Alias - Wavefront Rendering

Rendering.
book Page 1 Monday, January 17, 2000 3:55 PM
Rendering
StudioTools 9.5
Rendering.book Page 2 Monday, January 17, 2000 3:55 PM
Rendering in StudioTools 9.5.

© 2000 Alias|Wavefront.
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Karen Hoogsteen, Adam Kozyniak, Joanne MacPhail, Margot Meijer.
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StudioTools Manuals The following manuals are available both in print and online.
The online help includes a searchable index of all manuals.
● What’s New: new and improved features in this version.
● Installation: installing and licensing Studio.
● Studio Fundamentals: understanding Studio, setting it up,
starting and stopping it, learning your way around the
software, and customizing and using the Studio interface.
● Basic Tools
◆ Part 1 — Interface: getting online help, customizing
the interface, opening and saving files, and using the
window layouts to improve your workflow.
◆ Part 2 — General Tools: using the basic Studio tools to
create and manipulate models. Picking, deleting,
editing, and transforming objects; using cameras; and
doing standard system operations.
● Learning Studio: learning how to use the Studio design
and animation software through tutorials.
● Release Notes: detailed software notes about this release
of the Studio software. (The printed version is the more
recent.)
● Sketching: creating conceptual design sketches and
surface or cloud data annotations within Studio.
(Sketching tools are available only in Studio for Windows
NT.)
● NURBS Modeling: creating and modifying NURBS curves
and surfaces, as well as construction and evaluation tools.
● Polygonal Modeling: creating and modifying polygons
and polysets.
● Rendering: defining the look of your scene, creating
special effects, defining how the scene will render, and
creating final rendered images and animations.
● Animating: creating animations, building skeletons,
bringing creatures to life using inverse kinematics,
generating particles and special effects, and animating by
using time warps.
● Data Transfer for CAD and Solid Imaging: exchanging 3D
model data between Studio and CAD packages.
● EvalViewer: a stand-alone utility for industrial design. It

works as both a cloud data tool and a surface evaluation
tool. (EvalViewer is available only in Studio for UNIX.)
The following manuals are provided only online. You can

display them from Studio by selecting Help > Online docs. Parts
of these manuals appear when you use Help > Help on Function.
You can also open their PDF files from the Documentation CD
and print them.
● Alias File Formats: descriptions of native Alias file
formats.
● Stand-alone Utilities Guide: utilities that can be run
separately from Studio. Includes how to use the Alias File
Batch Translator utility.
● Scene Description Language: the Alias SDL, including
procedural effects that you can achieve in rendering.
● OpenAlias/OpenModel API: the Alias API, which
provides programmers with access to Studio’s internal
data: OpenModel to Alias wire files and OpenAlias to the
Studio application.
● Alias OpenRender: the program interface for Alias
OpenRender, how the renderer works and how to write
modules to add Alias OpenRender code.
Introduction 1
Rendering Workflow 2
Summary of the Rendering Interface 4
M u l t i - l ister Multi-lister 9
Multi-lister Overview 10
Opening the Multi-lister 16
Changing the Multi-lister Display 17
Selecting an Environment, Shader, Texture, or Light 18
Creating a Shader or Light 20
Editing an Environment,
Shader, Texture, or Light 21
Saving and Loading an Environment, Shader, Texture, or

Light 22
Multi-lister Menus 24
Control Window 35
Control Window Overview 36
Copying Parameter Settings 41
Animating Parameter Settings 43
Color Editor 45
Color Editor Overview 46
Opening the Color Editor 50
Selecting and Editing Colors 51
Customizing the Color Palettes 53

S e t t ing the E nviron- Environment 57

ment
Environment Overview 58
Creating a 3D Environment 59
Environment Parameters 60
S h a d ing Surfaces Shaders 77

Shader Overview 78
Assigning or Layering a Shader 79
Reflection Mapping a Shader 80
Shader Parameters 81
T e x tures Textures 101

Texture Overview 102
Texture Procedures Window 103
Texture Placement Objects 105
Mapping a Texture 109
Texture Parameters 110
Environment Textures 115

Environment Texture Overview 116
Environment Texture Parameters 117
Environment Texture Types 118
Ball Texture 119
Chrome Texture 125
Cube Texture 128
Sky Texture 130
Sphere Texture 137

Surface Textures 139

Surface Texture Overview 140
Using Surface Textures 141
Texture Placement Window 150
Surface Texture Parameters 160
Surface Texture Types 163
File Texture 165
Bulge Texture 169
Checker Texture 170
Cloth Texture 171
Fractal Texture 174
Grid Texture 176
Mountain Texture 178
Noise Texture 181
Ramp Texture 183
Stencil Texture 189
Water Texture 192
Solid Textures 199

Solid Texture Overview 200
Using Solid Textures 201
Solid Texture Parameters 203
Solid Texture Types 207
Projection Texture 209
Snow Texture 222
sCloud Texture 224
sFractal Texture 228

sMarble Texture 230
sRock Texture 233
Leather Texture 235
Granite Texture 238
sWood Texture 241
Volume Texture 245
L i g hts Lights 249

Light Overview 250
Creating a Light 251
Light Options 253
Displaying Light Icons 254
Linking a Light 255
Link Editor 259
Light Parameters 263

Light Parameters 264
Light Types 281

Light Types 282
Point Light 284
Spot Light 286
Directional Light 295
Ambient Light 297
Area Light 299
Volume Light 301
Linear Light 308

D y n a m ics Dynamics 313

Dynamics Overview 314
Particles 317
Particle Overview 318
Using Particles 319
Particle Parameters 323
Warps 345
Warps Overview 346
Creating a Warp 349
Displaying Warped Surfaces 351
Converting a Warped Surface into a Polygonal Surface 352
Warp Parameters 353
C a m e ras Cameras 357

Camera Overview 358
Using Cameras 362
Using Image Planes 365
Camera Editor 368
Camera Parameters 370
Image Plane Properties 381
R e n d e ring Preview Rendering 395

Preview Rendering Overview 396
Quick Render 397
Direct Render 407

Sketch Render 410
Modeler Wire 412
Rendering Parameters 415

Rendering Parameters Overview 416
Render Globals Window 417
Render Stats Window 441
Rendering 449
Render Overview 450
Using Render 452
Rendering Options 455
SDL Files 459
Command Line Rendering 462
Distributed Rendering 467

Distributed Render Overview 468
Using Distributed Render 470
Rendering Control Window 475
Rendering Control Parameters 476

Rendering Control Menus 487
F i l t e rs Filters 493
Filters Overview 494
Quantize Filter 495
OMFI Filter 501
Convert Filter 505

Gamma Filter 509
Resize Filter 512
4:2:2 Filter 515
O p t i m i z ation and Optimization 521

T ro u b l eshooting
Optimization Overview 522
Raycaster/Raytracer Optimization 523
General Optimization 524
Troubleshooting 531
Troubleshooting Overview 532
Common Rendering Problems 533
Common Image Problems 535
Common Interface Problems 552

Introduction
In This Section: Rendering Workflow 2

Summary of the Rendering Interface 4
1
Rendering Workflow
After you have modeled, and perhaps animated, a scene, you

will want to render it. Rendering is the process of generating a
two-dimensional image of a three-dimensional scene,
somewhat like taking a photograph with a camera, or filming
with a motion picture camera.
Rendering is an iterative and experimental process. The

following steps outline the overall rendering process. You will
invariably repeat some or all of these steps, both before and
after rendering, until you are happy with the results.
To render a scene:
See Environment on page 57, 1 Define the appearance of the surroundings for your scene
and Textures on page 101. using the environment and textures.
See Shaders on page 77, and Define the surface appearance of objects in your scene
Textures on page 101. using shaders and textures.
See Lights on page 249. Illuminate the objects in your scene using lights.
See Multi-lister on page 9, You should become familiar with the Multi-lister, the Control
Control Window on page 35, Window, and the Color Editor. These are the tools you use to
and Color Editor on page 45. create and edit the environment, shaders, textures, and
lights. You can also use these tools to help you:
See Dynamics on page 313. ◆ animate objects realistically, using dynamics, by

defining their physical properties and then creating
forces which act upon them
See Particles on page 317. ◆ create effects like smoke, fire, explosions, water, rain,
snow, sweat, grass, or hair using particles
See Warps on page 345. ◆ deform surfaces using warps
See Cameras on page 357. 2 Set up the camera to render a particular view of your scene.
See Preview Rendering on 3 Preview render your scene to help you visualize how it
page 395. will look in the final render.
2
Rendering Workflow
See Rendering Parameters on 4 Define how individual objects and the overall scene will
page 415. render using rendering parameters.
See Rendering on page 449. 5 Render your scene.
See Distributed Rendering on If you have a network of computers, you can render
page 467. different parts of an animation on several computers at the
same time using distributed rendering.
See Filters on page 493. 6 After you have rendered a scene, you may want to alter
the rendered image, or convert it to another format, using
filters.
See Optimization on Rendering can take a long time. There are, however, several
page 521. ways you can optimize your scene to minimize rendering
times. It is a good idea to read the Optimization section of this
book before you begin the rendering process, even before you
begin modeling your scene.
See Troubleshooting on You may also encounter problems during rendering. The
page 531. rendered image may contain flaws, or the scene may not
render at all. If you encounter problems, read the
Troubleshooting section of this book for solutions to common
problems.
3
Rendering Workflow
Summary of the Rendering Interface
Summary of the Render Most rendering options are available from the Render menu.
Menu Use the following table to access information on its choices.
Render > For more information...
Quick Render Quick Render on page 397

Render Using Render on page 452 and
Rendering Options on page 455
Globals Render Globals Window on page 417
Show render Using Render on page 452
Abort render Using Render on page 452
Direct render Direct Render on page 407
Sketch render Sketch Render on page 410
Distributed render Distributed Rendering on page 467
Modeler wire Modeler Wire on page 412
Polyset prelight Storing Polygon Color Information in
Polygonal Modeling
Filter Filters on page 493
Summary of Other
Rendering Controls For more
Control
information...
File > Export > SDL SDL Files on

File > Edit > SDL page 459
Objects palette > Lights Creating a Light on
page 251 and Light
Types on page 282
4
For more
Control
information...
Objects palette > Warp Warps Overview on

page 346
DisplayTgls > ObjectToggles > Lights Creating a Light on
page 251
DisplayTgls > Render Toggles > Particles Using Particles on
page 319
DisplayTgls > Render Toggles > Warps Displaying Warped
Surfaces on page 351
Windows > Multi-lister Multi-lister on page 9
Windows > Edit > Cameras Camera Editor on
page 368
Windows > Edit > Light links Linking a Light on
page 255
Windows > Information > Render stats Render Stats Window
on page 441
5
6
Mu lti-lister
Multi-lister
In This Section: Multi-lister Overview 10

Opening the Multi-lister 16
Changing the Multi-lister Display 17
Selecting an Environment, Shader, Texture, or Light 18
Creating a Shader or Light 20
Editing an Environment, Shader, Texture, or Light 21
Saving and Loading an Environment, Shader, Texture, or Light 22
Multi-lister Menus 24
9
Windows > Multi- Multi-lister Overview

lister
The Multi-lister is the primary interface you use to create, edit,

manage and display shaders, textures, lights, and the
environment. You also use the Multi-lister to access the Control
Window and the Color Editor.
The Multi-lister consists of a title bar, five menu buttons, and a

swatch display area. The swatches represent the environment,
shaders, textures, and lights contained in your scene. The title
bar contains tools to control the display of swatches in the
Multi-lister. The menu buttons contain tools to create, edit,
manage, and display shaders, textures, lights, and the
environment.
Title Bar
Swatch
Menu
Buttons
Title Bar The title bar indicates the type of swatches listed in the Multi-
lister. It also lets you control the display of swatches in the
Multi-lister (text, small swatches, large swatches), and lets you
close, track, and minimize/maximize the Multi-lister window.
10
Multi-lister Overview
Multi-lister swatches listed
text small swatches large swatches
Swatches
On the left side of the swatch There are four different types of swatches used in the Multi-
display area is a scroll bar, lister: environment, shader, texture, and light.
which you can use to scroll
through the list of swatches
if they cannot all be
displayed in the Multi-lister
at the same time.
These four types of swatches are used to represent:

● the environment (the scene’s surroundings)
● shaders (surface materials)
● textures (two-dimensional or three-dimensional patterns)
● lights (lights that emit light and illuminate surfaces)
● forces (lights that emit a force)
● glows (shaders that produce a glow, and lights that
produce a glow, halo, fog, or lens flare)
● warps (lights that warp a surface)
● particles (shaders and lights that emit particles).
Swatches are listed in the following order: the environment,

shaders, lights. Shaders and lights are listed alphabetically by
11
name. Textures are listed next to the environment, shader, or

light they are mapped to.
All swatches consist of an image, which represents the

appearance of the environment, shader, texture, or light, and a
frame, which contains the swatch name and any icons.
swatch image
swatch frame
The type of swatch image, and the way you use the swatch, is
different for different swatch types. All swatches, however,
share the following features.
click-drag triangle to change swatch resolution

click swatch to select it
Shift-click swatches to select multiple swatches
double-click swatch to open the Control Window
indicates that a parameter is texture-mapped
click to show/hide the texture swatch
double-click name to change swatch name
indicates that a parameter is animated
click-hold to play back the animation
You can select a swatch by clicking on it. You can select several
swatches by Shift-clicking on them. By double-clicking a
swatch, you open the Control Window. You can then edit any
parameter for that particular environment, shader, texture, or
light. See Control Window on page 35.
You can edit the swatch name by double-clicking on the name

and typing a new name. You can change the resolution of the
swatch’s image by click-dragging the white triangle on the
right side of the swatch either up (higher resolution) or down
(lower resolution).
If an environment, shader, texture, or light has a texture

mapped to one of its parameters, the swatch will have an
arrow in its bottom right corner. By clicking on this arrow, you
can toggle the display of the texture in the Multi-lister.
12
If you have animated a parameter of an environment, shader,

texture, or light, the swatch will have a diamond in its bottom
left corner. By click-holding on this diamond, you can play
back the animation of the swatch.
Shader Swatches
See Shaders on page 77. A shader swatch uses a sphere to represent the appearance of
a surface. By Alt-clicking on different parts of the sphere, you
can open the Color Editor and edit the shader’s Color, Specular,
or Incandescence settings. By click-dragging on the sphere’s
highlight, you can interactively edit the shader’s Shinyness or
Eccentricity value.
Alt-click to change Color

Alt-click to change Specular
click-drag to change Shinyness or Eccentricity
Alt-click to change Incandescence
Surface Texture Swatches
See Surface Textures on A surface texture swatch displays the two-dimensional

page 139. texture. By Alt-clicking on the top half of the swatch, you can
open the Color Editor and edit the texture’s Rgbmult setting. By
Alt-clicking on the bottom half of the swatch, you can open the
Color Editor and edit the texture’s Rgboffset setting. By click-
dragging anywhere in the swatch, you can interactively edit
the texture’s Urepeat and Vrepeat values.
See Positioning Surface A surface texture swatch has two texture mapping symbols in
Textures on page 145. its bottom right corner. By clicking on one of these symbols
you activate either 2D mapping or 3D mapping.
Alt-click top half of swatch to edit Rgbmult
click-drag swatch to edit Urepeat and Vrepeat
Alt-click bottom half of swatch to edit Rgboffset

click to use 3D mapping
click to use 2D mapping
13
The Stencil texture appears black in the Multi-lister until you

specify its Image.
The File texture appears black with a small question mark (?)
icon until you specify its Image. If the Multi-lister cannot find a
File texture’s image file, the File texture appears with both large
and small question mark icons.
Environment Texture and Solid Texture Swatches
See Environment Textures on An environment or solid texture swatch uses a two-

page 115 and Solid Textures dimensional pattern to represent the three-dimensional
on page 199. texture. By Alt-clicking on the top half of the swatch, you can
open the Color Editor and edit the texture’s Rgbmult setting. By
Alt-clicking on the bottom half of the swatch, you can open the
Color Editor and edit the texture’s Rgboffset setting.
See Texture Placement Objects An environment or solid texture has a texture placement
on page 105. symbol in its bottom right corner. By clicking on this symbol
you can display the texture’s Texture Placement Object in the
modeling windows.
Alt-click top half of swatch to edit Rgbmult
Alt-click bottom half of swatch to edit Rgboffset

click to display Texture Placement Object
The Ball, Cube, Sphere, Projection, and Volume textures appear

black in the Multi-lister until you specify an image file or series
of image files for them. The sCloud texture always appears
black in the Multi-lister; the shader it is mapped to displays the
actual texture.
14
Light Swatches
See Lights on page 249. A light swatch represents a light as viewed from 10 units away
with a 20 degree field of view. By Alt-clicking the swatch you
can open the Color Editor and edit the light’s Color parameter.
A light swatch has a light type symbol in its top left corner. If
the light has a force component, the light swatch will also have
a force type symbol. If the light is linked to a surface, the light
swatch will also have an L symbol. If a light’s link to a surface
is exclusive, the light swatch will also have an E symbol.
indicates the light type

Click to select the light in the modeling windows
indicates the force type (if any)
indicates that the light is linked to a surface

indicates that any link to a surface is exclusive
Alt-click swatch to change Color
Menus
See Multi-lister Menus on The Multi-lister menus contain tools to create, edit, manage, and
page 24. display shaders, textures, lights, and the environment. To
display a menu, click and hold the mouse on a menu button at
the bottom of the Multi-Lister window. The default active menu
item is displayed below each button.
menu
buttons
active
menu
button
15
Opening the Multi-lister
You must open the Multi-lister to create, edit, manage, and

display shaders, textures, lights, and the environment.
To open the Multi-lister:
● Select Windows > Multi-lister to display the Multi-lister menu.

The menu item you use to open the Multi-lister will
determine the type of swatches listed in the Multi-lister.
You can display:
◆ a specific type of swatch (select Shaders, Lights, Glows,
Forces, Particles, Warps)
◆ selected (picked) lights and/or shaders that are
assigned to active (picked) objects (select Picked)
◆ all swatches: the environment, and all shaders, lights,
and textures (select List all).
See Changing the Multi-lister After you open the Multi-lister, you can change the type of
Display on page 17. swatches listed.
If there are no shaders or lights in memory, the Multi-lister
lists two swatches: the environment and the default
shader.
You can position the Multi-lister window anywhere on the
screen, resize it or stow it, like any other StudioTools
window.
16
Opening the Multi-lister
Changing the Multi-lister Display
You can change the type, size, or style of swatches listed in the
Multi-lister. For example, if you have many shaders, texture, and
lights, you may want to only display lights, or to display small
swatches, or low resolution swatches, to speed up the Multi-
lister display.
To change the type of swatches listed in the Multi-lister:
See List Menu on page 29. ● From the List menu in the Multi-lister, select one of the
following: All, Shaders, Lights, Forces, Glows, Picked, Linked
Lights, Non-excl Lights, Warps, or Particles.
To change the size or style of swatches in the Multi-lister:
● Click one of the following icons in the Multi-lister title bar:
large swatches
small swatches
text
To change the resolution of a swatch in the Multi-lister:

1 Click the swatch to make it active.
2 Click-drag the white triangle on the right side of the

click-drag swatch (up to increase resolution, down to decrease
to change resolution)
swatch
resolution
17
Changing the Multi-lister Display
Selecting an Environment, Shader,

Texture, or Light
You must select an environment, shader, texture, or light in

order to use the Control Window to edit its parameters, or to use
many of the Multi-lister menu tools. You can select one or many
shaders, texture, lights, and/or the environment.
To select a shader, light, texture, or the environment:
● Click on the swatch in the Multi-lister. The selected swatch is

highlighted in white.
If the Control Window and/or Color Editor are open, their

displays update with the parameters for the selected
swatch in the Multi-lister.
If the selected environment, shader, light, or texture has a
texture mapped to one of its parameters, the
corresponding texture swatch in the Multi-lister is also
selected and partially highlighted in white.
18
Selecting an Environment, Shader, Texture, or Light
To select several shaders, lights, textures, and/or the

environment:
● Shift-click on the swatches in the Multi-lister. The first

selected swatch is highlighted in white, and all other
selected swatches are highlighted in grey.
19
Selecting an Environment, Shader, Texture, or Light
Creating a Shader or Light
When you start a new scene, there is only the environment

and one shader (the DefaultShader) defined (and assigned to all
objects). You can create a new shader (based on the
DefaultShader) or light, or copy a shader or light that you have
customized.
Shader#1 and Light#1 are By default, shaders and lights are named sequentially as you
not used explicitly as names; create them: DefaultShader, Shader, Shader#2, and so on, and
the first shader or light with Light, Light#2, and so on. To avoid confusion, however, you
a given name is implicitly
numbered 1. should name all your shaders and lights as you create them. If
you let the system assign default names and later combine two
or more files, all shaders and lights will be renumbered to
avoid duplicate names. It may then become difficult to
distinguish shaders and lights by name.
To create a new shader:
See New Shader on page 26. ● In the Multi-lister, select Edit > New Shader. A new shader
swatch appears in the Multi-lister. The new shader has the
same properties as the DefaultShader.
See Creating a Light on To create a new light using the Multi-lister:

page 251.
See New Light on page 26. ● In the Multi-lister, select Edit > New Light. A new point light
swatch appears in the Multi-lister and in the modeling
windows at 0,0,0.
To copy a shader or light:

1 In the Multi-lister, click on the swatch of the shader or light
you want to copy.
See Copy on page 26. 2 In the Multi-lister, select Edit > Copy. A new shader or light
swatch appears in the Multi-lister. The new shader/light has
the same properties as the original shader/light.
20
Creating a Shader or Light
Editing an Environment,
Shader, Texture, or Light
To edit a shader, texture, light, or the environment:
See Control Window on 1 Double-click the environment, shader, texture, or light

page 35. swatch in the Multi-lister to open the Control Window.
2 Edit the parameters to customize the environment, shader,

texture, or light.
To change the name of an environment, shader, texture, or

light:
1 Double-click the name of the environment, shader,
texture, or light in the swatch in the Multi-lister.
2 Type in the new name and press Enter.

