area of The Preset Skies Library by dragging the Intensity and Amount sliders or dialog. You can only add comets to a star field that is based on a randomly generated star map. appears. Since you to access the Preset Skies Library. 3 Click the Sun & Moon tab. object. You can add the sky from any open scene to the Preset Skies Library. 3 Click the OK icon to add the selected sky to your scene. environment. 1 Click the triangle icon next to the Sky&Fog text button at the top of the Bryce 5 Enable the Comets option. 2 Click the Add button at the bottom of the The Preset Skies Library contains all the preset dialog. The Preset Skies Library appears. 4 Enter a description of the preset in the Description field and click the OK icon. 270 Creating Skies . The Add Object dialog appears. You can place them in your 3 Enter a name for the new preset in the Preset scene and edit them just as you would another Name field. the star field moves in names and descriptions. This is a good way of saving 2 Click the Sky Lab button. dragging directly to the desired preset. the direction you drag. To add a sky from the Preset Skies library to your scene: This name and description will appear beneath the object preview whenever the preset is 1 Click the triangle icon next to the Sky&Fog accessed. entering a value in the Intensity and Amount fields.

4 Enter a name and location for the file and click 5 Click the OK icon. 2 Click the Import button at the bottom of the Preset Skies Library dialog. The contents of the file are placed into the first available space in the current category. or hold down Command/Ctrl and select a discontinuous set of presets. You can edit the name and description of any preset 3 Click the Export button at the bottom of the at any time simply by pressing the Tab key. To delete a sky preset: 1 Click the triangle icon next to the Sky&Fog text button at the top of the Bryce environment. To export a preset sky file: 1 Click the triangle icon next to the Sky&Fog text button at the top of the Bryce environment. The Preset Skies Library appears. 2 Select the preset or presets you wish to export. 3 Locate the file which you would like to import and click Import. or click. Preset Skies Library dialog. The save file dialog ing on the name or description. The file open dialog appears. To import a preset sky file: 1 Click the triangle icon next to the Sky&Fog text button at the top of the Bryce environment. the first available space within the current category. The Preset Skies Library appears. The Preset Skies Library appears. Importing and Exporting Preset Skies Importing and exporting presets is a handy way to exchange custom presets with other users. 3 Click the Delete button at the bottom of the Preset Skies Library dialog. or hold down Shift and select a continuous series of presets. Bryce5 271 . appears. 2 Click on the preset you want to delete. Your preset will be added to Save.

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.12 Creating and Editing Lights How much of your scene is visible is determined by the lighting. The position of the light sources in your scene can determine everything from visibility to the time of day to the color of the atmosphere.

In Shaded Preview mode the objects in your scene are displayed as solids. you can see a small preview of your lighting effects while working in Wireframemode. and the final rendered scene. such as adding headlights to a car. Any lighting you apply page243 for more on positioning and setting up creates simple highlights on the surface of the object. you’ll need to render the final image. all light sources are displayed as wireframes to make it easier for you to edit and position them. You can also see the effects of different lighting. 3D. Different types of lighting can dramatically alter the appearance of your scene and the objects in the scene. In Nano-Preview. Viewing Lights If you want to see the effects of lighting on object In Wireframe mode. like the light from inside a lighthouse. in the Working window.Lights Lighting is what makes your scene visible. Refer to “Display Modes” on page26 for more on this mode. Shaded Preview mode is available only if you have a You can use light sources to shine light from areas where system that supports OpenGL. or Direct sunlight couldn’t shine. lighting effects are not visible materials. nature. Lighting appears in three places: the Nano-Preview. You can add additional light sources to create a variety of effects. 274 Creating and Editing Lights . all the objects in your controls the general brightness and ambient color of scenes. This mode does not show materials. the sun and the moon. Refer to “Working with Sky Lab” on scene appear as flat solids. the Shaded Preview mode. In Bryce. the position of the Bryce sun and moon In Shaded Preview mode. or creating the glare of a distant city. SREE 3D. As in Lighting effects appear in the Nano-Preview. most of the lighting in your scene is provided by either the sun or the moon. Instead.