You cannot give an environment, shader, texture, or light
the same name as any other shader, texture, or light, or
object in your scene. This is because the SDL file uses the
same naming convention for shaders, textures, lights, and
objects. If you attempt to enter a name that is already in
use, the system will display a warning that the shader,
texture, light, or environment will be renamed. The
system then assigns a number after the name to make it
unique.
If you want your shaders to have the same names as the
objects to which they are assigned, you can assign object
names with all lowercase letters and shader names with
mixed case letters. This creates enough of a difference that
each name is considered unique.
To delete a shader, texture, or light:

1 In the Multi-lister, click on the swatch of the shader, texture,
or light you want to delete.
See Active on page 31. 2 In the Multi-lister, select Delete > Active.
21
Editing an Environment, Shader, Texture, or Light
Saving and Loading an Environment,

Shader, Texture, or Light
You can save a shader, texture, light, or environment to a file

that is independent from your scene’s wire file to create a
library. You can then load a saved shader, texture, light, or
environment into any other scene.
To save an environment, shader, texture, or light:

1 Click on the swatch in the Multi-lister.
See Save as, Save on page 25. 2 From the File menu in the Multi-lister, select either Save or
Save as.
◆ If you select Save, the shader, texture, light, or
environment will be saved under its current name.
If you specify a different file ◆ If you select Save as, you can specify a different file
name, the environment/ name to save the shader, texture, light, or environment
shader/texture/light name will under.
still be saved within the file.
When you load the shader,
texture, light, or
environment back into Note You can create a new default shader by editing the
StudioTools, it will then have default shader and then saving it with the name
its original name (providing DefaultShader in the default shader directory. If you
the name is not already in edit the default shader, but don’t save it, the edited
use). shader will be used as the default shader for the
remainder of your session only.
22
Saving and Loading an Environment, Shader, Texture, or Light
To load an environment, shader, texture, or light:
See File Menu on page 24. 1 From the File menu in the Multi-lister, select either Shader
Browse, Texture Browse, Light Browse, or Environment Browse
to open the File Requestor.
The shader, texture, light, or 2 Use the File Requestor to select the shader, texture, light, or
environment will have its environment you want to load, and click either Load
original name (providing the Shader, Load Texture, Load Light, or Load Environment.
name is not already in use),
no matter what the file name
is.
Note There is always only one environment loaded in a
scene. If you load another environment, it will replace
the original environment.
23
Saving and Loading an Environment, Shader, Texture, or Light
Multi-lister Menus
The Multi-lister menus contain tools to create, edit, manage, and

display shaders, textures, lights, and the environment. To
display a menu, click and hold the mouse on a menu button at
the bottom of the Multi-Lister window. The default active menu
item is displayed below each button.
menu
buttons
active
menu
button
File Menu
The File menu contains tools to save and retrieve

environments, shaders, textures, and lights.
Shader Browse
Opens the File Requestor and lets you retrieve any shader
that was previously saved using File > Save in the Multi-
lister. The default directory is the directory that you last
used to save.
Texture Browse
Opens the File Requestor and lets you retrieve any texture
that was previously saved using File > Save in the Multi-
lister, into the active Multi-lister swatch (environment,
shader, texture, or light).
The retrieved texture is automatically assigned to the Color
parameter (if the active Multi-lister swatch is an
environment, shader, or light) or to the Rgbmult parameter
(if the active Multi-lister swatch is a texture). Only one Multi-
lister swatch can be active when using Texture Browse.
24
Multi-lister Menus
Light Browse
Opens the File Requestor and lets you retrieve any light
(including glows, forces, and warps) that was previously
saved using File > Save in the Multi-lister. The default
directory is the directory that you last used to save.
Environment Browse
Opens the File Requestor and lets you retrieve any
environment that was previously saved using File > Save
in the Multi-lister. If you retrieve an environment, it will
automatically replace your current environment. The
default directory is the directory that you last used to save.
Save as, Save

Saves the active environment, shader, texture or light in
the Multi-lister to a file that is independent from your
scene’s wire file. The file’s name can either be the current
environment/shader/texture/light name (Save) or a
name that you specify when saving (Save as). You can
retrieve files saved using Save as/Save into other wire files
using Shader Browse, Texture Browse, Light Browse, and
Environment Browse.
Note the following when using Save as or Save:
◆ Files are saved to the current project’s relevant
subdirectory, or to the last place an item of that type
was saved. Glows, forces and warps are saved in the
lights subdirectory.
◆ Save does not prompt for a name or path. If a file of
the same name exists, it will be overwritten without
confirmation.
◆ If you save a shader that has associated textures, the
shader and its textures are saved as a single file in the
current shader directory. If you save a texture, the
texture is saved as a single file in the current texture
directory. If you save a shader and a texture at the
same time (that is, both shader and texture are active
in the Multi-lister), the shader is saved in the current
shader directory, and the texture is saved in the
current texture directory.
◆ When you use Save, a small icon representing the
active object appears momentarily in the lower left
corner of the screen.
25
Multi-lister Menus
◆ By default, whenever you save a wire file, the

environment, and all shaders, textures, and lights are
automatically stored within the wire file. When you
later retrieve the wire file, the environment, and all
shaders, textures, and lights associated with the file
are also retrieved. For this reason, you do not have to
explicitly save environments, shaders, textures, and
lights from the Multi-lister (File > Save or File > Save as).
However, you cannot easily access this information
from other wire files.
Edit Menu
The Edit menu contains tools for creating and editing

environments, shaders, textures, and lights.
New Shader
Creates a new shader that is identical to the default
shader. To create a new shader based on a shader other
than the default shader, use Edit > Copy. To change the
default shader for all future sessions, save a shader in the
default shader directory with the name DefaultShader.
If you edit the default shader in the Multi-lister, but don’t
save it, the changes will only last for that session.
New Light
Creates a new point light (based on the last point light you
created) located at (0,0,0). To set options for the new light,
change the values in the Point Light Options box and save
them before selecting New Light. To create a new force or
warp, select Edit > New Light and edit the light’s parameters
accordingly. To create a new light based on an existing
light, use Edit > Copy.
Copy
Creates a copy of the currently active shader or light. Note
the following when using Copy:
◆ If a texture is active when you select Copy, the shader
or light that the texture is assigned to will be copied.
◆ You cannot copy the environment.
26
Multi-lister Menus
See Editing an Environment, ◆ When you copy a shader/light, a number suffix is

Shader, Texture, or Light on automatically added to the new shader/light name. (If
page 21. the original shader/light name has a number suffix,
the number is automatically incremented for the new
shader/light name.)
◆ When you copy a light (including glows, forces, and
warps), the new light appears in the scene in the same
location as the original light.
See Copying Parameter Copy Parameters

Settings on page 41. Copies selected parameter settings from one
environment/shader/texture/light to another. Note the
following when using Copy Parameters:
◆ You cannot copy Shading Model from one shader to
another. If you attempt to copy one or more
parameters that do not exist in the target shader (for
example, because the shaders have different Shading
Models), a warning message will appear, the operation
will stop, and no parameters will be copied.
◆ You can use Copy Parameters to copy textures and
texture parameters. This is particularly useful when
matching Texture Placement and Label Mapping
parameters.
◆ You can use Copy Parameters to copy parameters
between dissimilar Multi-lister items. For example, you
can copy a light’s color to a shader’s color.
Convert Solid Tex

Creates a new shader for selected surfaces, where all solid
textures are replaced by a file surface texture so that the
appearance of the objects does not change. These surface
textures recreate the shading qualities of the solid texture.
In effect, this freezes the solid texture onto the surface.
Note the following when using Convert Solid Tex:
◆ If you press Esc during the Convert Solid Tex operation,
the files created up to that point will be correct, but
will not necessarily be assigned. Also note that even if
you delete the shader created by Convert Solid Tex, the
image files will still exist in a directory with the same
name as the original shader in the current pix
directory. If you perform a second Convert Solid Tex
operation using the same shader and objects, the
previously created files will be silently overwritten.
27
Multi-lister Menus
◆ You can only use Convert Solid Tex for spline type
surfaces. You cannot use Convert Solid Tex for polysets
or faces.
◆ Any image files created are referenced on the Per
Object Images list of the new file texture. Each surface
gets its own image file for every solid texture
converted. The file textures created have no default
Image file, only per object files, therefore the shader
swatch does not display the file texture.
◆ To display the texture on the shader swatch, copy any
image file name from the Per Object Images list to the
default Image field (click in the Object list to highlight
the image file name, then click in the default Image
field with the middle mouse button to paste).
Use Convert Solid Tex in the following situations:
◆ You are animating several objects that all use the same
shader. Because solid shaders can have only one
texture node, the objects would appear to flow
through the solid material, changing appearance as
they move.
◆ You are using Blend Surfaces with a solid texture
assigned, and as the objects change shape, their
textures change as the surfaces move through the
solid.
◆ You have a digitized head with a cylindrical scan
image of the face. By converting a cylindrical
projection map you can animate the face and have the
skin texture behave properly.
◆ Generally, file textures are faster to render than solid
textures. Speed is gained, however, at the cost of
memory usage since file textures use more memory,
especially if they are large and numerous.
◆ You can use several solid textures, like 3D paint
brushes on a surface, by using the Overlay mapping
technique (in the Effects section of the shader’s Control
Window) and turning Uwrap and Vwrap OFF for the
textures (in the Label Mapping section of the shader’s
Control Window). When the desired effect is achieved,
you can use Convert Solid Tex to both bind the texture
to the surface and optimize render performance.
28
Multi-lister Menus
See Control Window on Edit

page 35. Opens the Control Window for the active environment,
shader, texture, or light. You can also open the Control
Window by double-clicking the environment/shader/
texture/light swatch in the Multi-lister.
See Color Editor on page 45. Color

Opens the Color Editor for the Color parameter of the active
environment, shader, or light, or for the Rgbmult parameter
of the active texture. You can also open the Color Editor by
clicking the color field of a parameter in the Control
Window.
See Texture Procedures Texture Map

Window on page 103. Opens the Texture Procedures window for the Color
parameter of the active environment, shader, or light, or
for the Rgbmult parameter of the active texture. You can
also open the Texture Procedures window by clicking the
Map button beside a texturable parameter in the Control
Window.
Undo
Cancels all changes made to the active environment,
shader, texture, or light since the environment/shader/
texture/light became active. This includes all changes
made to any textures assigned to the active environment/
shader/texture/light.
List Menu
The menu item you use to open the Multi-lister determines the
type of swatches initially displayed in the Multi-lister (see
Opening the Multi-lister on page 16). The List menu lets you
change the type of swatches that are displayed in the Multi-
lister. The Multi-lister title bar indicates the type of swatches
currently displayed in the Multi-lister.
All
Displays the environment and all shaders, textures, lights,
forces, and glows currently in memory.
29
Multi-lister Menus
Shaders
Displays the environment and all shaders currently in
memory, including textures that are assigned to the
environment or to any shader.
See Light on page 264. Lights

Displays all lights in your scene that have a Light
component, including textures that are assigned to any of
these lights.
See Force on page 265. Forces

Displays all lights in your scene that have a Force
these lights.
See Active Effects on page 264 Glows

and Glow Intens (Glow Displays all lights in your scene that have a Glow, Halo, Fog,
Intensity) on page 89.
or Lens Flare component, and all shaders currently in
memory that have a Glow component, including textures
that are assigned to any of these lights or shaders.
Picked
Displays all lights in your scene that are picked (active),
and all shaders currently in memory that are assigned to
active objects, including textures that are assigned to any
of these lights or shaders. Selecting List > Picked displays
lights with or without a Light component.
See Linking a Light on Linked Lights

page 255. Displays all lights in your scene that are linked to surfaces,
including textures that are assigned to any of these lights.
Selecting List > Linked Lights displays lights with or without
a Light component.
See Exclusive Link on Non-excl Lights

page 270. Displays all lights in your scene that have a Light
component and are not exclusively linked to surfaces,
including textures that are assigned to any of these lights.
See Warps on page 345. Warps

Displays all lights in your scene that have a Warp
these lights.
30
Multi-lister Menus
See Emit Particles on page 89 Particles

and page 269. Displays all lights in your scene and all shaders currently
in memory that emit particles, including textures that are
assigned to any of these lights or shaders. Selecting
List > Particles displays lights with or without a Light
component.
Delete Menu
The Delete menu contains tools to delete shaders, textures, and

lights from the Multi-lister. You cannot delete the environment
or the default shader. If you try to delete either of them, they
will reset to their default parameters.
Active
Deletes all selected shaders, textures, and lights, including
textures that are assigned to them. To select multiple
shaders, textures, and lights, click one shader/texture/
light, then hold the Shift key and click on any other
shaders/textures/lights.
All
Deletes all shaders, textures, and lights.
Lights
Deletes all lights, including textures that are assigned to
lights. Selecting Delete > Lights deletes lights with or
without a Light component.
Shaders
Deletes all shaders, including textures that are assigned to
shaders.
Unused Shaders
Deletes all shaders not currently assigned to objects in
your scene, including textures that are assigned to any of
these shaders.
31
Multi-lister Menus
Shading Menu
The Shading menu contains tools to assign and layer shaders to

objects, link and unlink lights, quick render surfaces, and pick
and list objects.
Assign Shader
Assigns the active shader to all active objects (surfaces or
polygons) in your scene.
If a shader is already assigned to an active object when
you select Assign Shader, the active shader replaces it. If
you assign a shader to the wrong object, or overwrite an
existing shader assignment, you must re-assign the
original shader to the object.
You can assign shaders to individual polygons in a
polyset, up to a maximum of 64 different shaders on a
single polyset.
Layer Shaders
Layers the active shader onto all active objects in your
scene, on top of any shaders previously assigned or
layered. The Transparency setting of a shader layered on
top of another shader determines the visibility of shaders
beneath it.
Note the following when using Layer Shaders:
◆ You can achieve an effect similar to layered shaders by
mapping a Stencil texture to a shader parameter (for
example, Color). See Stencil Texture on page 189. The
main advantage of using layered shaders is that each
shader can have a different Shading Model and
different Shading Parameters. For example, you can use
layered shaders to simulate rust or dirt (low
reflectivity) on metal (high reflectivity).
◆ Typically, the first shader you assign to an object
represents its material properties. You can then layer
additional shaders on top of it to create various effects.
For example, you could layer a shader having a fractal
color map, bump map, and transparency map onto a
smooth, shiny shader to simulate rust or dirt on metal.
Similarly, you could layer a shader having a fractal
incandescence map, bump map, and transparency
32
Multi-lister Menus
map onto a granite shader to simulate phosphorescent

fungus on stone. You can also use layered shaders to
create labels.
◆ Shaders layered on top of other shaders must have
some level of transparency, or have a transparency
map, otherwise, you will not see the shader beneath it.
◆ Because transparent surfaces cannot be Quick rendered
or Quick shaded, layered shaders will not display
correctly in Quick render or in Toggle Shade view.
◆ You cannot layer shaders on individual polygons in a
polyset, although you can layer shaders on an entire
polyset.
See Quick Render on Quick Render

page 397. Quick renders surfaces in the active window that use the
active shader (according to the Global Quick Rendering
Parameters). Selecting Shading > Quick Render (in the Multi-
lister) is a convenient way of previewing shader changes
that is identical to Render > Quick render (in the main
window).
List Objects
Displays a window that lists all objects to which the active
shader is assigned, or all objects to which the active light is
linked.
The Objects window lists lights with or without a Light
component. If you select a different shader or light while
the Objects window is still open, the window updates
automatically. Active objects appear highlighted in the
Objects window. Polysets that contain lighting information
in their vertices appear with a c (colored) next to their
name. Polysets that do not contain lighting information
appear with an nc (not colored). See Storing Polygon Color
Information on page 101 of the Polygonal Modeling book.
Pick Objects
Automatically selects all objects to which the active shader
is assigned, or all objects to which the active light is linked
(including the light itself).
Although you can select Shading > Pick Objects with
multiple shaders or lights selected, only the first shader or
light that you select is used to pick objects.
33
Multi-lister Menus
When multiple shaders are assigned to a single polyset,

selecting any of these shaders and then selecting
Shading > Pick Objects will automatically select the entire
polyset. To determine which polygons in a polyset use
which shaders, select Render > Quick render or
DisplayTgls > Shade to preview the polyset.
Link Lights
Links active surfaces to the active light. See Linking a Light
on page 255. Selecting Shading > Link Lights links lights
with or without a Light component.
Unlink Lights
Removes the link between the active light and the active
surfaces. Selecting Shading > Unlink Lights unlinks lights
with or without a Light component.
Tgl Shader Clred (Toggle Shader Colored)

Determines whether all polysets that use the active shader
use or ignore any lighting information contained in their
vertices (see Storing Polygon Color Information in the
Polygonal Modeling book).
34
Multi-lister Menus
Control Window
In This Section: Control Window Overview 36

Copying Parameter Settings 41
Animating Parameter Settings 43
35
Control Window Overview
The Control Window is The Control Window is the interface you use to edit shaders,
sometimes referred to as the textures, lights, and the environment. You can also use the
Environment Editor, Shader Control Window to access the Color Editor.
Editor, Texture Editor, or
Light Editor.
The Control Window contains a list of parameters for the
selected swatch in the Multi-lister, and allows you to edit these
parameter values or settings interactively. There are four
different types of Control Window: environment, shader, texture,
and light.
36
For more information on each type of Control Window see:

● Environment Parameters on page 60.
● Shader Parameters on page 81.
● Texture Parameters on page 110.
● Light Parameters on page 263.
To open the Control Window for a shader, texture, light, or

for the environment, do one of the following:
● Double-click the environment, shader, texture, or light

swatch in the Multi-lister, or
● Click on the environment, shader, texture, or light swatch
in the Multi-lister, and select Edit > Edit in the Multi-lister.
Title Bar The title bar indicates the name of the active environment,
shader, texture, or light in the Multi-lister. It also contains
37
buttons or icons that let you set a keyframe for a parameter, or

scroll through the Multi-lister swatches.
scroll through
Multi-lister swatches
keyframe button
environment, shader,
texture, or light name
Parameters Parameters control the appearance of shaders, textures, lights,

and the environment. Each parameter has a name, which
describes the parameter, and a field, which specifies (and
allows you to change) the parameter’s setting or value. The
Control Window contains several different types of fields: name
fields, file name fields, toggle fields, menu fields, numeric
fields, and color fields.
Name Fields
Name fields let you change a shader or texture name by

clicking in the field and typing a new name. Textures also have
an arrow button on the left side of the name field, and ON and
OFF buttons on the right side of the name field. The arrow
button lets you select the texture’s parent swatch in the Multi-
lister (that is, the environment, shader, texture, or light that the
texture is mapped to). The ON and OFF buttons let you turn
the effect of the texture on or off.
Click to turn
on/off the effect
of the texture
Click the field to
enter a new name
Click to select the texture’s parent
environment, shader, texture, or light
File Name Fields and Browse Buttons
File name fields let you specify a path and file name by
clicking in the field and typing a file name. File name fields
38
also have a Browse button on the right side of the field. You can
click the Browse button to select a file using the File Requestor.
Click the Browse button

to select a file using
the File Requestor
Click the field to
enter a file name
Toggle Fields
Toggle fields let you set a parameter ON or OFF.
Menu Fields
Menu fields let you select from a list of menu options by

clicking the mouse on a menu button, and then releasing the
mouse on the desired option.
Click the button to

display the menu
Numeric Fields
Numeric fields let you enter a number using either the

keyboard or a slider beside the field. Each numeric field has a
valid range (the range of values you can enter by typing in the
field) and a slider range (the range of values you can enter
using the slider). The slider range represents the
recommended range of values for that parameter. The valid
range is -∞ (negative infinity) to ∞ (positive infinity) for all
numeric fields unless otherwise stated.
39
Click-drag the slider to

adjust the numeric value
within the recommended range
Click the numeric field
to enter a value directly
Alt-click-drag in the numeric
field to finely adjust the value
Some numeric fields also have a Map button (for example,

Reflectivity).
Color Fields and Map Buttons
Color fields let you specify the color value by using the slider,
specify the color by clicking the color field and opening the
Color Editor, or map a texture to the parameter by clicking the
Map button. If you map a texture to a color field, a red arrow
button will appear to the right of the Map button. By clicking
this red arrow you can open the Control Window for that texture.
Click the red arrow to open

the mapped texture in the
Control Window
Click the Map button
to map a texture to
the parameter
Click-drag the slider to
adjust the color Value
Click the color field to
open the Color Editor
Parameter Groups Parameters are organized in groups in the Control Window. You
can display or hide a parameter group by clicking on the
group name.
Click to hide
parameter
group
Click to
display
parameter
group
40
Copying Parameter Settings
You can copy parameter settings from one environment,

shader, texture, or light to another.
To copy parameter settings from one environment,

shader, texture, or light to another:
1 Open the Control Window for the shader you want to copy
parameter settings from (for example, Shader).
2 Hold the Shift key and click the shader swatch for the
shader you want to copy parameter settings to (for
example, Shader#2).
3 In the Control Window, hold the Shift key and click on the
names of the parameters you want to copy (for example,
Color and Transparency). The parameter names become
highlighted.
See Copy Parameters on 4 Select Edit > Copy Parameters in the Multi-lister. The
page 27. parameter settings are copied (from Shader to Shader#2).
41
5 Shift-click the parameter names again to deselect them.
42
Animating Parameter Settings
You can animate an environment, shader, texture, or light

parameter by creating key frames for the parameter.
To create a keyframe for a parameter:

1 Hold the Shift key and click the name of the parameter you
want to animate (for example, Color). The parameter name
becomes highlighted.
2 Go to the frame of your animation that you want to create

a parameter keyframe for.
3 Adjust the parameter setting or value for that frame.
4 Click the Key button in the title bar of the Control Window. A
white diamond (animation icon) appears in the Control
Window beside the parameter name, and in the Multi-lister
swatch. These icons indicate that a parameter is animated.
animation icons
5 Shift-click the parameter name again to deselect it.
To play back an animated environment, shader, texture, or

light in the Multi-lister:
● Click-hold the animation icon in the lower left corner of

the environment, shader, texture, or light swatch in the
Multi-lister.
43
animation icon
44
Color Editor
In This Section: Color Editor Overview 46

Opening the Color Editor 50
Selecting and Editing Colors 51
Customizing the Color Palettes 53
45
Color Editor Overview
The Color Editor is the interface you use to edit environment,

shader, texture, and light parameters that have a color field in
the Control Window.
The Color Editor lets you edit or select a color using several
methods: RGB and HSV range fields, color palette, color
blending palette, or by grabbing a color from the screen.
Title bar
Range Fields
Undo/Grab buttons
Color Palette
Current Color Palette

Color Blending Palette
Title Bar The title bar indicates the active environment, shader, texture,
or light name, and the name of the parameter that you are
editing.
parameter name
environment, shader, texture, or light name
46
Range Fields The range fields let you edit the current color by entering RGB
or HSV values, using either sliders or numeric fields.
Range button
Numeric fields
Sliders
RGB Range Fields
The RGB (Red, Green, Blue) range fields use the standard
additive color specification of electronic media. By default,
each field has a range of 0 to 255. You can change the range to
0 to 1 (or back to 0 to 255) by clicking the Range button. If all
fields are set to 0, the color will be black.
If all fields are set to the maximum (255 or 1), the color will be
white. You can enter values greater than the range maximum
(255 or 1) in the numeric field (for example, to create special
effects).
Click the Range button to

toggle between 0->255 and 0->1
HSV Range Fields
The HSV (Hue, Saturation, Value) range fields use the more
intuitive tint (Hue), shade (Saturation), and tone (Value or
grey scale) color specification. The Hue field has a range from
0 to 359. The Saturation and Value fields have a range from 0
to 1. You can enter values greater than the range maximums in
the numeric field.
47
Color Blending Palette The color blending palette represents a blend of four colors
(the colors in the four corner squares of the palette). You can
use the color blending palette to select a color by clicking
anywhere within the palette. If you click-drag within the
palette, the current color will update interactively.
You can change the corner colors of the palette by setting the
current color (for example, using the range fields), and then
clicking a corner square of the color blending palette.
Click to set the corner color to the current color

Click to select a color
Current Color Palette The current color palette displays the current color. If you edit
the color (for example, using the range fields), the current
color palette updates interactively.
Displays the current color
Undo
Returns the active parameter (in the Control Window) to the
color it had when you first opened the Color Editor (or if the
Color Editor was already open, when you first selected the
environment, shader, texture, or light, or first selected the
parameter).
Grab
Lets you grab any color from the screen and use it to
customize the color palette. This is particularly useful if
you are trying to match a color from an image file. The
Grab button is designed to work with any RGB window.
Other display types may not return the correct color.
Color Palette The color palette lets you select a color from a customizable
collection of colors. The Drop and Pick buttons toggle between
the two modes: adding a color to the color palette (Drop), and
selecting a color from the color palette (Pick). The default mode
is Pick.
48
Drop
Lets you add the current color to the color palette. Click
Drop (unless it is already selected), set the current color
(for example, using the range fields), then click in any
square of the color palette to place the color in it. Changes
you make to the color palette are only maintained during
the current working session.
Pick
Lets you select a color from the color palette. Click Pick
(unless it is already selected), then click on a square in the
color palette to select that color.
49
Opening the Color Editor
You can open the Color Editor either from the Control Window, or
from the Multi-lister.
To open the Color Editor from the Control Window:
● Click the color field of the parameter you want to edit.

The Color Editor opens. Notice that the parameter’s color
field in the Control Window is highlighted with a white
border, and the Color Editor’s title bar contains the shader
name and parameter name.
Once the Color Editor is open, you can select any swatch in the
Multi-lister and/or any parameter’s color field in the Control
Window, and the Color Editor will automatically update.
To open the Color Editor from the Multi-lister:
● Select Edit > Color.
50
Opening the Color Editor
Selecting and Editing Colors
You can set the current color by selecting a color from the color
palettes, editing the current color using the range fields, or by
grabbing a color from anywhere on the screen.
To edit a color using RGB values:
● Adjust the RGB sliders, or enter the RGB values in the

RGB numeric fields.
To edit a color using HSV values:
● Adjust the HSV sliders, or enter the HSV values in the

HSV numeric fields.
To select a color using the color palette:

1 Click the Pick button (unless it is already selected).
2 Click on a square in the color palette to select that color.
To select a color using the color blending palette:
● Click in the color blending palette to select that color. If

you click-drag within the palette, the current color will
update interactively.
To grab a color from the screen:

1 Click the Grab button. The mouse pointer becomes a
medicine dropper.
2 Move the medicine dropper over the part of the screen

you want to grab a color from, and click the mouse button.
The grabbed color becomes the current color.
You cannot use this method to grab a color from a Show Pix or
wrl image (that is, a pix file that you are viewing using either
File > Show > Pix or the UNIX command wrl) because the
51
image’s window will close when you click on it. Use the
following method, instead.
To grab a color from a Show Pix or wrl image:

1 Click the Grab button. The mouse pointer becomes a
medicine dropper.
2 Move the medicine dropper somewhere outside of the

Show Pix/wrl image window, and click-hold the mouse
button.
3 Move the medicine dropper over the part of the Show Pix/
wrl image you want to grab a color from, and release the
mouse button.
The grabbed color becomes the current color.
To undo a change you have made:
● Click the Undo button.

The active parameter’s color is reset to the setting the
parameter had when you first opened the Color Editor (or if
the Color Editor was already open, when you first selected
the environment, shader, texture, or light, or first selected
the parameter).
52
Customizing the Color Palettes
You can customize the color palette and the color blending
palette to make it easy to select certain colors.
To add a color to the color palette:

1 Click Drop (unless it is already selected).
2 Set the current color (for example, using the range fields).
3 Click in any square of the color palette to place the current

color in it.
To add a color to the color blending palette:

1 Set the current color (for example, using the range fields).
2 Click a corner square of the color blending palette.
53
54
S e tti ng th e E n v iro n men t

Environment
In This Section: Environment Overview 58

Creating a 3D Environment 59
Environment Parameters 60
57
Environment Overview
The environment defines the appearance of your scene’s

surroundings. It can be a simple colored background or a
complex three-dimensional texture. The environment also
defines global lighting, shader glow, and dynamic properties
(for example, gravity and turbulence) for your scene.
All scenes must have an environment. By default, the

environment is black (giving the appearance of no
environment). You can edit the default environment, save the
environment for use in other scenes, or you can load an
environment that you have previously saved.
58
Environment Overview
Creating a 3D Environment
You can use an environment texture to create a three-

dimensional background for your scene. If you are raytracing
your scene, any reflective surfaces will accurately reflect the
environment.
To create a 3D environment:
1 Double-click the environment swatch in the Multi-lister to
open the Control Window.
See Control Window on 2 In the Control Window, click the Map button (to the right of
page 35. the Color parameter) to open the Texture Procedures
window.
See Texture Procedures 3 In the Texture Procedures window, click Environments to

Window on page 103. open the environment texture section.
See Environment Textures on 4 Click the button of the environment texture you want to
page 115. use.
An environment texture swatch appears in the Multi-lister,
the environment texture is displayed on the environment
swatch, and the Control Window updates to display the
environment texture parameters.
5 Customize the environment texture by editing the

parameters in the Control Window.
59
Creating a 3D Environment
Environment Parameters
The environment parameters define the appearance and

properties of the environment.
Background
The Background parameters control the appearance of the

background.
Color
The color of the background. The default setting is black.
Pix File Backdrop
The Pix File Backdrop parameters let you specify an image file,
or a series of image files, to use as a background.
Backdrop
The name of the image file to be used as a 2D backdrop.
Sequence
Appends the frame number to the backdrop file name. Set
Sequence ON if you want to use a series of pix files (that is,
an animation) as a 2D backdrop.
60
Fog
The Fog parameters control whether the environment contains

fog, and let you specify fog properties. Use environmental fog
to simulate fog, mist, dust, haze, smog, disbursed smoke, or to
simulate great distances.
Fog Type
The type of fog present in the environment.
OFF no environmental fog

CONSTANT constant density fog
LAYERED fog density varies with altitude (see Layered
Fog Parameters on page 62)
MAX_MIN constant density fog between the Min and
Max Distance from the camera (see Max/
Min Fog Parameters on page 63)
Fog Color
The color of the environmental fog. Change Fog Color to
simulate smog (brown fog), or to create the illusion of
great distance (blue fog). The default setting is white.
Fog Depth
Determines the distance you can see through
environmental fog. (The color Value controls fog density
in the direction of the camera’s view.) Fog Depth is the
distance away that a surface must be before it has half of
its light scattered by the fog. Fog density also depends on
the scale of your scene. Small scenes require a higher Fog
Depth value than large scenes to have the same effect.
The slider range is 0 (nothing visible) to 1 (most objects
visible). The default color Value is 0.039.
61
Amult
A scaling factor applied to the Fog Depth value when Fog
Type is LAYERED. The slider range is 0 to 1. The default
value is 1.
Aoffset
An offset factor applied to the Fog Depth value when Fog
Type is LAYERED. The slider range is 0 to 1. The default
value is 0.
Layered Fog Parameters
The Layered Fog Parameters control the appearance of layered

environmental fog. They are only available if Fog Type is
LAYERED.
AltitudeMin
The lower boundary for environmental fog. The slider
range is -10 to 10. The default value is 0.
AltitudeMax
The upper boundary for environmental fog. The slider
range is -10 to 10. The default value is 1.
Column
The column in a Density Map file used to calculate the
vertical density of the fog. The valid/slider range is 0 (left
side of the Density Map file) to 1 (right side of the Density
Map file). The default value is 0.5.
Tip Animate the Column value between 0 and 1 to vary the

layers of fog during an animation. Use an image file or ramp
texture with some horizontal variations as a Density Map.
62
Density Map
The image file or texture that determines the vertical
density of the fog. The Column value determines which
column of the Density Map file is used to calculate the
vertical density of the fog. The default Density Map is a
smooth ramp.
Tip Use a vertical or diagonal ramp texture. If you use a

horizontal ramp texture, the fog will have a constant vertical
density.
Max/Min Fog Parameters
The Max/Min Fog Parameters control the appearance of

MAX_MIN environmental fog. They are only available if Fog
Type is MAX_MIN.
Min Distance, Max Distance

The minimum and maximum distance from the camera
within which a constant density fog exists. The slider
range is -10 to 10. The default value is 0 for Min Distance
and 10 for Max Distance.
ShaderGlow
The ShaderGlow parameters determine the type of effect

produced when a shader’s Glow Intens value is non-zero.
See Glow Intens (Glow Intensity) on page 89.
Glow Type
The type of glow a shader produces when its Glow Intensity
value is non-zero. The default setting is LINEAR.
63
OFF No glow
LINEAR Glow slowly diminishes from the
surface
SPECTRAL Lower wavelengths (red) refract (or
spread) more than the higher
frequencies (blue)
RIM_HALO Forms a circular ring with a soft central
glow. The size of the ring is determined
by the halo Spread value.
Halo Type
The type of halo a shader produces when its Glow Intensity
value is non-zero. The default setting is LINEAR.
OFF No halo
LiNEAR Halo slowly diminishes from the
surface
frequencies (blue)
RIM HALO Forms a circular ring with a soft central
by the halo Spread.
Auto Exposure
Evaluates glows in the rendered scene, and based on the
maximum intensity found, automatically adjusts the
intensity of shader glows. The default setting is ON.
Although Auto Exposure is very useful, you should not use
it during an animation. This is because each frame could
have a very different intensity adjustment, resulting in
glow flicker between frames. See Glows on page 544 for
information on eliminating glow flicker.
Quality
Controls the resolution of the glow. The slider range is 0 to
5. The default value is 0.5.
64
Tip Increase the Quality value to prevent very small glow

sources from vanishing when rendered.
Threshold
The minimum brightness at which surfaces will glow. For
example, if the Threshold value is 0.5, only surface regions
with a rendered intensity over 127 (255*0.5) will glow. The
slider range is 0 to 1. The default value is 0.
Glow
The Glow parameters control the appearance of shader glow

effects. These parameters are similar to the light Glow
parameters (see Glow on page 272).
Glow Color
The color of shader glows. The default color Value is 0.392.
Intensity
The brightness of shader glows. The Intensity value acts as
a scaling factor applied to Glow Color. As value increases,
so does the apparent size of the shader glow effect. A
negative value subtracts from other glows. The slider
range is 0 to 10. The default value is 1.
Spread
Controls the size of the shader glow effect. Negative
values can have odd but useful effects. For example, a
Spread of -6 and a 2D Noise of 1 produces an image of a
fiery bubble. The slider range is 0 to 1. The default value is
0.05.
65
Eccentricity
Determines how focused the glow effect is. The slider
range is 0 (concentrated glow, fast decay) to 1 (ball-like
glow). The default value is 0.1.
The degree to which a glow effect can be focused is
limited. For very low values of Eccentricity (0.01), increase
the Quality value. Generally, it is better to use a glow with a
low Spread value and a halo with a high Spread value.
Radial Noise
Randomizes the spread of shader glows to simulate
starburst effects and eyelashes refracting light. The slider
Negative values of Radial Noise will create a thicker noise.
Use the Noise Freq. parameter (under Radial Effects) to
adjust the smoothness of this effect.
Star Level
Simulates camera star filter effects. The slider range is 0 to
4. The default value is 0.
The Star Level parameter is often effective when combined
with a high value of Radial Noise. Use the Star Points
parameter to set the number of points on the star. Use the
Rotation parameter to rotate the star.
Opacity
Allows a shader glow to obscure objects. (Opacity can be
thought of as the opposite of transparency.) The slider
Halo
66
The Halo parameters control the appearance of shader halo

effects. These parameters are similar to the light Halo
parameters (see Halo on page 274).
Halo Color
The color of shader halos. The default color value is 0.392.
Intensity
The brightness of shader halos. The Intensity value acts as a
scaling factor applied to Halo Color. The slider range is 0 to
Spread
Controls the size of the shader halo effect. The Spread
value also controls the size of the glow if Glow Type is
RIM_HALO. Halo size is generally larger than glow size
when the halo Spread and glow Spread values are the
same. The slider range is 0 to 1. The default value is 0.3.
Eccentricity, Radial Noise, Star Level

Control the appearance of shader halo effects. These
parameters operate the same way as the Glow parameters
Eccentricity, Radial Noise, and Star Level (see Glow on
page 65).
Lens Flare
Simulates a bright light source illuminating the surfaces of
several camera lenses. The intensity of the flare is
determined by the halo Intensity value. The size of the
circles created is relative to the field of view of the camera.
The slider range is 0 to 1. The default value is 0.
Radial Effects
The Radial Effects parameters control the appearance of shader

glow and halo radial effects (Radial Noise and Star Level).
67
Rotation
Rotates glow and halo noise and star effects about the
location of the surface. The slider range is 0 to 180
(degrees). The default value is 0.
The Rotation value affects the following ShaderGlow Glow
and Halo parameters: Star Level and Radial Noise.
Noise Freq. (Noise Frequency)

Controls the smoothness of shader glow and halo radial
noise (see Radial Noise on page 66). The slider range is 0 to
Star Points
The number of points on glow and halo star filter effects.
A Star Points value of 1 produces a comet-like effect. The
Non-integer values could produce a seam or hard line at
the top of a star effect when rendered.
Photo Effects
The Photo Effects parameters control the overall appearance of

the rendered image.
Film Grain
The level of graininess of the rendered image to simulate
the appearance of film stock. The slider range is 0 (no
grain) to 1. The default value is 0.
Filter
The color or texture applied to the rendered image to
simulate a camera lens filter. The default setting is white
(no filter).
Master Lighting Control
68
The Master Lighting Control parameters act as scaling factors that

are applied to all lights in the scene.
Intensity
A scaling factor applied to the Intensity value of all lights in
the scene. For example, a value of 2 will double the
brightness of all lights in the scene. The slider range is 0 to
Light Color
A scaling factor applied to the Color of all lights in the
scene. The default setting is white.
Dynamics Globals
See Dynamics on page 313. The Dynamics Globals parameters define environmental
properties which affect dynamic simulations. Typically a
simulation takes place on the surface of a planet, in some kind
of atmosphere, and possibly inside a building or room.
Gravity
The force of gravity on the surface of the planet (relative to
the force of gravity on earth) where a dynamic simulation
takes place. For example, on the earth’s surface, the Gravity
value is 1. On the moon’s surface, the Gravity value is 0.18.
The Gravity value affects the rate at which objects and
particles fall. The slider range is 0 to 10. The default value
is 1.
Air Density
The density of the atmosphere of the planet (relative to the
density of water) where a dynamic simulation takes place.
For example, under water, the Air Density value is 1. In
earth’s atmosphere, the Air Density value is 0.001 to 0.05.
The Air Density value affects the buoyancy and air drag of
objects and particles. The slider range is 0 to 1. The default
value is 0.05.
69
Collision Walls
See Dynamics on page 313. The Collision Walls parameters define the properties of an
enclosed space (for example, a room) in which a dynamic
simulation takes place. The Floor, Left, Front, Ceiling, Right and
Back values define the boundaries of an enclosed space. Each
parameter has a toggle and a numeric field. If the parameter is
toggled off, the numeric field has no effect.
Floor,Ceiling
The point on the up-down axis (the Z axis for Z-up scenes,
or the Y axis for Y-up scenes) where the floor and ceiling
are located. The default for Floor is ON and 0. The default
for Ceiling is OFF and 20.
Left,Right
The point on the left-right axis (the X axis for Z-up or Y-up
scenes) where the left and right walls are located. The
default for Left is OFF and -10. The default for Right is OFF
and 10.
Front,Back
The point on the front-back axis (the Y axis for Z-up
scenes, or the X axis for Y-up scenes) where the front and
back walls are located. The default for Front is OFF and -10.
The default for Back is OFF and 10.
The coefficient of friction is a Wall Friction

measure of how much Controls how much speed an object loses when it rubs
sliding friction an object
experiences when it rubs against a collision wall. The Wall Friction value corresponds
against a surface. It is to the real-world coefficient of friction. The slider range is 0
defined as the ratio of the (frictionless, no speed is lost) to 1 (all speed is lost). The
weight of an object being default value is 0.
moved along a surface and
the force that maintains Approximate Wall Friction values for some common
contact between the object materials are: ceramic tile (0.34), aluminum (0.48), smooth
and the surface. cloth (0.48), paper (0.52), stainless steel (0.57), plastic (0.6
70
to 0.7), glass (0.61), wood (0.7 to 1), polystyrene (1). Use

these values as a starting point, and adjust them to refine
the behaviour of objects in the dynamic simulation.
Elasticity
Controls how much speed an object loses when it collides
with and bounces off a collision wall. The slider range is 0
(all speed is lost) to 1 (no speed is lost). The default value
is 0.707.
Approximate Elasticity values for some common materials
are: hard metals, ceramics, rubbers, or plastics (0.7 to 1),
soft metals, soil, or flesh (0.2 to 0.5), any liquid (0). Use
Turbulence (noise)
The Turbulence(noise) parameters define irregularities in the air

which can influence object and particle motion. These
parameters are similar to the volume light Turbulence(noise)
parameters.
Intensity
The strength of the turbulence. The slider range is 0 (no
turbulence) to 1. The default value is 0.
Spread
Scales the turbulence in space so that a given amount of
turbulence covers a smaller or larger volume. The slider
range is 0 to 1. The default value is 0.5.
Persistence
Scales the turbulence in time so that it changes faster or
more slowly. The slider range is 0 to 10. The default value
is 5.
71
Animated
Makes the turbulence either static (OFF) or animated (ON).
Static turbulence does not change over time; eddies are
always in the same place. A stream of particles moving
through static turbulence always follows the same path.
Animated turbulence changes over time. Particles moving
through animated turbulence follow different paths. The
default setting is ON.
Turbulence Table
Turbulence is defined by its turbulence table. The Turbulence