various lighting setups. searchlight cutting through the fog. and are directly affected by You can create as many light sources as you need. For instance. The volume visible light source interact with the other light Visible Lights sources in the scene. so experiment with created using a visible light. One of the most spectacular uses of light sources is Refer to “Creating Visible Lights” on page282 for visible light. When you render your scene you can see the effects of light position and color on your object’s materials. lights interact with the environment. The only limit is your system’s memory. or add light to objects that cast light in the scene. volume visible lights can show shadows crossing the air that the light illuminates. Visible light effects are like cones of more information on surface and volume visible light that appear in your scene. Bryce5 275 . Natural lighting is provided by the sun. and so you get a light cone or sphere. Square Spot. Spot. such as a lights. Round Parallel. environment color and brightness. There are two types of visible lights: surface visible lights and volume visible lights. Radial. Surface visible Creating Direct Light Sources lights make the light object visible in the scene. like lamps. affect all the objects that they strike. Creating additional lights (or light sources) may add significantly to the render time of your scene. Surface visible lights cannot. but There are five types of direct lights you can create: the light does not interact with the environment. The light from direct light sources can be used to either add hyper realism to natural scenes. Setting Up Lights There are two types of lights in Bryce—natural and direct. Volume visible Parallel. Direct light is provided by light sources. By default every scene contains a sun. The lighting setup you choose can greatly The effect of a searchlight cutting through the fog can be affect the look of your scene.

Spotlight Spotlights throw light along a cone-shaped path. Refer to “Linking Objects” on page223 for more on linking. “Tracking Objects” on page344 for more on tracking. Round Parallel Light Light attributes can be edited in the Lighting Lab. and The lighting in this scene was created using a Radial Light. position. The lighting in this scene was created using a Spotlight. When it’s tracking an object. and orientation of a light source can be edited exactly like any other object. You can also set a light to track an object. Refer to “Transforming Objects” on page206 for more on transforming objects. and remember that you can make these lights as tiny as you like and use as many as you need. 276 Creating and Editing Lights . the light reorients itself so that it’s always facing the object no matter where it moves.The size. Use this as a general light source. You can also link lights to specific objects so that a light source moves as the object moves. Radial Light Radial Lights throw light equally in all directions. Round Parallel Lights produce cylindrical tubes of light and cast circular spots where the light falls. Linking and tracking are quick ways of animating light positions. creating the classic “stage spot” effect. The motion of all the light sources in this example were animated using the track feature.

Bryce5 277 . resulting in no Creates Parallel Lights spatial distortion of shadows. This type of light is very useful for creating specific shadow patterns.The lighting in this scene was created using a Round Parallel The lighting in this scene was created using a Parallel Light. Creates Square Spotlights Parallel Light Parallel Lights cast parallel rays. Light. To create a light source: Square Spotlight 1 Make sure the Create palette is visible. or when used with gels. for creating a slide projector. except they cast light along a pyramid-shaped path. click the Create button at the top of the Bryce window. 2 Click one of the Create light tools: Creates Radial Lights Creates Spotlights Creates Round Parallel Lights The lighting in this scene was created using a Square Spotlight. If it’s Square Spotlights are the same as spotlights. creating a square spot where the light falls. not.

to the light’s bounding box. change its color and falloff pattern. You can also choose between a faster. 2 Click the E button. click the triangle icon at the bottom right corner of the preview area. This preview can display the light against a neutral To access the Lighting Lab: background or show the light in the scene. and source. Light Preview You can edit the attributes of a light using the The Light Preview area displays the effects of any Lighting Lab.Lighting Lab Light Preview Color Swatch Gradient Preview Preview Options Animation Controls Memory dots Use the Lighting Lab to set the attributes of your light sources. low-quality preview. The Object Controls appear next and a slower. For example. To set the preview options: • In the Lighting Lab. and choose a preview option: 278 Creating and Editing Lights . high-quality preview. you can control the changes you make to the attributes of a light intensity and sharpness of a light source. 1 Select a light.