Table parameters define the turbulence table for environmental
turbulence.
The turbulence table can be very large. A turbulence table

with a Space Resolution value of 16 and a Time Resolution value
of 16 (that is, a 16 x 16 table) takes up over 4Mb. A 32 x 32 table
takes up about 36Mb.
If the environment Turbulence Table parameters are the same as

the Turbulence Table parameters for any lights that have a non-
zero value of Turbulence(noise) Intensity, the environment and
those lights can share a single turbulence table, reducing
rendering time.
Space Resolution
Defines how large the turbulence table is in X, Y, Z. The
turbulence pattern then repeats seamlessly within the
environment. The valid settings are 1, 2, 4, 8, and 16. The
default setting is 16.
Time Resolution
Defines the resolution in time for animated turbulence.
The Time Resolution value is the number of 3D tables that
are created. The valid settings are 1, 2, 4, 8, 16, and 32. The
72
Roughness
Determines how smooth or rough the turbulence is. The
slider range is 0 to 1. The default value is 0.5.
Variability
Determines how smoothly or roughly the turbulence
changes over time. The slider range is 0 to 1. The default
value is 0.5.
Granularity
Determines how fine-grained the turbulence is. The slider
73
74
Sh a d ing S u rfaces
Shaders
In This Section: Shader Overview 78

Assigning or Layering a Shader 79
Reflection Mapping a Shader 80
Shader Parameters 81
77
Shader Overview
Shaders determine what surfaces look like (for example, color,

reflectivity, roughness). Once you create a shader, you can
assign it to one or more surfaces. You can also layer more than
one shader onto a single surface.
78
Shader Overview
Assigning or Layering a Shader
In order for a surface to have the properties of a shader, you

must assign the shader to the surface. You can assign a single
shader to several different surfaces. You can also layer several
shaders onto a single surface. By default, all surfaces have the
DefaultShader assigned to them.
To assign a shader to a surface:

1 Pick the surface(s) in a modeling window.
2 Pick the shader in the Multi-lister.
See Assign Shader on page 32. 3 Select Shading > Assign Shader in the Multi-lister.
To layer shaders onto a surface:

1 Pick the surface(s) in the modeling window.
2 Pick the shader in the Multi-lister that you want to layer

another shader on top of.
See Assign Shader on page 32. 3 Select Shading > Assign Shader in the Multi-lister.
4 Pick the shader in the Multi-lister that you want to be

layered on top of the first shader.
See Layer Shaders on page 32. 5 Select Shading > Layer Shaders in the Multi-lister.
79
Assigning or Layering a Shader
Reflection Mapping a Shader
See Reflection on page 83. Normally the renderer only calculates reflections during
raytracing. However, you can map a texture directly to a
BLINN or PHONG shader’s Reflection parameter to simulate
reflections during raycasting or raytracing. For example, you
can use an environment texture as a reflection map to simulate
environmental reflections. Another use of reflection maps is to
produce identical reflections on several surfaces. Although
you can use any texture as a reflection map, environment
textures give the best results.
See Render Overview on By default, reflection mapping only works during raycasting.
page 450. To use reflection maps during raytracing, you must set the
shader’s Use Refl. Map parameter ON (page 96).
You can also simulate reflections on a LAMBERT shader by

mapping an image file or texture to the shader’s Color or
Incandescence parameter.
To reflection map a shader:

1 Double-click the shader swatch in the Multi-lister to open
the Control Window.
2 Click the Map button (to the right of the Reflection

parameter) to open the Texture Procedures window.
3 In the Texture Procedures window, click the button of the

texture you want to use.
The texture swatch appears in the Multi-lister, and the
texture appears on the shader swatch.
4 If you want to use the reflection map during raytracing,

set the shader’s Use Refl. Map parameter ON (page 96).
80
Reflection Mapping a Shader
Shader Parameters
For general information on Shader Name

shaders, see Shaders on
page 77. The name of the shader. Shader swatches in the Multi-lister are
listed alphabetically (except for the DefaultShader). If you
change a shader’s name, the swatch display in the Multi-lister
may also change.
Shading Model
Defines the basic surface type (for example, matte, reflective).

The default setting is LAMBERT. Each Shading Model has its
own set of Shading Parameters.
LAMBERT A matte surface (chalk, matte paint, or

unpolished surface)
PHONG A glassy or glossy surface (ABS or SAN
copolymer which is often used for car
mouldings, telephones, and bathroom
fittings)
BLINN A metallic surface (brass, aluminum)
LIGHTSOURCE A special effect. Light falling on the
surface is summed and averaged, and no
complex shading is performed. The
surface does not act as a light.
81
Shader Parameters
Shading Parameters
Lambert Shading
Parameters
Phong Shading
Parameters
Blinn Shading
Parameters
The Shading Parameters are different when Shading Model is

LAMBERT, BLINN, and PHONG. There are no Shading Parameters
when Shading Model is LIGHTSOURCE.
Diffuse
The ability of the surface to reflect light in all directions.
The Diffuse value acts like a scaling factor applied to the
0 0.5 0.8 1 Color setting: the higher the Diffuse value, the closer the
actual surface color will be to the Color setting. The valid
range is 0 to ∞. The slider range is 0 (no light is reflected in
all directions) to 1. The default color Value is 0.8.
Specular
The color of shiny highlights on the surface. A black
Specular produces no surface highlights. The default color
Default White Blue Black Value is 0.5.
Tip For glossy plastic surfaces, use a whitish Specular color. For
metallic surfaces, use a Specular color similar to the surface
color.
82
Shader Parameters
Shinyness
Controls the size of shiny highlights on the surface. This
parameter is only available when Shading Model is PHONG.
2 5 20 100 The valid range is 2 to ∞. The slider range is 2 (broad
highlight, not very shiny surface) to 100 (small highlight,
very shiny surface). The default value is 20.
Reflectivity
The ability of the surface to reflect its surroundings (the
environment, other surfaces), or the Reflection map, if any.
0 0.25 0.5 1 Reflectivity values for common surface materials are: car
paint (0.4), glass (0.7), mirror (1), chrome (1). To help
visualize the effect of Reflectivity in the shader swatch,
temporarily assign a Reflection map to the shader.
The valid range is 0 to ∞. The slider range is 0 (no
reflections) to 1 (clear reflections). The default value is 0.5.
Note Reflections are only calculated during raytracing.
Reflection
Maps a texture onto the surface to simulate reflections. By
default, reflection mapping only works during raycasting.
To use reflection maps during raytracing, set the shader’s
Use Refl. Map parameter ON (page 96).
Tip Only map environment textures to this parameter. Mapping

a surface texture or solid texture to this parameter will not
produce realistic-looking reflections.
Refl. Backgnd (Reflect Background)

Causes the surface to reflect the environment texture
assigned to the environment. The default setting is OFF.
OFF ON Refl. Backgnd has no effect if an environment texture is not
assigned to the environment. If Refl. Backgnd is ON, any
Reflection map assigned to the surface will be ignored.
See Render Overview on Refl. Backgnd has a different effect during raycasting and
page 450. raytracing. During raycasting, the surface reflects the
environment texture assigned to the environment. During
raytracing, the surface reflects only the environment texture
assigned to the environment. Any surrounding objects
that would normally be reflected by the surface during
83
Shader Parameters
raytracing will not be reflected when Refl. Backgnd is ON. If

Refl. Backgnd is OFF during raytracing, the surface will
reflect the environment and surrounding objects.
Spec. Rolloff (Specular Rolloff)

The ability of the surface to reflect its surroundings (the
environment, other surfaces), or the Reflection map, if any,
0 0.3 0.5 1 when viewed at oblique angles. This parameter is only
available when Shading Model is BLINN. To help visualize
the effect of Spec. Rolloff in the shader swatch, temporarily
assign a Reflection map to the shader.
The slider range is 0 to 1. The default value is 0.3.
Tip Use a Spec. Rolloff value of 0.7 to simulate a wet surface (for
example, wet paint).
Eccentricity
Controls the size of shiny highlights on the surface. This
parameter is only available when Shading Model is BLINN.
0 0.1 0.3 0.5 The valid range is 0 (no highlight) to 0.999 (broad
highlight, not very shiny surface). A value of 0.1 produces
a small highlight (very shiny surface). The default value is
0.3.
Common Shader
Parameters
Color
The color of the surface. The Color setting also defines the
line color used during hidden line rendering (see Hidden
Line Rendering on page 450). The default shader color is
RGB (0,150,255).
Incandescence
The color and brightness of light that a surface appears to
be emitting. (Incandescent objects do not illuminate other
0 0.1 0.5 1 objects.) For example, to simulate lava, use a bright red
Incandescence. The default color Value is 0 (black).
84
Shader Parameters
Tip Use a little Incandescence for vegetation to make it look

alive.
Transparency
The color and level of transparency of a surface. For
example, if the Transparency Value is 0 (black), the surface
0 0.1 0.5 1 is totally opaque; if the Transparency value is 1 (white), the
surface is totally transparent. To make an object
transparent, set the Transparency color to a shade of grey
or to the same color as the shader Color. The default value
is 0 (black).
If you change Transparency from the default black (0), the
background of the shader’s Multi-lister swatch will become
a checkered pattern. This is a visual aid and will not be
rendered in your scene.
Note Quick render does not display surface transparency;

transparent surfaces will appear black.
Special Effects
Bump
Makes the surface appear rough or bumpy by altering
surface normals (during rendering) according to the
intensity of the pixels in the bump map texture.
A bump map does not actually alter the surface. A
silhouette of the surface will appear smooth.
A two-dimensional bump map does not significantly
increase rendering time.
85
Shader Parameters
Displacement
Makes the surface rough or bumpy by altering the
tessellated triangle vertices during rendering, according to
the intensity of the pixels in the displacement map texture.
Displacement mapping is similar to bump mapping,
except that the surface is actually altered. (A silhouette of
the surface will appear bumpy.) Displacement mapping,
however, requires more rendering time than bump
mapping.
Be careful when positioning surfaces with displacement
maps near other surfaces. Because the actual displacement
takes place during rendering, parts of the surfaces may
intersect.
You can convert a displacement mapped surface to a
polyset, and the polygons will be displaced according to
the map. This is useful for positioning surfaces or camera
paths before rendering. See Converting a Warped Surface
into a Polygonal Surface on page 352.
Shading Map
Applies a color map to the surface after it is rendered. The
U value of the Shading Map texture is mapped to the
surface’s hue, and the V value is mapped to the surface’s
intensity (the value defined by [R+G+B]/3). A shading
map changes the shader’s color, specular color, and
eccentricity, effectively creating a new type of shading
model.
A Shading Map is useful for creating non-photorealistic
effects (for example, cartoon shading) or for highlighting
threshold values (for example, using a ramp texture).
Rendered Surface Rendered Surface

(no Shading Map) Shading Map (with Shading Map)
V
0.3
200 H
V 0.3 V 0.9
H 200 H 200
86
Shader Parameters
Translucence
The surface’s ability to transmit and diffuse light. Light
falling on a translucent surface is first absorbed beneath the
0 0.1 0.5 1 surface, and then diffused in all directions. The slider
The Translucence value of a surface lit by a non-shadow-
casting light is effectively zero or infinite (all non-zero
values).
If your scene combines a translucent surface with a
shadow casting spotlight, faint grid-like artifacts may
become visible. If this happens, increase the spotlight
shadow Edge quality or lower the shadow Resolution.
For high values of Translucence, lower Diffuse accordingly
to avoid washout.
A surface’s actual translucence is based on the
illumination it receives from lights, and is not related to its
transparency. However, as an object becomes more
transparent, its translucent (and diffuse) illumination gets
dimmer.
Ambient lights have no effect on translucent (or diffuse)
illumination.
Tip Use Translucence to simulate clouds, fur, hair, marble, jade,

wax, paper, leaves, flower petals, or frosted light bulbs.
Transl. Depth (Translucence Depth)

The distance light can penetrate a surface. The slider range
is 0 to 5. The default value is 0.5.
0 0.1 1 5 If the Transl. Depth value is greater than 0, light can
penetrate a surface entirely and illuminate the opposite
side of the surface, even though it is facing away from the
light. For example, if a texture mapped spotlight shines on
a plane, you will be able to see the texture on the side of
the plane facing away from the light (like a rear-projection
screen).
The Transl. Depth value of a surface lit by a non-shadow-
casting light is effectively zero or infinite (all non-zero
values).
If the Transl. Depth value is low (for example, 0.1) and you
are raycasting with a spotlight, make sure the spotlight
shadow Min Depth value is low (0.01) and the Blend Offset
value is low (0.2).
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Shader Parameters
Opacity Depth
Causes the transparency of an object to diminish with its
thickness. An object is opaque if its thickness is greater
0 0.1 1.5 2 than its Opacity Depth value. The slider range is 0 to 5. The
default value is 0.
When the Opacity Depth value is 0, it has no effect (as
opposed to making an object entirely opaque).
The shader must have some Transparency in order to see
the effect of Opacity Depth. When Opacity Depth is non-zero,
then transparency will control specularity, reflectivity, and
incandescence, which are normally independent of
transparency. This makes it easier to create soft fuzzy
objects. Also, if you want to use a transparency map to
create holes in a surface that has specular highlights, set
Opacity Depth to a high value, instead of creating a
matching specular map.
Transparent objects will cast shadows in the raycaster
even if the Opacity Depth value is non-zero.
Tip Use Opacity Depth to simulate hair, fur, and clouds.
Use Back Color

Assigns the color of the background that is directly behind
the object to its surface. The object will then appear
OFF ON invisible, except for any reflections and shadows on its
surface. The default setting is OFF.
For example, if you are using an image file of an
automotive showroom as a background, a car model will
reflect this background. However, the car will not cast a
shadow on the showroom floor because no actual floor
exists.
You can simulate a floor by placing a plane under the car
model, and setting its shader’s Use Back Color ON. Now the
plane is invisible, except for the shadow of the car on it. If
the plane’s shader is reflective, the floor will also reflect
the car. If you apply a transparency map to the plane that
is more transparent at the edges and opaque in the center,
the plane will blend nicely into the background.
Matte Transp. (Matte Transparency)

A transparent multiplier applied to the surface’s alpha
channel in the rendered image. If the Matte Transp. value is
0, an opaque object will have an alpha value of 1 (that is, it
88
Shader Parameters
will be entirely invisible when composited). If the Matte

Transp. value is 1, an opaque object will have an alpha
value of 0 (that is, it will be entirely visible when
composited). For example, to make an object gradually
appear during an animation (after compositing), animate
the Matte Transp. value from 1 to 0.
The slider range is -1 to 1. The default value is 0.
Emit Particles
Causes the surface to emit particles during an animation.
If Emit Particles is ON, the Particle Emission parameters
become available. See Particles on page 317.
If you layer two shaders that both have Emit Particles ON,
particles will only be emitted from the topmost shader. To
emit particles from both shaders, assign only one shader
to the surface and save a particle file during the animation.
Create a dummy object (for example, a point light) and
assign the particle file to it. Then assign the second shader
to the surface and render the animation.
Glow
The Glow parameters define the type of glow produced from

light reflecting off a surface, or from surface incandescence.
Glow Intens (Glow Intensity)

The brightness of the shader glow effect. The slider range
is 0 to 1. The default value is 0.
0 0.5 1 2 Shader glow will appear different at different image
resolutions. If the Environment’s Glow Type and Halo Type
are both off (in the ShaderGlow section of the Control
Window), the Glow Intens. value has no effect (see
ShaderGlow on page 63).
Hide Source
Causes the surface to become invisible when rendered,
showing only the glow effect. The default setting is OFF.
OFF ON
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Shader Parameters
If the Environment’s Glow Type and Halo Type are both off
(in the ShaderGlow section of the Control Window), or if the
shader’s Glow Intens value is zero, Hide Source has no effect
(see ShaderGlow on page 63).
Tip Use shader glow and Hide Source to simulate gas effects
(for example, an aurora borealis).
Clearcoat Settings
The Clearcoat Settings let you control the appearance of surface

reflections to simulate various types of surface finish (for
example, automotive paint). They are only available when
Shading Model is BLINN or PHONG.
Clearcoat
Makes the shader resemble the Clearcoat Material if the
shader has any reflections. Clearcoat is on by default.
Clearcoat Material
The material the shader will appear as if the shader has
any reflections and if Clearcoat is on. When you select a
Clearcoat Material, the CC Refractive Index value is
automatically set. The default setting is Sheet Metal.
CC Refractive Index
Controls the appearance of clearcoat reflections. A value
of 1.6 produces reflections similar to glass. A value of 1.8
0 0.5 1 2 produces reflections similar to car paint. This parameter is
only available when Clearcoat Material is set to User Defined.
2.5 3 4 5
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Shader Parameters
Brightness
Scales the brightness of clearcoat reflections. The slider
0 1 2 5
Contrast
Scales the contrast of clearcoat reflections. The slider range
is -1 to 1. The default value is -0.1.
-1 -0.5 0 1
Raytrace Parameters
The Raytrace Parameters control the appearance of the surface

during raytracing only.
Refractive Material
The material the shader will appear as if the shader has
any reflections. When you select a Refractive Material, the
Refractive Index value is automatically set. The default
setting is Glass - flint.
Refractive Index
The amount that camera rays bend when passing through
a transparent object. A Refractive Index value of 1 does not
0.01 0.5 1 1.6 bend camera rays at all. Refractive Index values for common
materials are: glass (1.6), air (1), water (1.333), crystal (2),
diamond (2.417). This parameter is only available when
Refractive Material is set to User Defined. The valid range is
0.01 to ∞. The slider range is 0.01 to 3. The default setting
is 1.6.
The shader’s Multi-lister swatch only approximates the
effect of the Refractive Index parameter.
Surfaces should have thickness in order for Refractive Index
to have the expected effect. If a surface does not have
thickness (for example, a plane or face element), set the
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Shader Parameters
Refractive Index value to 1 and use the Surface Width

parameter to simulate surface thickness. See Surface Width
on page 94.
For best results, make sure there are suitable objects in the
scene to be refracted.
Reflect Limit
The maximum number of times the surface will allow a
camera ray to be reflected. For example, if the Reflect Limit
value is 4, the surface will reflect camera rays that have
previously been reflected (off itself or off other surfaces) 3
times or less; the surface will not reflect camera rays that
have previously been reflected 4 or more times. The valid
range is 0 to ∞. The slider range is 0 to 10. The default
value is 1.
High values for Reflect Limit greatly increase rendering
time. Test render your scene using various settings, and
use the lowest values that give you acceptable results.
Even highly reflective surfaces will rarely need a Reflect
Limit value as high as 10 or more.
Refract Limit
The maximum number of times the surface will allow a
camera ray to be refracted. For example, if the Refract Limit
value is 10, the surface will refract camera rays that have
previously been refracted and/or reflected (off itself or off
other surfaces) 9 times or less; the surface will not refract
camera rays that have previously been refracted and/or
reflected 10 or more times.
The valid range is 0 to ∞. The slider range is 0 to 10. The
default value is 6.
In the following example, a glass sits in front of a mirror.
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Shader Parameters
mirror: shader must have a Reflection Limit of at least 5
eye point
5 4 3 1
2
8 9
7
6
glass: shader must have a
Refraction Limit of at least 9
The number of refractions includes both the entry and exit

of a camera ray from a surface having thickness.
The physical property Total Internal Reflection (TIR) can
make some transparent objects appear not to refract light.
This is a real world property caused by light rays
reflecting inside the thickness of the object. If this occurs in
your model, increasing Refract Limit will have no effect,
because the rays will never exit the surface. However,
because TIR is a real world property, you may want to
keep this effect. If do not want this effect, increase the
Refractive Index.
Tip To simulate realistic looking glass, set the Refract Limit value
to 9 or 10.
Shadow Limit
The maximum number of times the surface can be
reflected and/or refracted and still receive shadows (in the
reflection/refraction).
For example, if the Shadow Limit value is -1, the surface will
not receive any shadows. If the Shadow Limit value is 0, the
surface will receive shadows when viewed directly by the
camera but will not receive any shadows when viewed in
reflections/refractions.
If the Shadow Limit value is 1, the surface will receive
shadows when viewed directly by the camera or when
viewed through a single reflection/refraction, but will not
receive any shadows when viewed through 2 or more
reflections/refractions.
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Shader Parameters
The valid range is -1 to ∞. The slider range is -1 to 10. The

default value is 0.
Note High Shadow Limit values greatly increase rendering

time.
Raytrace Effects
The Raytrace Effects parameters control the appearance of the

surface during raytracing only.
Surface Width
The simulated thickness (in world space units) of
transparent objects that are made from single surfaces (for
example, a plane or face). The valid range is 0 to ∞. The
Using Surface Width does not produce the same results as
building a surface with actual thickness. However, the
effect works well when the edges of the surface are not
visible (for example, closed surfaces, or bounded shapes
like a car windshield).
Transp. Shade (Transparency Shade)

Causes shadows of transparent objects to be brighter in
the center, simulating the focusing of light. The valid
range is 0 to ∞. The slider range is 0 (constant intensity
shadows) to 1 (shadows focused in the center). The default
value is 0.
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Shader Parameters
Transp. Depth (Transparency Depth)

The distance (in world units) camera rays can travel after
passing through a transparent surface. By setting the
Transp. Depth value, you can vary the surface’s
transparency based on the distance of objects behind the
surface.
If the Transp. Depth value is 0, camera rays can travel an
infinite distance, and all objects behind the transparent
surface are visible no matter how far away they are. The
surface’s transparency is the same across the entire
surface.
For non-zero values, after a camera ray reaches the
distance of the Transp. Depth value, its color becomes the
surface color. Only objects near the transparent surface
(less than the Transp. Depth value) are visible through the
surface. Objects close to the surface are more visible (that
is, the surface is more transparent in those areas) and
objects further away are less visible (that is, the surface is
less transparent in those areas). Objects beyond the Transp.
Depth value are not visible at all (that is, the surface is
opaque in those areas).
default value is 0.
Chroma Abber. (Chromatic Aberration)

Causes different wavelengths of light to refract different
amounts when passing through a transparent surface. The
valid range is 0 to ∞. The slider range is 0 (no chromatic
aberration) to 1. The default value is 0.
Chromatic aberration only affects light rays as they pass
through the second surface of a transparent object (that is,
the first exit ray). For best results, make sure there are
suitable objects in the background to be refracted.
Refrac Jitter (Refraction Jitter)

Randomly alters the direction of refracted light rays. The
valid range is 0 to ∞. The slider range is 0 (no jitter) to 1.
0 0.1 0.5 1 The default value is 0.
If the Refrac Jitter value is high, you may have to increase
the Refrac Samples value to reduce the appearance of
aliasing artifacts.
Tip Use Refrac Jitter to simulate frosted glass.
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Shader Parameters
Refrac Samples (Refraction Samples)

Controls the smoothness of the Refrac Jitter effect. If the
Refrac Jitter value is 0, the Refrac Samples value has no
1 2 5 10 effect. If the Refrac Jitter value is high, you may have to
increase the Refrac Samples value to reduce the appearance
of aliasing artifacts (see Aliasing on page 537).
The valid range is 1 to ∞. The slider range is 1 (rough) to 10
(smooth). The default value is 1.
Use Refl. Map (Use Reflection Map)

Causes the surface to have reflections from the Reflection
map only. If Use Refl. Map is OFF, the surface will have
reflections from all of its surroundings, but not from its
Reflection map. The default setting is OFF.
Hidden Line Rendering

Parameters
The Hidden Line Rendering Parameters control the appearance of

the surface during hidden line rendering only (see Hidden Line
Rendering on page 450).
Use Fill Color

Causes surfaces to be filled with the Fill Color during
hidden line rendering. If Use Fill Color is OFF, surfaces will
OFF ON be filled with the background color. The default setting is
ON.
Fill Color
The color the surface will be filled with during hidden line
rendering, if Use Fill Color is ON. The default color is white.
U Patch Lines, V Patch Lines

The number of lines shown on the surface in its U and V
directions during hidden line rendering. The valid range
0, 0 1, 1 4, 4 8, 8 is 0 to ∞. The slider range is 0 (no lines shown on the
surface except for edge lines) to 8. The default value is 0.
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Shader Parameters
Dynamics Properties
See Dynamics on page 313. The Dynamics Properties define material properties which affect
how an object behaves during a dynamic simulation.
Density
The density (kilograms/linear-unit3) of objects to which
the shader is assigned. The Density value determines an
object’s mass if Use Mass/Density is set to DENSITY under
Collision Types in the Run Dynamics window (see Collision
Types in the Animating book), according to the formula
mass = Density x bounding box volume. The slider range
See Air Density on page 69. The Density value also determines the buoyancy of an
object. An object that is less dense than the environment
medium will rise.
Approximate Density values (in kg/m3) for some common
materials are:iron or steel (7900), aluminum (2700), glass
or porcelain (2500), concrete (2400), ice (920), rubber (1000
to 1500), polyethelene (950), wood (530 to 750), water
(1000), and air (1.29). Use these values as a starting point,
and adjust them to refine the behaviour of objects in the
dynamic simulation.
Elasticity
Controls how much speed an object loses when it collides
with and bounces off of another object. The slider range is
0 (all speed is lost) to 1 (no speed is lost). The default value
is 0.707.
Approximate Elasticity values for some common materials
are: hard metals, ceramics, rubbers, or plastics (0.7 to 1),
soft metals, soil, or flesh (0.2 to 0.5), any liquid (0). Use
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Shader Parameters
Friction
Controls how much speed an object loses when it rubs
against another object. The Friction parameter is similar to
the real-world coefficient of friction (see Wall Friction on
page 70). The slider range is 0 (frictionless, no speed is
lost) to 1 (all speed is lost). The default value is 0.
Approximate Friction values for some common materials
are: ceramic tile (0.34), aluminum (0.48), smooth cloth
(0.48), paper (0.52), stainless steel (0.57), plastic (0.6 to 0.7),
glass (0.61), wood (0.7 to 1), polystyrene (1). Use these
values as a starting point, and adjust them to refine the
behaviour of objects in the dynamic simulation.
The drag coefficient is a Drag Coeff (Drag Coefficient)

measure of how much Controls how much speed an object loses when it travels
friction an object experiences
when it travels through air through air. The more streamlined an object is, the lower
based on its shape. its Drag Coeff value should be. The actual loss of speed of
an object is calculated based on the Drag Coeff value, the Air
Density value (see Air Density on page 69) and the cross
sectional area of the object. The Drag Coeff parameter is
similar to the real-world drag coefficient. The slider range is
0 (no speed is lost) to 1 (all speed is lost). The default value
is 0.5.
Approximate Drag Coeff values for some common shaped
objects are: thin cone (0.2), sphere (0.4), cube (0.5),
parachute (0.9). Use these values as a starting point, and
adjust them to refine the behaviour of objects in the
dynamic simulation.
98
Shader Parameters
Textu res
Textures
In This Section: Texture Overview 102

Texture Procedures Window 103
Texture Placement Objects 105
Mapping a Texture 109
Texture Parameters 110
101
Texture Overview
Textures are two-dimensional or three-dimensional patterns

which you can assign, or map, to certain parameters of
environments, shaders, and lights. You can also assign
textures to certain parameters of other textures.
There are three basic types of textures:

● Surface textures (two-dimensional textures)
● Environment textures (three-dimensional textures)
● Solid textures (three-dimensional textures)
102
Texture Overview
Texture Procedures Window
The Texture Procedures window contains a list of all textures

(Surface, Environments, and Solid) and a list of all Texturable
Values for the active environment/shader/texture/light.
To open the Texture Procedures window:
● In the Control Window, click on a parameter’s Map button.
103
Texture Types
The Surface, Environments, and Solid sections of the Texture

Procedures window list all textures that you can map to the
parameter of an environment, shader, texture, or light.
Texturable Values
The Texturable Values section of the Texture Procedures window

contains a button for each parameter (of the active
environment/shader/light/texture in the Multi-lister) that you
can map a texture to. The button(s) that are depressed will
have a texture mapped to them.
104
Texture Placement Objects
Every environment texture and solid texture in your scene has

an associated Texture Placement Object. The Texture Placement
Object determines the origin position and direction of the
texture relative to the XYZ coordinate system and to the
objects in your scene. By transforming the Texture Placement
Object (using the standard Xform tools), you can control how
the texture maps to the environment or to the surfaces in your
scene.
By default, the Texture Placement Object for all textures is

invisible. You can display a texture’s Texture Placement Object in
the modeling windows by clicking the texture placement icon
in the bottom right corner of the texture’s Multi-lister swatch.
texture placement icon
The Texture Placement Object for a solid texture appears in the

modeling windows as a cube with one cross-hatched face, and
an arrow pointing in one direction. By default, the Texture
Placement Object for any solid texture is positioned at the
origin with its arrow pointing in the positive Y direction.
The Texture Placement Object for a Projection texture is different

for each Projection type. See Projection Texture on page 209.
The Texture Placement Object for an environment texture

appears in the modeling windows as an icon with an arrow
pointing in one direction. The type of icon is different for each
type of environment texture. By default, the Texture Placement
Object for any environment texture is positioned at the origin
with its arrow pointing in either the positive Y direction (for Y-
up scenes) or the positive Z direction (for Z-up scenes). For
example, the Texture Placement Object for the Sky texture
105
consists of a line between the sun and the origin, allowing you
to easily see the sun’s azimuth and elevation.
Solid Texture Ball Texture
Chrome Texture Cube Texture
Sphere Texture Sky Texture
The Texture Placement Object also appears in the SBD window

as a separate transformation node beneath the texture node.
106
Texture Placement
Object in SBD window
The name of the Texture Placement Object is listed in the

texture’s Control Window with the 3D Placement parameters.
To position an environment texture or a solid texture:

1 Click the texture placement icon in the bottom right corner
of the texture’s Multi-lister swatch. The Texture Placement
Object appears in the modeling window.
2 Select the Texture Placement Object in a modeling window.
3 Use the Xform tools (Move, Rotate, Scale, Non-p Scale) to

change the Texture Placement Object’s size, position, and
orientation relative to the ground plane and/or the
surfaces in your scene that the texture is mapped to.
The effect of the transformations is updated interactively
in the Multi-lister.
4 Click the texture placement icon in the bottom right corner

of the texture’s Multi-lister swatch. The Texture Placement
Object disappears from the modeling windows.
To toggle the visibility of all displayed Texture Placement

Objects:
● Select DisplayTgls > Object Toggles > Textures. This only

toggles the visibility of Texture Placement Objects which
you have previously displayed by clicking the Texture
Placement Icon in the Multi-lister.
To open the Toggle Textures Options box:
● Select DisplayTgls > Object Toggles > Textures ❏ to display

the Toggle Textures Options box.
107
Toggle Textures Options
Toggle Type
Toggles the visibility of all displayed Texture Placement
Objects in All Windows or just in the Current Window (that is,
the active window). The default setting is All Windows.
108
Mapping a Texture
Texture mapping is the process of assigning a texture to a

parameter. You can map a texture to any environment, shader,
texture, or light parameter that has a Map button.
To map a texture to a parameter:
See Color Fields and Map 1 In the Control Window, click the Map button beside the
Buttons on page 40. parameter you want to apply a texture to. The Texture
Procedures window appears.
See Texturable Values on If you want to apply the same texture to more than one
page 104. parameter, click on Texturable Values to open its section,
and then Shift-click on the parameters you want to apply a
texture to.
2 In either the Surface, Environments, or Solid section of the

Texture Procedures window, click on the texture you want
to map to the parameter.
See Reversing Direction and If the texture is inverted when you map it to a surface, use
Normals in the NURBS Object Edit > Reverse Direction to reverse the direction of the
Modeling book. surface’s UV parameterization.
The File, Stencil, Ball, Cube, Sphere, Projection, and Volume
textures are entirely black until you specify an image file
or a series of image files.
109
Mapping a Texture
Texture Parameters
The Color Balance, Intensity, Blur, and Effects parameters are

common to all textures.
Color Balance
The Color Balance parameters let you color correct a texture.

These parameters are not available when the texture is
mapped to certain single-channel parameters (for example,
Reflectivity, Bump, Displacement). In these cases, the Color Balance
parameters (Rgbmult and Rgboffset) are replaced by the Intensity
parameters (Amult and Aoffset). See Intensity on page 110.
Rgbmult
A scaling factor applied to the parameter that the texture
is mapped to. That is, all colors in the texture are
0 0.1 0.5 1 multiplied by the Rgbmult color. For example, you can
color correct a texture that appears too green by setting the
Rgbmult color to a shade of blue.The default color is white
(no effect).
Rgboffset
An offset factor applied to the parameter that the texture is
mapped to. That is, all colors in the texture have the
0 0.1 0.5 1 Rgboffset color added to them. For example, you can
brighten a texture that appears too dark by setting the
Rgboffset color to a shade of grey. The default color is black
(no effect).
Intensity
110
Texture Parameters
The Intensity parameters let you correct the intensity of the

texture. These parameters are only available when the texture
is mapped to certain single-channel parameters (for example,
Reflectivity, Bump, Displacement). In other cases, the Intensity
parameters (Amult and Aoffset) are replaced by the Color Balance
parameters (Rgbmult and Rgboffset). See Color Balance on
page 110.
Amult
A scaling factor applied to the parameter that the texture
is mapped to. That is, all values in the texture are
0 0.1 0.5 1 multiplied by the Amult value. The slider range is 0 to 1.
The default value is 1 (no effect).
Aoffset
An offset factor applied to the parameter that the texture is
mapped to. That is, all values in the texture have the
0 0.1 0.5 1 Aoffset value added to them. For example, if the Amult
value is -1 and the Aoffset value is 1, the texture is inverted.
The slider range is 0 to 1. The default value is 0 (no effect).
Blur
The Blur parameters control the sharpness of the texture. If the

Blur parameter values are both 0, the texture is perfectly sharp.
However, a small amount of blur is usually needed to reduce
aliasing effects (see Aliasing on page 537).
Blurmult
A scaling factor that controls the amount of texture blur in
eye space. That is, the further an object is from the camera,
0 0.1 0.5 1 the greater the blur effect.
Increase the Blurmult value (for example, to 1) only to
reduce aliasing effects caused by sharp textures (see
Aliasing on page 537). If you want to actually smooth the
texture, increase the Bluroffset value.
Lower the Blurmult value (for example, to 0.1) if you are
using the texture as a bump or displacement map. If the
Blurmult value is high, the bump/displacement will appear
smoother when the surface is further from the camera.
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Texture Parameters
The slider range is 0 (sharp texture, no blur) to 1 (good

anti-aliasing). The default value is 1.
Bluroffset
An offset factor that controls the amount of texture blur in
texture space. That is, the amount of blur is the same no
0 0.1 0.5 1 matter where the object is relative to the camera. The
slider range is 0 (no blur) to 1 (completely blurred). The
default value is 0.
Effects
The Effects parameters let you create a variety of texture

effects.
Invert
Reverses all texture colors (for example, black becomes
white, white becomes black). For example, you can change
OFF ON a bump or displacement map’s raised regions to
depressions and vice versa by setting Invert ON or OFF. The
default setting is OFF.
Overlay
Layers another texture on top of the original texture. The
overlay texture completely replaces the original texture in
None Ramp the region of a surface where both textures exist.
For example, you can place multiple image file decals onto
a model using this parameter. You can also overlay
another texture onto the overlaid texture, and another
texture onto that one, and so on.
Color Remap
riginal Color Final
Texture Remap Texture Applies a color map to the texture. The U value of the
Color Remap texture is mapped to the original texture’s
hue, and the V value is mapped to the original texture’s
intensity (the value defined by [R+G+B]/3). The Color
Remap parameter acts similar to the Shading Map
V 0.7
H0 parameter (see Shading Map on page 86).
112
Texture Parameters
Smear Map
Stretches the texture in the U and V directions. The
intensity of the Smear Map texture determines the
magnitude of the stretch, and the hue determines the
direction (angle). For example, you can use Smear Map to
create swirl and dissolve effects using an animated fractal
None Red Green Blue noise texture.
Convert to Pix
Converts any procedural surface texture to an image file
texture. Because procedural textures take longer to render
than image file textures, you would use Convert to Pix to
convert procedural textures to image file textures, and
reduce rendering time. You can also use Convert to Pix to
reduce a texture that has several Overlay textures, into a
single image file texture.
If you click the Convert to Pix button, the following dialog
box appears:
You can edit the Pix Size value (the size of the image file)
and the Pix Filename (the name of the image file), and you
can turn Anti Aliasing ON or OFF.
The Convert to Pix parameter is only available for surface
textures.
Convert to Smear
This parameter is only available for the Projection texture.
See Convert to Smear on page 216.
113
Texture Parameters
114
Texture Parameters
Environment Textures
In This Section: Environment Texture Overview 116

Environment Texture Parameters 117
Environment Texture Types 118
Ball Texture 119
Chrome Texture 125
Cube Texture 128
Sky Texture 130
Sphere Texture 137
115
Environment Texture Overview
Environment textures simulate three-dimensional spaces by

either using a series of image files (Ball, Cube, and Sphere
textures) or using a computer graphic procedure (Chrome and
Sky textures). Typically, you map an environment texture to
the environment’s Color parameter as a background for your
scene, or to a shader’s Reflection parameter to simulate
environmental reflections.
Environment textures map Although you can map an environment texture to other
to directions. Surface textures parameters, they may not give the results you expect. Do not
and solid textures map to map an environment texture to a shader’s Bump or
positions.
Displacement parameter. An environment texture mapped to
Bump will produce unpredictable results. An environment
texture mapped to Displacement will be ignored.
116
Environment Texture Overview
Environment Texture Parameters
The Color Balance, Blur, Effects, and 3D Placement parameters are

common to all environment textures.
Color Balance, Blur, See Texture Parameters on page 110.

Effects
3D Placement
Texture Node
The name of the texture’s Texture Placement Object. The
Texture Placement Object is easier to find in the SBD
window if you know its name. See Texture Placement
Objects on page 105.
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Environment Texture Parameters
Environment Texture Types
There are several different types of environment textures: ball,

chrome, cube, sky, and sphere.
Ball Texture
The Ball texture uses an image (or a series of images) of a

highly reflective chrome ball in an environment (real world or
computer generated) to re-create that environment. See Ball
Texture on page 119.
Chrome Texture
The Chrome texture simulates a showroom environment.