This lets you isolate the light so you can clearly see subtle changes. the larger the spread. you blur or sharpen the sharpness/softness of the edges of the spot shadow’s edges. you can also control The size of a light’s wireframe controls the light’s spread. Fast Preview lets you achieve faster updates. drag the Edge Softness surfaces but does not create shadows. Bryce5 279 . By default. This results in a light that illuminates • In the Lighting Lab. set its color. You can disable the shadow casting of a light To adjust a light’s edge softness: source. You can control the from the color picker. • In the Lighting Lab. When you adjust the The Edge Softness attribute lets you set the softness of a shadow. and left to decrease intensity. This lets you see how the Angle) controls the size of the projected light cone. and adjust a light’s edge softness. To adjust light intensity: To adjust the spread of a spotlight: 1 Select a spotlight in the Working window. the spread of the light. Drag right to increase light intensity. and right to soften the edges. any light source in Bryce causes objects 2 Click the Color swatch. The bigger the wireframe. To set a light’s color: 1 In the Lighting Lab. color to the shadow and adjust the amount of the new color in the shadow. ambience and softness of a shadow to produce realistic-looking shadows or surrealistic effects. you add a on page280 for more on gradients. Refer to “Gradient Lights” When you change a shadow’s ambience. Render Against Neutral displays the light against a flat background. 2 Drag one of its bounding box control points to set the wireframe’s size. Render in Scene displays your scene in the The spread of the spotlight (also called the Half Preview area. enable the Uniform option Shadow Ambience and Softness in the Color area. spread of the light. drag the Light Intensity control. and choose a color in its way to cast shadows. smoothly with the background. you can also make a light change color as it travels. By applying a gradient. control. Soft shadows blend more projected by a light. changes you make to the selected light will The size of the light’s wireframe determines the impact your entire scene. Full Rendering displays a high-quality rendered scene or light. Drag left to sharpen the edges. When your light source is a spotlight. Increase the size to increase the spread and decrease the size to decrease the spread. Light Attributes You can change the intensity of a light source.

When you create or import a gradient. This 1 In the Lighting Lab. enable the Gradient type of falloff is useful for creating outdoor option in the Color area. or 3 Drag the Amount control right to increase the Ranged. 2 In the Shadow Ambience area. or left to sharpen them. import a gradient created with another application. falloff. enable the Ranged option To adjust the softness of a shadow in the Falloff area. 2 Enable the Import option. ensure the Cast Shadows illumination) after a distance range you define. 1 In the Lighting Lab. following options: None. enable the Gradient option distance. greater range. In other words. enable one of the the color picker. • Linear Falloff causes the light’s intensity to fall To import a gradient: off at a constant rate. or you can illumination of your surroundings. When you use this type of file is stored. When you use this type of falloff. or left to decrease the amount. from a light source. the less influence it has on the You can create a gradient in Bryce. click the To set a light’s falloff: Shadow Color swatch. option is enabled. To define the range of a light’s ranged falloff: 1 In the Lighting Lab. ensure the Cast Shadows 2 Drag the Amount control right to define a option is enabled. the farther you are patterns. Squared. along the way differently. thus coloring surfaces option. useful for creating indoor lights. For example. lights like searchlights. 2 Drag the Soft Shadows control right to soften the shadow’s edges. in the Color area. or left to define a smaller range. like lamps. In the real world. the resulting gradient light colors nearby surfaces red Light Falloff and distant surfaces yellow. it is In Bryce there are four falloff types you can apply to automatically applied to the active light. and choose a color from 1 In the Lighting Lab. 280 Creating and Editing Lights . the greater the distance. when you apply a red-to-yellow gradient to a light. The mid-range surfaces Light falloff lets you control the relationship will reflect blends of red and yellow light. This is 4 Double-click the filename. amount of the new color. This between the intensity of a light and the distance feature is useful for creating custom light falloff from the light. disable the Cast Shadows away from the light source. a light: To create a gradient: • None (No Falloff) causes the intensity of the light to stay the same regardless of the • In the Lighting Lab. the light’s range is quite limited. the weaker the light. Gradient Lights To disable shadow casting for a light source: Gradient lights change color as they get further • In the Lighting Lab. the light’s range is rather large. • Squared Falloff causes the light’s intensity to 3 Locate the drive and folder where the gradient fall off rapidly.To change a shadow’s ambience: • Ranged Falloff causes the light to change abruptly from full intensity to zero (no 1 In the Lighting Lab. Linear.

that the light will start with the start colors of the gradient. When a gradient light You can modify a gradient light using the controls in the Edit is this distance from its source. When you increase the offset. which means 2 In the Adjust area. from the color picker. click the Offset control in two colors. add colors to a gradient. color is applied to the light (provided you’ve accepted the default offset value of zero). You can change a gradient’s colors color dominant. Gradient Control Gradient Range and Offset Color node The range of a gradient is the distance in Bryce units that the gradient spans. 2 In the Adjust area. the gradient’s end Gradient dialog. 1 In the Lighting Lab. To change a gradient’s range: 5 Repeat steps 3 and 4 to modify other colors in the gradient. and type a value in the field. click the Range control in the Color area. and type a value in the field. The Gradient Preview is automatically updated as you edit a gradient. You can also change a node gradient’s colors and transparency.Editing Gradients The Lighting Lab lets you control the range and Transition offset of gradients. 3 Click a color node below the Gradient Control. transparency of a gradient to create various light patterns. enable the Color option. You can also change the values in the Location field. The maximum offset value of 100 indicating that the color node is selected. intermediary gradient colors will be applied to the A black arrow displays below the node light at its source. and transition points. or right to make the start added to lights. the Color area. and choose a color color of the gradient. The gradient colors will be applied to the light source. Changing the transition point To change a gradient’s offset: lets you change the ratio between the two colors and produce color blends dominated by one of the • In the Lighting Lab. the offset value is zero. A transition point is an imaginary line between two colors in a gradient. Edit Gradient dialog appears. click the Edit button. Bryce5 281 . To change a transition point in a gradient: You can also change a gradient’s offset by dragging the Offset button next to the Gradient preview. click the Edit button. • In the Lighting Lab. By default. results in a light source which begins with the end 4 Click the Color swatch. or You can also change the transition point by typing remove unwanted colors. enable the Color option. To modify a gradient’s colors: The offset of a gradient determines how the 1 In the Lighting Lab. Using the Edit Gradient Dialog 3 Drag a transition node left to make the end The Edit Gradient dialog lets you edit gradients color dominant.