See Chrome Texture on page 125.
Cube Texture
The Cube texture simulates an environment by mapping six

image files onto the inner surfaces of a cube. See Cube Texture
on page 128.
Sky Texture
The Sky texture simulates a planetary environment viewed

from the surface of a planet. See Sky Texture on page 130.
Sphere Texture
The Sphere texture simulates an environment by mapping a

texture or image file directly onto the inner surface of an
infinite sphere. See Sphere Texture on page 137.
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Environment Texture Types
Ball Texture
The Ball texture uses an image (or series of images) of a highly

reflective chrome ball in an environment (real world or
computer generated) to re-create that environment. This is
possible because the reflections in the chrome ball provide a
(nearly) 360 degree view of the environment.
coast_ball coast_back_1 courtyard_ball courtyard_back
A Ball texture background renders faster than a procedural

texture background or a background modeled with surfaces.
You can therefore replace a complex background with a Ball
texture (by rendering an image of a chrome ball in that
environment) to reduce rendering times.
In order to use the Ball environment texture, you must map the
texture’s Image parameter with the image of a reflective
chrome ball in the environment you want to re-create. You
should also map the environment’s Backdrop parameter with
the image of the environment without the chrome ball.
Environment utah_back_3 Ball utah_ball_3

Backdrop Image
Color map
To create an image of a chrome ball, first place a highly

reflective chrome ball (sphere) in the environment (real world
or computer generated) that you want to re-create. Place the
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Ball Texture
ball at the exact location (in the original environment) where

you want your model to appear (in the re-created
environment), and take note of the ball’s distance from any
floor/walls/ceiling or large objects.
Photograph (or render) the ball using a telephoto lens, and

take note of the camera’s elevation (the angle between the
camera’s view and the environment’s ground plane), and the
camera’s inclination (the angle between the camera’s view and
the environment’s YZ plane).
The photo essentially contains a compressed sample of the

entire environment, except for the area directly behind the
ball. The highest resolution is in the direction of the camera, so
the image provides the best data compression for that point of
view.
A Ball texture that uses a single photograph of a ball has two

limitations: the missing area directly behind the ball, and the
decreasing resolution toward the edges of the ball. You can
overcome these limitations by taking a series of photographs
of the ball (up to a maximum of 32). The photographs must be
taken on the horizontal plane of the ball (that is, not above or
below the ball), at a constant distance from the ball, and at
equal intervals around the ball. The Ball texture will
automatically select the best image for any particular view
(that is, no missing area and maximum resolution). Name the
image files <filename>.1 through <filename>.n, where
the files represent a sequence going clockwise around the ball
when viewed from above.
Remove the ball from the environment, and photograph (or

render) the environment again using the same camera
position, elevation, and inclination, but a wider angle lens (for
example, 24mm to 50mm).
The Ball texture can best re-create environments that have no

objects in their center (that is, near the chrome ball). For
example, rooms and interiors should not contain furniture,
and outdoor scenes should not have trees or cars near the
chrome ball. (In general, outdoor scenes can contain
buildings).
If you are using a single image of a chrome ball, map a File

texture to the Ball texture’s Image parameter, and then map the
image file of the ball in the environment to the File texture’s
Image parameter.
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Ball Texture
If you are using a series of images of a chrome ball, map a

Volume texture to the Ball texture’s Image parameter, and then
map one of the image files to the Volume texture’s Pix Sequence
parameter. Set the Volume texture’s From and To parameters to
the extensions of the first and last image files in the sequence
(1 and n).
Map the image of the environment without the chrome ball to

the environment’s Backdrop parameter.
Set the Ball texture’s Inclination and Elevation parameters to the

inclination and elevation of the camera used to photograph
the ball.
For accurate reflections of the re-created environment on your

model, set the Ball texture’s Projection Geometry parameters to
values corresponding to the distance between any floor/
walls/ceiling or large objects and the chrome sphere when it
was photographed.
To simplify the positioning of the environment’s Backdrop

image, set the Ball texture’s Eyespace toggle ON. To model
background geometry (for example, so you can add shadows,
lighting effects, or fog to your scene), set the Ball texture’s
Reflect toggle OFF.
Ball Environment
Parameters
Image
The texture used by the Ball texture. To use a single image
of a highly reflective chrome ball in an environment, map
a File texture to the Ball texture’s Image parameter, and
then map the image file to the File texture’s Image
parameter (see File Texture on page 165).
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Ball Texture
To use several images of a highly reflective chrome ball in

an environment, map a Volume texture to the Ball texture’s
Image parameter, and then map one of the image files to
the Volume texture’s Pix Sequence parameter (see Volume
Texture on page 245).
Inclination
The rotation (in degrees) of the ball image about the
vertical axis. The valid range is -10000 to 10000. The slider
range is 0 to 180. The default setting is 0.
Set the Inclination value to the inclination of the camera
(that is, the angle between the camera’s view and the
environment’s YZ plane) used to generate the image file
(by photographing or rendering a reflective ball in an
environment). For example, if the inclination of the
camera is 45 degrees, set the Inclination value to 45. If the
camera is parallel to the YZ plane, set the Inclination value
to 0. When creating the ball image, a camera inclination
and elevation of zero will provide the best resolution for
the view you intend to use.
Elevation
The rotation of the ball image about the horizontal axis.
The valid range is -10000 to 10000. The slider range is -90
to 90. The default setting is 0.
Set the Elevation value to the elevation of the camera (that
is, the angle between the camera’s view and the
environment’s ground plane: XY plane for a Z-up scene)
used to generate the image file (by photographing or
rendering a reflective ball in an environment). For
example, if the elevation of the camera is 90 degrees (that
is, it is directly above the ball), set the Elevation value to 90.
If the camera is parallel to the ground plane, set the
Elevation value to 0. When creating the ball image, a
camera inclination and elevation of zero will provide the
best resolution for the view you intend to use.
Eyespace
Causes the position of the Ball texture’s Image file to be
defined relative to the window, not the camera view. If
Eyespace is ON, the Ball texture’s Image file automatically
matches the environment’s Backdrop image file (provided
they were both originally photographed/rendered from
the same point of view), even if the camera view changes.
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Ball Texture
Reflections, however, are based on the background being

infinitely far away; that is, the reflection planes are
ignored (see Projection Geometry below). Rendering is
faster when Eyespace is ON. The default setting is OFF.
Reflect
Causes the Image file to be reflection mapped onto the
background. If Reflect is OFF, the Image file is mapped
using a solid texture spherical projection (see Projection
Texture on page 209). This allows you to model the
geometry of the background image and then map the
background image to this geometry, for example, to add
shadows, lighting effects, or fog to your scene. The default
setting is OFF.
Projection Geometry
The Projection Geometry parameters define the location of the

sky and/or room walls of the original environment so that the
system can calculate reflections on surfaces in the re-created
environment.
For example, if the original environment consisted of a ground

plane and a sky, then you would set the Sky_radius value to the
radius of the sky, and the Bottom value to the distance between
the ground plane and the reflective ball. If the original
environment consisted of a room, then you would set the
Bottom, Top, Left, Right, Front, and Back values to the distance
between each wall and the reflective ball.
In some cases you may want to use values different than the
original environment. For example, instead of using the
Bottom, Top, Left, Right, Front, and Back values to define the
walls of a room, you may simply use the Sky_radius parameter.
Because Sky_radius defines a sphere, reflections on surfaces in
the simulated environment will be smoother and less likely to
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Ball Texture
become blurred. You can also combine Sky_radius with Bottom,

Top, Left, Right, Front, and/or Back.
Sky_radius
The radius of the sky of the original environment. The
valid range is 0 to 100000. The slider range is 0 to 20. The
default value is 0.
Bottom,Top, Left, Right, Front, Back

The distance between the reflective ball and each wall of
the original environment. The valid range is 0 to ∞. The
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Ball Texture
Chrome Texture
The Chrome texture simulates a showroom environment. The

texture consists of a ground plane and a sky plane (with
fluorescent style light rectangles), and provides a simple but
effective environment to simulate reflections off chrome
surfaces.
chrome_grip Chrome#2 water Chrome#2

Color map Reflection map
Sky Parameters
Sky_color
The color of the sky at the horizon. Overall sky color is
linearly interpolated between Sky_color and Zenith_color.
Zenith_color
The color of the sky at the zenith (straight up). Overall sky
color is linearly interpolated between Sky_color and
Zenith_color.
Light_color
The color of the simulated fluorescent lights. These
“lights” produce reflections in surfaces, but they do not
actually illuminate surfaces.
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Chrome Texture
Light Placement
The Light Placement parameters control the size and placement

of the simulated fluorescent lights in the environment. These
“lights” produce reflections in surfaces, but they do not
actually illuminate surfaces.
Width, Depth
The width and depth of each light. These parameters also
determine spacing between lights. The valid/slider range
0.5,0.1 0.5,0.5 0.1,0.5 0.9,0.9 is 0 to 1. The default Width value is 0.5 and the default
Depth value is 0.1.
Width_mult, Depth_mult
The number of lights per unit length. The valid/slider
1, 1 0.5, 0.5 0, 1 1, 0
Width_offset, Depth_offset
The light displacement. The slider range is 0 to 1. The
default value is 0.
0, 0 0, 0.5 0.5, 0 0.5, 0.5
Floor Parameters
The Floor Parameters control the appearance of the

environment’s floor.
Floor_color, Horizon_color, Grid_color

The color of the floor, the floor’s horizon and the floor’s
grid.
126
Chrome Texture
Real_floor
If Real_floor is OFF, the environment’s floor is located at
infinity, so reflections on moving objects and/or
OFF ON reflections viewed from a moving camera will be
incorrect. The default setting is OFF.
If Real_floor is ON, the floor is located on the ground plane,
so reflections on moving objects and/or reflections viewed
from a moving camera will be correct. If Real_floor is ON,
make sure surfaces and/or the camera do not go below
the ground plane.
Grid Placement
The Grid Placement parameters control the size and placement

of the floor’s grid.
Width, Depth
The width and depth of the grid lines. These parameters
also determine the spacing between grid lines. The valid/
0, 0 0.1, 0.1 0.5, 0.5 0.9,0.9 slider range is 0 to 1. The default value is 0.1.
Width_mult, Depth_mult
The number of grid cells per unit length. The valid/slider
1, 1 0.5, 0.5 0.1, 1 1, 0.1
Width_offset,Depth_offset
The grid displacement. The slider range is 0 to 1. The
default value is 0.
0, 0 0, 0.5 0.5, 0 0.5, 0.5
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Chrome Texture
Cube Texture
The cube environment texture simulates an environment by

mapping six image files onto the inner surfaces of a cube or
box. The size and shape of the texture placement object
determines the size and shape of the cube or box.
Tip To use a cube texture to simulate reflections from a real-

world or CG environment, either take photographs of (real-
world) or render (CG) the environment from the center of
the environment in all six directions. Then map a cube
texture to a shader’s Reflection parameter, and assign the six
images to the cube texture. Scale and position the texture
placement object so that it corresponds to the dimensions of
the original environment. Assign the shader to an object in
your scene and render (raycast). The object will appear to
accurately reflect the original environment.
One of the advantages of the cube environment texture is that

you can blur it without increasing rendering time.
Use Bluroffset to de-focus reflections when using the cube

environment texture as a reflection map to simulate
unpolished surfaces.
The advantage to Cube environment maps is that they can be

blurred by an arbitrarily large amount without any additional
cost. When generating a background from an environment
map, the amount of blurring required to prevent aliasing
increases with the field of view. In practice, a 5122 texture
images and a field of view less than 90 ,will result in very little
blurring.
For reflection mapped surfaces however, the amount of

blurring will depend on the surface curvature and the distance
from the eye point. This cannot be computed automatically.
Using the Blur_offset slider in the Blur window lets you de-
focus the reflections by a desired amount (see Common
Surface Texture Parameters for more information). In fact, soft
focus reflections can be used to simulate less than perfectly
polished surfaces.
128
Cube Texture
Note In order to use a cube texture to map six image files

onto the inner surface of an infinite cube, you must set
the ALIAS_INFINITE_CUBE environment variable.
See Appendix A: Environment Variables in the Release
Notes and Installation.
The reflections on a surface mapped with an infinite
cube texture will not change when you scale or move
the surface or the texture placement object. The
reflections on a surface mapped with a finite cube will
change when you scale or move the surface or the
texture placement object.
Cube Environment
Parameters
Right, Left, Top, Bottom, Front, Back

The image files mapped to the right, left, top, bottom,
front, and back inner surfaces of an infinite cube. (The
front of the cube faces the front orthographic window.)
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Cube Texture
Sky Texture
The Sky texture simulates a planetary environment viewed

from the surface of a planet.
sky_5 sky_ground_ sky_morning_ sky_rain_

proc proc proc
sunset SkyTexture#2 chrome_1 cloudref

Note If the eye point or view drops below the floor, the Sky
texture swatch in the Multi-lister will turn red as a
warning. If you render the scene, the floor will appear
red. Make sure the eye point is always above the floor
(the ground plane).
Sky Environment
Parameters
Total_bright.
The overall brightness of the environment. The valid
range is 0 to ∞. The slider range is 0 to 5. The default value
0.1 0.5 1 2 is 1.
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Sky Texture
Sun Parameters
Sun_bright.
The color and brightness of the sun. The default color
Value is 0.5.
0 0.1 0.5 1
Halo_bright.
The color and brightness of the halo around the sun. The
default color value is 0.1.
0 0.1 0.5 1
Elevation
The angle (in degrees) of elevation of the sun relative to
the floor. The valid range is -10000 to 10000. The slider
0 10 45 90 range is 0 (sunrise/sunset) to 90 (midday). The default
value is 45.
Azimuth
The angle (in degrees) of the sun in the sky about a vertical
vector. The valid range is -10000 to 10000. The slider range
0 30 90 180 is 0 to 360. The default value is 145.
Size
The size (radius) of the sun. The valid range is 0 to 10000.
0 2 10 20
Blur
The size (radius) of the halo around the sun. The valid
range is 0 to 1000. The slider range is 0 to 20. The default
0 2 10 20 value is 1.
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Sky Texture
Atmospheric Settings
sun
Sky_thickness sun vector
scene
Sky_radius * Sky_thickness
planet center
planet surface
cloud layer
outer limit of atmosphere
Sky_bright.
A scaling factor applied to the sky color. The default color
Value is 0.5.
0 0.1 0.5 1
Air_density
The density of the air in the atmosphere. The denser the
air, the more light will be scattered. Think of air density in
0 0.5 1 3 terms of low and high altitudes. High altitude skies are
almost black straight up and blue near the horizon (the
Air_density value less than 1). Low altitude skies are blue
straight up and white near the horizon (the Air_density
value greater than 1). The slider range is 0 to 3. The default
value is 1.
Dust_density
The density of dust in the atmosphere. The slider range is
0 to 3. The default value is 0.
0 0.5 1 3
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Sky Texture
Sky_thickness
The thickness of the atmosphere. The valid range is 0 to ∞.
1 10 100 1000
Sky_radius
The outer radius of the sky as a multiple of Sky_thickness.
The Sky_thickness and Sky_radius values determine the
0.1 5 50 300 planet radius, and planet radius influences the appearance
of sunsets. A planet with a large radius will have very red
(and very dark) sunsets (you can adjust Sky_bright to
compensate for sunsets that are too dark).
For example, if Sky_thickness is 1000 and Sky_radius is 50,
the outer radius of the sky is 1000 x 50 = 50 000 units, and
the radius of the planet is (1000 x 50) - (1000 x 1) = 49 000
units.
The valid range is 0 to ∞. The slider range is 0.01 to 300.
The default value is 50.
Floor Parameters
The Floor Parameters control the appearance of the

environment’s planet surface.
Has_floor
Toggles the floor ON or OFF. If Has_floor is OFF, the
environment below the horizon is a mirror image of the
OFF ON environment above the horizon.
Floor_texture
The color or texture of the floor. The default color value is
0.392.
None Checker Chrome Water
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Sky Texture
Cloud Parameters
Cloud texture
The texture that determines cloud distribution in the sky.
For example, the Fractal texture creates very realistic
None Noise Fractal clouds. By default, there is no cloud texture map (and no
clouds).
Cloud_bright.
The brightness and color of cloud illumination from
ambient scattered light in the atmosphere. (The amount of
0 0.25 0.5 1 ambient light depends on the Elevation value.) The default
color Value is 0.5.
Sunset_bright.
The brightness and color of cloud illumination when the
sun is below the horizon and the clouds are front lit (for
0 0.1 0.5 1 example, when the sun’s Elevation value is 0 and its Azimuth
value is 180). This is a very subtle effect and occurs only
briefly in nature during a sunrise or sunset. The effect is
more noticeable with high altitude clouds. The default
color Value is 1.
Density
The density of individual clouds. The valid range is 0 to ∞.
The slider range is 0 (no clouds) to 5 (heavy clouds). The
0 1 2.5 5 default value is 1.
Threshold
A threshold value for the Cloud texture that controls how
much of the sky is covered with cloud. As the Threshold
0 0.1 0.5 1 value increases, darker areas of the texture do not produce
clouds. The valid range is 0 to ∞. The slider range is 0
(entire sky is cloudy) to 1 (no clouds). The default value is
0.5.
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Sky Texture
Power
The clouds are scaled and positioned by adjusting the
Power option. The cloud density is achieved by subtracting
0 0.1 0.5 1 the Threshold from the pixel value clipping to 0, then
multiplying the result with Density. To control the amount
of de-focusing of the Cloud_texture, adjust the Blur value
(under Sun Parameters). The valid range is 0 to ∞. The
Altitude
The height of the clouds. The Altitude value does not
greatly affect the position of the clouds. Instead, it
0 0.2 0.5 1 determines how much the atmosphere obscures the clouds
near the horizon. Low altitude clouds disappear into haze
much more slowly than high altitude clouds. The valid/
Halo_Size
The size (radius) of cloud illumination from direct back
lighting by the sun (for example, when the sun’s Azimuth
0 5 20 50 value is 0). Direct back lighting is most noticeable near the
edges of thick clouds or through thin clouds. The valid
value is 20.
Calculation Quality
The calculations required for curved atmospheres are

expensive. The Calculation Quality parameters do not greatly
affect the appearance of the sky, but do affect the speed at
which the calculations are computed.
Sky_samples
The number of samples used above the cloud layer. Set the
Sky_samples value to 1 for maximum speed. The valid
0 1 2 5 range is 0 to 20. The slider range is 0 to 3. The default
value is 5.
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Sky Texture
Floor_samples
The number of samples used by the atmosphere between
the eye and the horizon. Increasing the Floor_samples
0 1 2 5 value increases the effect of the atmosphere along the
floor. The valid range is 0 to 20. The slider range is 0 (no
atmosphere between the eye and horizon) to 3. The
default value is 1.
Cloud_samples
The number of samples used below the cloud layer. The
valid range is 0 to 20. The slider range is 0 (clouds do not
0 1 2 5 fade to mist at the horizon) to 3. The default value is 5.
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Sky Texture
Sphere Texture
The Sphere texture simulates an environment by mapping a

texture or image file directly onto the inner surface of an
infinite sphere. The best way to create a sphere environment is
to use a ramp texture and paint objects onto it, being sure to
avoid the poles and edges.
Sphere Environment
Parameters
Source texture
The texture mapped to the inner surface of an infinite
sphere.
Checker File
Shear_u
Shears the Source texture in the U direction. For example,
horizontal stripes will resemble a barber pole. The slider
0 0.1 0.5 1 range is -10 to 10. The default value is 0.
Shear_v
Shears the Source texture in the V direction. For example,
concentric lines at the poles will spiral inward. The slider
0 0.1 0.5 1 range is -10 to 10. The default value is 0.
Flip
Reverses the U and V orientation of the Source texture. For
example, what was the horizon now spans the two poles.
OFF ON The default setting is OFF.
137
Sphere Texture
138
Sphere Texture
Surface Textures
In This Section: Surface Texture Overview 140

Using Surface Textures 141
Texture Placement Window 150
Surface Texture Parameters 160
Surface Texture Types 163
File Texture 165
Bulge Texture 169
Checker Texture 170
Cloth Texture 171
Fractal Texture 174
Grid Texture 176
Mountain Texture 178
Noise Texture 181
Ramp Texture 183
Stencil Texture 189
Water Texture 192
139
Surface Texture Overview
Surface textures are two-dimensional textures that simulate

various types of surface materials by using either an image file
(File and Stencil textures) or a computer graphic procedure
(Bulge, Checker, Cloth, Curvature, Fractal, Grid, Highlight, Mountain,
Noise, Ramp, and Water textures).
Environment textures map Do not map a surface texture to a shader’s Reflection parameter
to directions. Surface textures because it will not produce realistic-looking reflections.
and solid textures map to
positions.
140
Surface Texture Overview
Using Surface Textures
You can use surface textures to simulate two-dimensional

materials (for example, cloth). The File and Stencil textures are
used to specify an image file. The Curvature texture is used by
the Surf curvature and Surf curv params tools. The Highlight
texture is used by the Highlight and Highlight params tools.
Reducing Surface Surface textures are mapped to a surface’s parametric space.