Lab. You can change the transparency of a scene. the intensity of the light’s color. option. click the Edit button. 2 Click the Color swatch. A new color node appears below the control. the default Surface Material applied to the light drag the transition node above the object. click the Edit button. To remove an unwanted transparency change. 5 Drag the new transparency node to where you want to change the transparency. You can also use the above procedure to change the and many other properties. enable the Transparency extending from the light source. from the object appears as a semitransparent shape 2 In the Adjust area. If you want to adjust the transparency The properties within the light are controlled by between two transparency nodes in a gradient. 4 Type a value in the Opacity field. all gradients created in Bryce are fully Visible lights make your light source visible in the opaque. enable the Transparency option. like the ball of light that appears around a gradient to create light sources that fade in or out. transparency of imported gradients. by selecting the corresponding color node below the Gradient box and clicking the Delete (-) button. • Surface Visible Lights • Volume Visible Lights To change the transparency of a gradient: When you create a surface visible light. feel. lamppost on a foggy night. Surface Visible lights have the same attributes as 3 Click a transparency node below the non-visible lights. A new transparency node 1 Click the Add (+) button next to the Gradient appears below the center of the Transparency control. The material can be edited in the Materials Transparency control to the left or right. 4 Repeat steps 1 to 3 to add other colors.To add colors to a gradient: 3 Click the Add (+) button next to the Transparency box. To add transparency nodes: 1 In the Lighting Lab. You can also create complex transparency patterns by adding transparency nodes with various opacity There are two types of visible lights: values. or the Falloff options to adjust the range of 4 Type a value in the Opacity field. to give it a more realistic the mode is selected. center of the Gradient control. so you can use the Edge Softness Transparency control. By changing the material. 3 Drag the color node left or right to position it. 2 In the Adjust area. the light 1 In the Lighting Lab. A triangle appears control to make the shape that extends from the below the transparency mode indicating that light fuzzier at the edges. Creating Visible Lights By default. the light. and choose a color from the color picker. select the corresponding transparency node and click the When you no longer need a color. you can remove it Delete (-) button. you can change the color of the light. 282 Creating and Editing Lights .

but it doesn’t make it interact fully with objects inside the cone. This gives the light a more When you create a volume visible light source. a preset Light-sensitive Volume Material is applied to the light source. and the objects within the cone are directly affected by the texture. but you can edit its properties in the Materials Lab. This light has volume and interacts with the objects inside it.. as this option extends the light’s range..and then a volume visible light. sources. It’s a good idea to choose to apply the Infinite Light option to both types of visible lights. Bryce5 283 . They can block it. the gel texture is wrapped around the light cone like a skin. On the other hand. The When you create a surface visible light source. reflect it. Making it semitransparent makes it look more real. color and transparency. emanating from the light source is visible in the scene. so in the case of a spotlight. In this example. the light would appear as a cone. This makes the light coming from the light source appear visible in the scene. Any textures applied to the light also have volume. Objects within the cone interact with the light. you. volume visible lights create a real illuminated volume.. . it appears as a light also interacts with the surrounding light semitransparent object in the scene. By editing the material you can change the light’s intensity. etc. The texture gel exists everywhere inside the cone. To create a surface visible light: 1 Create a light source. In Surface Visible lights. the light realistic look. The real difference between the two types of lights becomes apparent when you apply a gel to the light. the same objects were first illuminated by a The material applied to the object is pre-defined for surface visible light.. When you create a Volume Visible light source. The light also becomes volumetric and reacts to other lights around it.

Refer to “Working with Pictures” on page83 for more on the Picture dialog. creating a visible cone of light. For Surface Visible lights. enable specific kinds of shadows. you can 2 Select the light in the Working window. 4 In the Render options area. editing Volume materials. change the colors cast by the light. enable the Visible object and Surface options. The Lighting Lab Texture gel to a Radial Light.2 Select the light in the Working window. gel on any object it shines on. just like any other object’s material. you’ll be able to see the pattern of the 1 Create a light source. create a slide projector. or to cast If you want to extend the light’s range. or Surface material. enable the Use Gel option. the light’s material is a 3 Choose an image from the preset library. 284 Creating and Editing Lights . Although these materials This lighting effect was created using a gel. the texture’s you should keep in mind that when you’re editing a pattern is visible throughout the visible light. light’s material in the Materials Lab. if you apply an image to a Square Spotlight. creating a softer visible cone of light. For example. The Lighting Lab appears. you can use any image or procedural texture as a gel. 1 In the Lighting Lab. 4 In the Render options area. can be edited. The Picture dialog material will appear as gels. For a Volume Visible light the click the Load button and load an image. In Bryce. and “Volume Material Channels” on page142 for more on light’s bounding box. the Infinite option. enable the Visible object and Volume options. material is a Volume Material. Once you’ve assigned a gel to a To create a volume visible light: light source. Any texture components you apply to the light’s 2 Click the Image button. If you want to extend the light’s range. A number of Applying Gels preset Surface material properties are applied Gels are filters placed directly in front of lights to to the light. appears. you’re changing how the light source will appear in the To use an image as a gel: scene. A number of default Volume material settings are applied to the light source. Refer to “Surface Material Channels” on page133 3 Click the E button that appears next to the for more on editing Surface materials. When you apply a gel to a visible light. enable the Infinite option. appears. Editing Visible Light Materials The materials applied to a visible light control many of its properties. You can apply an unusual 3 Click the E button that appears next to the texture across your entire scene by assigning a light’s bounding box.