Texture Distortion That is, the XY values of the texture are mapped to the UV
parameters of the surface. If the surface’s UV parameterization
is non-uniform (that is, the U and V isoparms are not
uniformly spaced), then the texture will appear distorted. This
often occurs when mapping a surface texture to a curved
surface. The greater the surface curvature, the less uniform the
parameterization, and the greater the texture distortion.
If a surface texture appears distorted on a surface, do one of

the following:
See Rebuilding Complex ● Make sure your surface is evenly parameterized. You can
Surfaces in the NURBS use Rebuild Surface to re-create the surface with uniform
Modeling book. parameterization.
See Chord Length on ● Use chord length mapping by setting Chord Length ON.
page 161.
See Projection Texture on ● Use the surface texture as a source texture for a Projection
page 209. solid texture.
Label Mapping Label mapping is a technique of applying an image file onto a

surface (for example, a label on a shampoo bottle) and
masking parts of the image file so that it covers only a portion
of the surface. The Stencil surface texture is used for both
mapping and masking.
141
To map a label to a shader:

1 In the shader’s Control Window, click the Map button to the
right of the Color parameter. The Texture Procedures
window appears.
If you are planning to mask the label, continue with step 2.
If you do not need to mask the label, you can skip to step
4.
2 In the Texture Procedures window, click the Stencil button.

The Texture Procedures window automatically closes, a
Stencil texture swatch appears in the Multi-lister, and the
Control Window displays the texture’s parameters.
3 In the Stencil texture’s Control Window, click the Map button

beside the Image field. The Texture Procedures window
appears.
4 In the Texture Procedures window, click the File button. The

Texture Procedures window automatically closes, a File
texture swatch appears in the Multi-lister, and the Control
Window displays the texture’s parameters.
5 In the Control Window, type the name of the image file you
want to use as the label in the Image field, or click the
Browse button and select the image file using the File
Requestor.
The image file is now mapped onto the shader, and
appears on the shader swatch in the Multi-lister. By default,
the image file covers the entire shader. However, you can
limit the area it covers by masking the label and/or
positioning it on the shader.
142
Label Masking A mask controls the transparency of a Stencil texture and limits
the area on a surface where the texture will be visible. There
are two types of masks: file masks and chroma key masks.
File Masking
File masking uses a texture or image file to specify which areas

of the Stencil texture are transparent. Where the Mask file is
white, the Image file will be visible on the surface. Where the
Mask file is black, the shader color will be visible on the
surface. Where the Mask file is grey, both the Image file and the
shader color will be partially visible.
If the Image file has four channels (RGBA), then you can use
the same file for both the Image file and the Mask file. The RGB
information will be used for the image portion of the stencil
and the A (alpha) will be used for the mask portion of the
stencil. If, however, the Image file has only three channels
(RGB), then you must create a separate Mask file.
You can create a Mask file by converting the Image file to black
and white using a paint program (for example, StudioPaint).
Although you can use a color image file as a Mask (for
example, you could use the same file for both the Image and
Mask), the level of transparency of the mask will vary through
the range of colors.
To mask a label using an image file mask:

1 In the Stencil texture Control Window, click the Map button
beside the Mask parameter. The Texture Procedures window
appears.
2 In the Texture Procedures window, click the File button. The

Texture Procedures window automatically closes, a File
texture swatch appears in the Multi-lister, and the Control
Window displays the texture’s parameters.
3 In the Control Window, type the name of the image file you
want to use as the mask in the Mask field, or click the
Browse button and select the mask file using the File
Requestor.
143
The Mask is now mapped onto the shader, and the Image
file no longer covers the entire shader swatch in the Multi-
lister. The Mask file is automatically positioned in the same
location as the Image file.
To control the overall transparency of the Stencil texture,
adjust the Rgbmult value in the Mask file’s Control Window.
To control the softness of the mask, adjust the Bluroffset
value in the Mask file’s Control Window. Small values
(around 0.01) are most useful.
Chroma Key Masking
Chroma key masking does not require a mask file. Instead,

you set the Stencil texture’s HSV Color Key parameters so that a
certain color, or a certain range of colors, are either visible or
invisible.
Chroma key masking has no effect if an image file is mapped

to Mask. Make sure there is no Mask file assigned to the Stencil
texture (type a space in the Mask field) if you want to use
chroma key masking.
To mask a label using chroma key masking:

1 In the Stencil texture Control Window, click on HSV Color Key
to display the HSV Color Key parameters.
2 Set Key Masking ON.
3 Click the color field beside Color Key to open the Color
Editor.
4 Click the Grab button in the Color Editor. The mouse pointer
becomes an eye dropper.
5 Move the eye dropper over the Multi-lister, and click the left
mouse button on the background color of the Image
texture. All areas of the Image texture that have this color
are now transparent (masked) and the shader color is
visible in these areas.
To mask a range of colors, adjust the Hue Range, Sat Range,
Val Range, and Threshold settings.
To invert the mask, set Positive Key ON. Only the color (or
range of colors) specified in the HSV Color Key parameters
are visible, instead of masked.
144
When you are finished masking the label, click the arrow in
the bottom right corner of the shader swatch to hide the Stencil
texture and the Image file (and the Mask file if there is one).
To preview the label map and mask, use Quick render. You may
want to open the Global Quick Rendering Parameters window
and increase the Shading Frequency value to better visualize the
label map and mask. However, if you have to increase the
Shading Frequency value to 10, it may be faster to do a full
render.
To position the texture on a surface, see Positioning Surface

Textures below.
Positioning Surface By default, a texture mapped to a surface covers the entire

Textures surface. You can mask the texture so that it is only visible in
certain areas of the surface. You can also scale and/or position
the texture so that it covers only a certain area of the surface.
See Surface Placement on Two sets of parameters control the positioning of the texture:
page 160 and Label Mapping the Surface Placement parameters and the Label Mapping
on page 161. parameters. If you adjust these parameters in the texture’s
Control Window, the shader swatch in the Multi-lister will update
to reflect any changes you make. Therefore, by editing these
parameters directly and using the Multi-lister as a preview, you
can roughly position a texture on a surface. There are,
however, two easier methods of positioning a texture on a
surface: 2D mapping and 3D mapping.
Each surface texture swatch in the Multi-lister has two small

icons in its bottom right corner. Clicking on either of these
icons activates the corresponding method of texture
placement. It is also possible to use 2D mapping and 3D
mapping simultaneously. For example, you could use 3D
mapping to visualize the texture on the surface and use 2D
mapping (the Texture Placement window) to position the
texture.
2D mapping icon
3D mapping icon
3D Mapping
The 3D mapping technique displays the texture directly on the

wire frame of the surface to which the texture mapped shader
is assigned. This display is updated each time you adjust any
of the Surface Placement or Label Mapping parameters.
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To use 3D mapping to position a texture on a surface:
1 Make sure that the texture mapped shader is assigned to

the appropriate surface, and that this surface is the only
active object in the modeling window.
2 Open the texture’s Control Window, and open the Surface

Placement and Label Mapping sections.
3 Click the 3D mapping icon in the bottom right corner of

the texture swatch in the Multi-lister.
The modeling window displays the texture directly on the

wire frame of the surface.
4 If necessary, increase the patch precision of the surface to

better visualize the texture. Patch precision represents the
number of curves (visual isoparms) that are displayed to
represent each patch on a surface. On most surfaces, the
default patch precision of 2 is too low for 3D mapping.
Increasing the patch precision, however, will also increase
the screen refresh time.
Select Object > Patch precision and enter a number between

2 and 30. The number of visual isoparms per patch
increases, making the texture pattern more visible.
5 You may want to use Shade display mode to better

visualize the texture. Select DisplayTgls > Shade. The
surface is displayed in shaded mode.
6 Adjust the Surface Placement and Label Mapping parameters

until the texture is correctly positioned on the surface.
The Label Mapping parameters control the position and
orientation of the texture relative to the surface (see Label
Mapping on page 161).
The Surface Placement parameters control the position and
orientation of the texture pattern relative to the texture
(Surface Placement on page 160).
146

the texture swatch in the Multi-lister. The modeling window
no longer displays the texture directly on the wire frame
of the surface.
8 If you turned on the Shade display mode in step 5, select

DisplayTgls > Shade to turn it off.
9 If you increased the patch precision of the surface in step

4, reset the patch precision of the surface to its default
value (2). Select Object Edit > Patch precision and enter 2.
2D Mapping
The 2D mapping technique uses the Texture Placement window

to display and position a texture. The horizontal and vertical
dimensions of this window (S and T) represent the two
parametric dimensions of the active surface (U and V). A
texture mapped to the active surface will therefore be
displayed in the Texture Placement window relative to the
surface. The buttons at the bottom of the Texture Placement
window allow you to interactively edit the position and
orientation of the texture relative to the surface.
The 2D mapping technique is slightly different when you are

positioning a texture on a spline surface and when you are
positioning a texture on a face. This is because the range of the
U and V parameters is different for spline surfaces and faces.
The range of the U and V parameters of a spline surface is
always 0 to 1. The range of the U and V parameters of a face is
based on the size and location of the face when it is created.
To use 2D mapping to position a texture on a surface:


See Texture Placement The Texture Placement window opens and displays the
Window on page 150. texture relative to the active surface.
147
See Xform Menu on page 157. 3 Use the Xform tools in the Texture Placement window to
position and orient the texture relative to the surface. The
texture’s Surface Placement and Label Mapping parameters
are automatically updated when you use the Xform tools.
4 Close the Texture Placement window, either by clicking the

2D mapping icon in the texture swatch in the Multi-lister, or
by clicking the close box in the top left corner of the Texture
Placement window.
To use 2D mapping to position a texture on a face:


The following confirm box is displayed:
148
If you select YES, the texture map is automatically scaled

to fit the face. If you select NO, the texture is not scaled
and the following confirm box is displayed:
If you select YES, the view automatically dollies out to fit

the selected faces into the Texture Placement window. If you
select NO, the view remains in the worldspace origin.
If you select YES to both of the above prompts, the texture
will be scaled to best fit the selected face.
The Texture Placement window opens and displays the
texture relative to the active surface.
See Xform Menu on page 157. 3 Use the Xform tools in the Texture Placement window to
position and orient the texture relative to the surface. The
texture’s Surface Placement and Label Mapping parameters
are automatically updated when you use the Xform tools.
4 Close the Texture Placement window, either by clicking the

2D mapping icon in the texture swatch in the Multi-lister, or
by clicking the close box in the top left corner of the Texture
Placement window.
149
Texture Placement Window
The Texture Placement The Texture Placement window displays a texture that is
window is sometimes mapped to a surface, and allows you to position the texture
referred to as the Texture interactively. The two dimensions of this window (S and T)
Space Editor.
represent the two parametric dimensions of the active surface
(U and V). A texture mapped to the active surface will
therefore be displayed in the Texture Placement window
relative to the surface. The buttons at the bottom of the Texture
Placement window allow you to edit the position and
orientation of the texture relative to the surface.
To open the Texture Placement window:

1 Select the texture swatch in the Multi-lister.
2 Click the 2D mapping icon in the texture swatch.
click
150
these tools are unique to the Texture Placement window
The title bar contains standard dolly and track icons, and full/
half/resize, minimize, and close icons. The buttons and menus
located along the bottom of the window let you interactively
edit all Surface Placement and Label Mapping parameters. There
are also some additional tools along the bottom of the window
that are unique to the Texture Placement window.
Grid Buttons The Grid buttons allow you to display a grid in the window,
specify the size of the grid, and enable snapping of texture
vertices to the grid.
Disp
Displays a light grey grid in the window. The numeric
field above the Disp button controls the number of vertical
grid lines (representing U in parametric space), and the
numeric field above the Snap button controls the number
151
of horizontal lines (representing V in parametric space).

Click in either of these fields to change the number of grid
lines.
Snap
Enables snapping of texture vertices to the nearest grid
location when you perform texture vertex
transformations.
Pick Buttons The Pick buttons, Obj (Object) and TVert (Texture Vertices)
allow to you to select geometry or vertices in the modeling
window, and load them into the Texture Placement window.
Picking geometry or vertices in the modeling window is
similar to using the Pick > CV tool:
Mouse Button Selection Description
left toggles selection

middle deselects all vertices or geometry
right deselects vertex or geometry
The Obj and TVert buttons are mutually exclusive; only one can
be active at a time.
Obj
Allows you to select polygonal geometry in the modeling
window and load it into the Texture Placement window.
You can modify geometry loaded into the Texture
Placement window using the Xform tools.
If any polysets, components, or polygons are selected
when you first open the Texture Placement window, all
polysets or fully selected polygons are loaded (if all of
their vertices are selected) into the Texture Placement
window. This geometry is displayed as two-dimensional
parametric space geometry. At any point after you open
the window, you can change the loaded geometry by
clicking the Obj button and selecting the geometry in the
modeling window.
152
When the Obj button is selected, you can select polygonal

geometry at the vertex level by clicking and dragging in
the modeling windows (like using the Pick > CV tool).
Only polygons that have all of their component vertices
selected will be loaded into the Texture Placement window.
If you have selected polygonal geometry prior to opening
the Texture Placement window, the Obj button is selected by
default, and all Texture Placement window tools are
enabled. If, however, you do not have polygonal geometry
selected prior to opening the Texture Placement window,
the Obj button will not be selected, and all Texture
Placement window tools (except for the Obj button) are
disabled. Selecting polygonal geometry as above will
enable the tools.
A continuous tool is one that If you select another continuous tool (such as
remains active after you Xform > Move) while using the Texture Placement window,
have selected it and used it all geometry is unloaded and the Obj button is deselected.
to perform an action (for
example, Xform > Move). If you select the Obj button again, you can reload all active
geometry. This also exits the continuous tool.
TVert
Allows you to select polyset vertices in the modeling
window. These vertices correspond to the vertices
displayed in the Texture Placement window. You can
modify selected vertices using the Vertex tools in the
Texture Placement window.
Vertex Menu
The Vertex tools let you interactively transform selected

polyset vertices.
There are several methods you can use to select vertices.

● You can select an individual vertex in the Texture Placement
window by clicking on it. You can select multiple vertices
in the Texture Placement window by holding the Shift key
and click-dragging a box around the vertices.
● You can select individual or multiple vertices in the
modeling window by clicking the TVert button and then
clicking on (or click-dragging a box around) the vertices in
the modeling window.
153
● You can select all vertices associated with a polygon in the

Texture Placement window by holding the Alt key and
clicking in the middle of the polygon. This includes all
vertices that are shared with other polygons.
● You can select all vertices associated with a polygon in the
Texture Placement window by holding the Alt and Ctrl keys
and clicking in the middle of the polygon. This does not
include vertices that are shared with other polygons.
● You can select and transform a vertex without affecting
any polygons that share that vertex. First, select the vertex
using any of the methods described above, and then press
the -> (right arrow) key. A white diamond-shaped marker
is displayed in one of the polygons that shares this vertex.
Press the -> key again until the marker is in the polygon
that you want to transform the vertex for. Transform the
vertex using any of the Vertex tools. Press the <- (left
arrow) key to remove the marker.
Move
Lets you move selected vertices in the Texture Placement
window by clicking and dragging in the window.
Mouse Button Move Direction
left freeform
middle equal in S and T directions
right along the S or T axis
To move the pivot point, see Rotate

Set Pivot on page 155. Lets you rotate selected vertices about the current pivot
point in the Texture Placement window by clicking and
dragging in the window. The pivot point is indicated by a
small green circle in the Texture Placement window, and is
in the bottom left corner of the window by default.
Mouse Button Move Direction
left clockwise
right counter-clockwise
154
To move the pivot point, see Scale

Set Pivot on page 155. Lets you scale selected vertices about the current pivot
point in the Texture Placement window by clicking and
dragging in the window. The pivot point is indicated by a
small green circle in the Texture Placement window, and is
in the bottom left corner of the window by default.
Mouse Button or Direction Scale Type or Direction
left button non-proportional scale

middle button proportional scale
right button along the S or T axis
right or up direction scale up (larger)
left or down direction scale down (smaller)
Smear
Lets you smear selected vertices in the Texture Placement
window by clicking and dragging in the window. Vertices
closest to the mouse pointer are moved more than vertices
further away from the mouse pointer.
You can also select the Set Set Vertex

Vertex function by moving Lets you enter numeric S and T values to re-position the
the mouse pointer over the
Texture Placement window selected vertex. When you select Set Vertex, the following
and pressing the S key. dialog box is displayed.
Set Pivot
Lets you move the pivot point (used during Scale and
Rotate operations) by clicking and dragging in the Texture
Placement window. The pivot point is indicated by a small
green circle in the Texture Placement window, and is in the
bottom left corner of the window by default.
155
To center the pivot point within the selected vertices,

move the mouse pointer over the Texture Placement
window and press the C key.
Freeze Transform
Applies any Translate, Coverage, Rotate, Offset, or Repeat
values (set using either the Xform tools, or the actual
parameters in the texture’s Control Window) to all vertices
loaded in the Texture Placement window.
The texture coordinate that results from the
transformation is calculated and then assigned to the
appropriate texture vertices in the Texture Placement
window. A system prompt also asks whether you want to
reset the texture transform values before you confirm the
operation. If you decide to reset, then the transformation
values are set to their defaults.
The Freeze Transform tool is very useful when preparing
texture coordinate data for export to systems that do not
support advanced placement options such as Translate,
Coverage, Rotate, Offset, and Repeat.
Undo
Undoes the last vertex transformation you performed. You
can also select the Undo function by moving the mouse
pointer over the Texture Placement window and press the U
key.
Vertex Flipping Hot Keys
Two other vertex tools are available only by using hot keys in
the Texture Placement window.
H (Horizontal Flipping)
Scales the S value of the selected vertices by a factor of -1
around the center of the selected vertices (no matter where
the pivot point is). This flips the vertices horizontally.
V (Vertical Flipping)
Scales the T value of the selected vertices by a factor of -1
around the center of the selected vertices (no matter where
the pivot point is). This flips the vertices vertically.
156
Xform Menu
The Xform tools let you transform the texture relative to the
active surface it is mapped to. Any transformations you make
using these tools are automatically updated in the texture’s
Surface Placement and Label Mapping parameters. The origin of
the texture is in the lower left corner of the window. The U
parametric direction is horizontal, and the V parametric
direction is vertical.
Translate
Lets you move the texture on the surface by clicking and
dragging in the Texture Placement window. This tool
controls the texture’s Utranslate and Vtranslate values.
Coverage
Lets you reduce the coverage of the texture on the surface
by clicking and dragging in the Texture Placement window.
This tool controls the texture’s Ucoverage and Vcoverage
values.
Rotate
Lets you rotate the texture on the surface by clicking and
dragging in the Texture Placement window. The texture is
not actually rotated in the Texture Placement window.
Instead, a white border representing the edges of the
surface is rotated. This tool controls the texture’s Rotate
value.
Offset
Lets you offset the texture’s position on the surface by
clicking and dragging in the Texture Placement window.
This tool controls the texture’s Uoffset and Voffset values.
Repeat
Lets you change the number of times the texture is
repeated within the coverage area by clicking and
dragging in the Texture Placement window. This tool
controls the texture’s Urepeat and Vrepeat values.
Reset
Undoes the last transformation you performed.
157
Fit
Automatically fits the texture to the surface.
Lookat
Dollies the display in the Texture Placement window so that
the placement object (representing the surface) fills as
much of the window as possible.
Display Mode Menu
The Display Mode tools let you change the way the surface and
texture are displayed in the Texture Placement window. The
default display mode is Picture.
Line Only
Displays the surface as a white outline, the texture as a red
outline, and the grid as blue lines.
Drag Line
Displays the texture as a color image against the shader
color, unless you are using an Xform function. During
Xform operations, the display changes to Line Only mode.
When the Xform operation is completed and the mouse
button is released, the texture is displayed as a color image
again.
Picture
Displays the texture as a color image at all times.
High Res.
Displays the texture as a high resolution color image at all
times. High Res. mode may be slower than other display
modes.
Wrap Menu
The Wrap tools let you repeat the texture pattern outside of its
coverage area.
158
Toggle V
Wraps the texture outside of its coverage area in the V
parametric direction. This tool controls the texture’s Vwrap
setting.
Toggle U
Wraps the texture outside of its coverage area in the U
parametric direction. This tool controls the texture’s Uwrap
setting.
Model View Menu
The Model View tools let you change the type of view in the
modeling window.
See Quick Render on Qk Render

page 397. Quick renders all surfaces to which the texture is mapped.
See 3D Mapping on page 145. Shaded Wire

Displays the texture on the wire frame of the active surface
if the texture is mapped to that surface. This tool activates
3D mapping.
Wireframe
Displays the active surface in normal wire frame view.
This tool toggles the modeling windows out of Shaded
Wire mode.
159
Surface Texture Parameters
The Color Balance, Intensity, Blur, Effects, Surface Placement, and

Label Mapping parameters are common to all surface textures.
Color Balance, Intensity, See Texture Parameters on page 110.