To switch between saved light settings: 2 Click the Procedural button. Active dots appear blue 3 The Preset Materials Library appears. or indirectly using the tools in the Edit palette. When you no longer need a configuration of light settings. The texture in the • Option/Alt-click a full dot. If you selected a color other than white in the Light. • Click the default memory dot. or have them track other dots. you must select a Positioning Lights preset that contains a texture. enable the Use Gel option. • Click an empty memory dot. In an animation. The dot turns gray. on page164 for more on the Preset Materials Library. material is applied as a gel. Linking and Tracking with Lights Saving Light Settings Since lights act just like other objects. • Click a full (blue) dot. light settings to default at any time. Empty dots appear grey. you Refer to “Animating” on page319 for more on can delete it. Bryce5 285 . To use a texture as a gel: 1 In the Lighting Lab. To delete saved light settings: 5 Click the check mark. animation controls. and “Tracking Objects” on page344 for Settings more on tracking. 4 Select a material from one of the categories To reset light settings to default: available. To use a texture as a Gel. This feature lets you experiment safely with objects in the scene.4 Click the check mark. gels. you can settings to compare them. Also. However. you can reset the animate a light’s edge softness and intensity. lights that track an object can create some very complex lighting effects. you can link You can save up to five light settings using Memory them to other objects. with a white dot in the middle. Default Refer to “Linking Objects” on page223 for more on Light linking. that color overrides colors from Texture more on positioning objects. The picture is applied as To save light settings to a memory dot: a gel. For example. either directly in the scene using its category) will have no effect. You can animate lights by using the animation You can switch between different saved light controls in the Lighting Lab. the luminance patterns are still used. various light attributes without losing your favorite light effects. Full dots appear blue. Preset materials that contain only color or optic information Light wireframes can be edited exactly like any (such as many found in the Simple & Fast other object. The default Refer to “Using the Materials Presets Library” memory dot stands apart from the rest. bounding box. Saved Light Animating Lights You can use Memory dots to save light settings. Refer to “Positioning Objects” on page214 for ing Lab.

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you get a different view of your world. .13 Using the Camera You can think of the view of your scene as a window to a whole new world. The view you see through this virtual window is determined by the orientation and position of a camera. As you move the camera.

camera. while still There are eight different views of your scene being able to manipulate the Camera as an object. menu. Right. changing the view of your scene in the animation. bottom. in the Working window and its motions recorded so you can’t move around them using the camera as an animation. There are eight views of your scene available in Bryce: the Camera View. Camera View is produced by the Camera in 3D space.The View of Your Scene The view of your scene refers to the portion of the scene visible in the Working window. which can be dragged These views are only flat projections of the scene. front and back. The Camera View and The Director’s View motions are not recorded as Director’s View let you see the scene from any part of an animation. This is what your scene looks like when you view it in Director’s Camera View View. including the repositioning the Camera in the scene. Left. • Click the triangle icon next to the View Control icon and choose a view from the Director’s View is the default view of thescene. While in this To choose a view: view. and the orthogonal views (Top. Bottom. Back and Front) which are perspective-free views of your scene. the wireframe is visible controls. which shows your scene from the perspective of a director sitting outside of the scene. you can select the Camera and reposition it anywhere in