Blur, Effects
Surface Placement
The Surface Placement parameters control how a texture’s

pattern covers the texture coverage area (the area the texture
covers on the actual surface). See Label Mapping on page 141.
Rotate
The angle (in degrees) the texture map is rotated on the
surface. The slider range is 0 to 360. The default value is 0
0 10 45 90 (no rotation).
Urepeat, Vrepeat
The number of times the texture is repeated within the
coverage area along the surface’s U and V parametric
1, 1 2, 1 1, 2 2, 2 directions. If Urepeat value and/or Vrepeat value are
greater than 1, the texture will be repeated several times
within the coverage area, but the size of each instance of
the texture will be smaller than the default size. Similarly,
if the Urepeat value and/or the Vrepeat value are less than
160
1, only a portion of the texture will be mapped to the

surface. The slider range is 1 to 10. The default value for
most textures is 1.
Uoffset, Voffset
Offsets the texture pattern (without actually moving the
texture itself) along the surface’s U and V parametric
0, 0 0.2, 0 0, 0.2 0.2, 0.2 directions. Adjust the Uoffset and Voffset values to fine-
tune the placement of a pattern on a surface. The slider
range is 0 (no offset) to 1. The default value is 0.
Mirror
Mirrors repeated patterns of the texture (when the Urepeat
value and/or the Vrepeat value is greater than 1) so that
OFF ON rows of images appear as mirrored images of themselves.
This helps to disguise the effect of seams between
repeated areas. The default setting is OFF.
Stagger
Offsets repeated patterns of the texture (when the Urepeat
value and/or the Vrepeat value is greater than 1) so that
OFF ON alternate rows are offset exactly half, like bricks in a brick
wall. When Stagger is OFF, the repeated patterns line up
horizontally and vertically. The default setting is OFF.
Chord Length
Causes the texture to use a mapping technique that
ignores the UV parameterization of the (spline-based)
OFF ON surface, and instead maps according to surface distances
(measured in world space units). This can help minimize
texture distortion on surfaces with non-uniform
parameterization. The default setting is OFF.
Surface OFF ON
Parameterization
Label Mapping
161
The Label Mapping parameters control how the texture covers

the surface. See Label Mapping on page 141.
Ucoverage, Vcoverage
The fraction of the surface covered by the texture along
the surface’s U and V parametric directions. For example,
0, 0 0.5, 0.5 1, 0.5 1, 1 if the Ucoverage and Vcoverage values are both 0.5, the
texture will cover half of the surface in the U direction and
half of the surface in the V direction, or one quarter of the
total surface. Areas outside of the texture coverage area
have a non-texture mapped parameter value as indicated
in the shader’s Control Window (for example, the shader
color). The slider range is 0 to 1. The default value is 1.
Utranslate, Vtranslate
Moves the texture coverage area along the surface’s U and
V parametric directions. Effectively, the Utranslate and
0, 0 0.1, 0.1 0.5, 0.5 1, 1 Vtranslate values determine where the texture map will be
located on the surface. The slider range is 0 to 1. The
Uwrap, Vwrap
Determines whether or not the texture will replicate (copy
itself outside of the coverage area) in the surface’s U and V
OFF ON OFF ON parametric directions, when the Utranslate or Vtranslate
OFF OFF ON ON value is greater than 0.
By default, both Uwrap and Vwrap are ON. Toggle these
parameters OFF to prevent seams from showing on a
closed surface, such as a cylinder or sphere, or to prevent
the texture from duplicating itself when you are using the
translation and coverage parameters to limit the mapping
to a very specific surface area.
162
Surface Texture Types
There are thirteen different types of surface textures.
File Texture
The File texture lets you use an image file as a surface texture.
See File Texture on page 165.
Bulge Texture
The Bulge texture represents a grid of white squares which

fade to grey toward their edges. See Bulge Texture on page 169.
Checker Texture
The Checker texture represents a checkerboard pattern.

See Checker Texture on page 170.
Cloth Texture
The Cloth texture simulates fabric or other woven materials.

See Cloth Texture on page 171.
Curvature Texture
The Curvature texture is a specialized version of the ramp

texture used by the Surf curvature and Surf curv params tools. See
Showing Surface Curvature in the NURBS Modeling book.
Fractal Texture
The Fractal texture represents a random function with a

particular frequency distribution (a fractal). See Fractal Texture
on page 174.
Grid Texture
The Grid texture represents a scalar grid pattern. See Grid

163
Highlight Texture
The Highlight texture is a specialized version of the ramp

texture used by the Highlight and Highlight params tools. See
Showing Surface Features with Highlights in the NURBS Modeling
book.
Mountain Texture
The Mountain texture simulates rocky terrain using a two-

dimensional fractal pattern. See Mountain Texture on page 178.
Noise Texture
The Noise texture represents a random pattern of two colors.

See Noise Texture on page 181.
Ramp Texture
The Ramp texture represents a gradation through a series of

colors. See Ramp Texture on page 183.
Stencil Texture
The Stencil texture lets you use an image file as a surface

texture and lets you selectively mask the image file. See Stencil
Water Texture
The Water texture simulates linear water waves, concentric

water ripples (for example, caused by an object falling into
water), or a combination of waves and ripples. See Water
164
File Texture
The File texture lets you use an image file as a surface texture.
You can create an image file using a paint package (for
example, StudioPaint), using StudioTools’s integrated
sketching tools (see the Sketching book), using a scanner to
scan in a photograph, or by rendering a scene.
cobble_stone leaf pattern_35 utah_back
File Texture Parameters
The File Texture Parameters let you set an image to be used as a

texture map (or a sequence of images to create an animation),
and lets you control the image quality.
Image
The image file used by the File texture. If you type only the
file name, the system looks for the image file in the pix
directory of your current working project, unless the
applicable .AliasPrefs has been set to direct all searches to a
common pix directory (see System Directories in the
Interface section of the Basic Tools book). If the file is not
found there, the system looks in ALIAS_INPUT_PIX_DIR. If
the file is found, the full path is displayed in the Image
field.
165
File Texture
Use Extension
Appends the frame extension number (Frame exten.) to the
Image file name and to any images in the Per Object Images
list. To use a sequence of image files to create an
animation, set Use Extension ON and then animate the
Frame exten. value. The default setting is OFF.
Frame exten. (Frame Extension)

The frame extension number that will be appended to the
Image file name and to any images in the Per Object Images
list. To use a sequence of image files to create an
animation, set Use Extension ON and then animate the
Frame exten. value. If Use Extension is OFF, the Frame exten.
value has no effect.
Filter
The anti-aliasing technique applied to the image file
during rendering. The higher order filters (QUADRATIC,
QUARTIC, and GAUSS) only work when the File texture is
mapped directly to a shader. The default setting is BLEND.
OFF No anti-aliasing. This is useful for game

designers who want to see pixels of a
texture without any interpolation by the
renderer.
BLEND Standard anti-aliasing (as in previous
versions). This is the default setting.
BOX Higher quality anti-aliasing, but slower
performance.
QUADRATIC Higher quality anti-aliasing, but slower
performance.
QUARTIC Higher quality anti-aliasing, but slower
performance. Use only if QUADRATIC is
inadequate (extremely rare).
GAUSS Higher quality anti-aliasing, but slower
performance.
Cache
Caches the file texture. If Texture Caching is OFF in the
Global Rendering Parameters window, the Cache setting has
no effect (see Texture Caching on page 428). The default
setting is OFF.
166
File Texture
Per Object Images
A File texture that uses Per The Per Object Images section lets you create a list linking
Object Images is sometimes image files to objects so that different objects can use the same
referred to as a supertexture. shader and File texture, but different image files. During
rendering this list is examined. If the object is on the list, the
corresponding image file is used. If the object is not on the list,
the default Image (under the File Texture Parameters) is used.
If the default Image field is blank, then only the objects in the
Per Object Images list will be textured. Conversely, you could
turn off the file textures for specific objects by putting them in
the Per Object Images list and leaving their Image fields blank.
You must still assign the shader to the objects in the Per Object
Images list.
Two notable uses for this feature are StudioPaint and Convert
Solid Texture. In both cases you want to create the appearance
of a single texture that spans several patches. Separate image
files must be used; however, by using the Per Object Images list
you only need one shader. Image files in the Per Object Images
list are not displayed in the Multi-lister.
Add
Adds a blank line to the Per Object Images list.
Delete
Deletes the active (highlighted white) line in the Per Object
Images list. To make a line active, click once on it.
167
File Texture
To link an image file to an object:

1 Click the Add button in the Per Object Images list. A blank
line is added to the list.
An “S” (supertexture) icon appears in the File texture’s

Multi-lister swatch and in the shader’s Multi-lister swatch.
2 Either:
◆ double-click in the Object field and type the name of
the object, or
◆ click on the object in the modeling window so that it is
the only active object, and then click the Set button in
the Per Object Images list. The object name appears in
the Object list.
3 Either:
◆ double click in the Image field (beside the object name
in the Object list) and type the image file name, or
◆ click the Browse button beside the Image field and
select the image file using the File Requestor. The
image file name appears in the Image list beside the
object name in the Object list.
The image file will be applied only to that object.
168
File Texture
Bulge Texture
The Bulge texture represents a grid of white squares which

fade to grey toward their edges. Use the Bulge texture as a
bump or displacement map to create surface bulges, as a
transparency map to simulate windows that are dirty around
the edges, or as a color map to simulate tiles.
stoplight Bulge#3 Bulge#4

Color map
Bump map
Bulge Texture
Parameters
Uwidth, Vwidth
The width of the texture squares in the U and V
parametric directions. The valid range is 0 to 1. The slider
0, 0 0.5, 0 0, 0.5 0.5, 0.5 range is 0 to 0.5. The default value is 0.1.
169
Bulge Texture
Checker Texture
The Checker texture represents a checkerboard pattern.
Checker Texture
Parameters
Color1, Color2
The two colors of the checkerboard squares.
Contrast
The contrast between the two texture colors. The valid/
slider range is 0 (the two colors are averaged over the
0 0.1 0.5 1 entire texture) to 1. The default value is 1.
170
Checker Texture
Cloth Texture
The Cloth texture simulates fabric or other woven materials.
Note the following when using the cloth texture:

● Rendering will be faster if all three randomizing
parameters (Randomness, Width Spread, and Bright. Spread)
are set to 0.
● Very fine cloth textures may produce aliasing or moiré
patterns, especially when viewed from a distance. If this
occurs, set the Randomness value to a small non-zero
value, or use Convert Solid Tex to convert the cloth texture
into an image file. See Convert Solid Tex on page 27.
● If you apply the cloth texture as a bump or displacement
map, set the U Thread Color and V Thread Color to white,
and the Gap Color to black, and use the Intensity parameters
(Amult and Aoffset) to control the intensity of the bump/
displacement effect. Decrease the Blurmult value to provide
greater definition in the bump/displacement effect.
Generally, the Amult and Blurmult values should be very
low (less than 0.1).
171
Cloth Texture
Cloth Texture Parameters
U ThreadColor,V ThreadColor
The colors of the warp (U direction) and weft (V direction)
threads of the cloth.
Gap Color
The color of the area between the warp and weft threads.
The threads’ colors blend into the Gap Color at their edges,
so a lighter Gap Color tends to simulate a cloth with softer,
more translucent threads.
U Thread Width, V Thread Width

The width of the warp and weft threads. If the thread
width is 1, then the threads will fully touch with no gap
0.1 0.5 0.75 1 between them. If the thread width is 0, the thread will
disappear. (You can randomize thread width by setting
the Width Spread parameter.) The valid/slider range is 0 to
U Wave, V Wave
Controls the waviness of the warp and weft threads to
create special weave effects such as herringbone. The
0, 0 0.2, 0 0, 0.2 0.2, 0.2 slider range is 0 to 0.5. The default value is 0.
Randomness
Smears the texture randomly in the U and V directions.
Adjust the Randomness value to create natural-looking
0 0.2 0.5 1 cloth with irregular threads, or to prevent aliasing and
moiré patterns on very fine cloth textures. The valid range
is 0 to ∞. The slider range is 0 to 1. The default value is 0.
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Cloth Texture
Width Spread
Randomizes the width of each thread along its length by
subtracting a random amount (between 0 and the Width
0 0.2 0.5 1 Spread value) from the U Thread Width and V Thread Width
values. For example, if the thread widths are 1 and the
Width Spread value is 0.75, the actual thread widths with
vary between 0.25 and 1. If the Width Spread value is
greater than or equal to the Thread Width value, then some
threads will disappear entirely at certain points along
their length. The valid/slider range is 0 to 1. The default
value is 0.
Brght. Spread
Randomizes the brightness of each thread along its length
by subtracting a random amount (between 0 and the
0 0.2 0.5 1 Bright. Spread value) from U Thread Color and V Thread Color
(similar to Width Spread). The valid/slider range is 0 to 1.
173
Cloth Texture
Fractal Texture
The Fractal texture represents a random function with a

particular frequency distribution (a fractal) and can be used to
create many different types of effects. Use the Fractal texture as
a bump or displacement map to simulate rock or mountains,
or as a transparency map to simulate clouds or flames. The
Fractal texture has the same level of roughness at different
levels of magnification (that is, at different distances from the
camera).
cowhide Fractal#2 sky_rain_proc fractal

Color map Cloud texture map
mud_1 Fractal#7 Fractal#8

Transparency map
Bump map
Fractal Texture
Parameters
174
Fractal Texture
Amplitude
A scaling factor applied to all values in the texture about
the texture’s average value. The valid range is 0 to ∞. The
0 0.1 0.5 1 slider range is 0 to 1. The default value is 1.
Threshold
An offset factor applied to all values in the texture. The
valid range is 0 to ∞. The slider range is 0 to 1. The default
0 0.1 0.5 1 value is 0.
Ratio
Controls the frequency of the fractal pattern. The valid/
slider range is 0 (low frequency) to 1 (high frequency). The
0 0.5 0.707 1 default value is 0.707.
Level_min, Level_max
The minimum and maximum number of iterations used to
calculate the fractal pattern. These parameters control how
0, 1 0, 2 0, 3 9, 9 fine grained the fractal pattern is. The valid range is 0 to
100. The slider range is 0 to 25. The default value is 0 for
Level_min and 9 for Level_max.
Tip If both Level_min and Level_max are high (close to 100)

rendering will take a long time. If you want to make the
fractal pattern more finely grained, lower the Blurmult or
Amult value instead.
Animated
Allows you to animate the fractal pattern by setting
Animated ON and animating the Time value. The Fractal
texture will take longer to calculate when Animated is ON.
The default setting is OFF.
Tip Use an animated Fractal texture to create billowing cloud or

flame effects.
Time
Allows you to animate the fractal pattern by setting
Animated ON and animating the Time value. If Animated is
OFF, the Time value has no effect. The slider range is 0 to 1.
The default setting is 0.
175
Fractal Texture
Grid Texture
The Grid texture represents a scalar grid pattern.
headlight GridTexture#5 plastic_window_high GridTexture#4

Bump map Incandescence map
Grid Texture Parameters
Line_color
The color of the grid lines. The default color is white.
Default Red Green Blue
Filler_color
The color of the spaces between the grid lines. The default
color is black.
Default Red Green Blue
176
Grid Texture
Uwidth, Vwidth
The width of the grid lines in the U and V parametric
directions. The valid range is 0 to 1. The slider range is 0 to
0.1, 0.1 0.5, 0.1 0.1, 0.5 0.5, 0.5 0.5. The default value is 0.1.
Contrast
The contrast between the Line Color and the Filler Color. The
valid/slider range is 0 (the two colors are averaged over
0 0.1 0.5 1 the entire texture) to 1. The default value is 1.
177
Grid Texture
Mountain Texture
The Mountain texture simulates rocky terrain using a two-

dimensional fractal pattern. Use the Mountain texture as both a
color map and a bump or displacement map (on a flat surface)
to simulate snow capped mountains.
mount_disp_1 Mount#4 Mount#5

Color map
Displacement map
mount_disp_2 Mount#6 Mount#7

Color map
Displacement map
If you do apply the Mountain texture as both a color map and a

bump or displacement map, note the following:
● The texture calculates the color map based on the bump/
displacement map, so, for example, the location of snow is
based on the surface’s displacement.
● The color parameters (Snow_color and Rock_color) of the
Mountain texture relate only to the color map, and have no
effect on the bump/displacement map. Similarly, all non-
color parameters of the Mountain texture relate only to the
bump/displacement map, and have no effect on the color
map.
178
Mountain Texture
● The values of the Boundary parameter, the Snow Levels

parameters, and the Recursion Depth parameter (Level_max)
of the bump/displacement map will override those of the
color map. For example, the Boundary value of the bump/
displacement map will control the raggedness of the snow/
rock boundary of the color map.
Mountain Texture
Parameters
Snow_color
The color of the snow element of the texture.
Rock_color
The color of the rock element of the texture.
Amplitude
0.1 0.5 0.8 1 slider range is 0 to 1. The default value is 1.
Roughness of Features
Snow
The roughness of the snow element of the texture. The
valid/slider range is 0 (perfectly smooth snow) to 1
0 0.4 0.5 1 (extremely rough snow). The default value is 0.4.
Rock
The roughness of the rock element of the texture. The
valid/slider range is 0 (perfectly smooth rock) to 1
0 0.5 0.707 1 (extremely rough rock). The default value is 0.707.
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Mountain Texture
Boundary
The raggedness of the rock/snow boundary. The valid/
slider range is 0 (perfectly smooth rock/snow boundary)
0 0.1 0.5 1 to 1 (extremely rough rock/snow boundary). The default
value is 1.
Snow Levels
Snow_alt.
The level (altitude) of the transition between rock and
snow. The valid range is 0 to ∞. The slider range is 0 to 1.
0 0.5 0.8 1 The default value is 0.5.
Snow_dropoff
The suddenness with which snow no longer sticks to the
mountain. The valid range is 0 to ∞. The slider range is 0
0 0.1 0.5 1 to 1. The default value is 2.
Snow_max_slope
The maximum angle (expressed as a decimal value) over
which snow will not stick to the mountain. For example,
0.1 0.5 0.8 3 where the slope exceeds the Snow_max_slope value, it
would be bare rock. The valid range is 0 to ∞. The slider
Recursion Depth
Level_max
The maximum number of iterations used to calculate the
fractal pattern, which controls how fine grained the fractal
1 2 3 20 pattern is. The valid/slider range is 0 to 40. The default
value is 20.
180
Mountain Texture
Noise Texture
The Noise texture represents a random pattern of two colors.

The Noise texture will appear smoother the closer it is to the
camera.
eggshell Noise#2 glass_rippled_3 Noise#2

Bump map Bump map
Noise Texture
Parameters
Amplitude
0 0.1 0.5 1 slider range is 0 to 1. The default value is 1.
Threshold
0 0.1 0.5 1 value is 0.
Animated
Allows you to animate the noise pattern by setting
Animated ON and animating the Time value. The Noise
texture will take longer to calculate when Animated is ON.
181
Noise Texture
Time
Allows you to animate the noise pattern by setting
Animated ON and animating the Time value. If Animated is
OFF, the Time value has no effect. The slider range is 0 to 1.
The default setting is 0.
182
Noise Texture
Ramp Texture
The Ramp texture represents a gradation through a series of

colors. The ramp texture can be used to create many different
types of effects (stripes, geometric patterns, mottled surfaces).
fur_ramp hair_ramp hue_ramp_tex mesh
psych_tex_1 psych_tex_3 ramp_tex walnut_tex_3
eye_ball eye_ball_ramp chrome_mesh mesh#2

Color map Transparency map
feather Ramp#29 Ramp#28 Ramp_bump

Color map
Incandescence map
Bump map
183
Ramp Texture
The default ramp texture is blue/red/black unless the texture

is mapped to certain single-channel parameters (for example,
Reflectivity, Bump, Displacement). In these cases the ramp is
black/white/black.
Use a ramp texture:

● as a two-dimensional environment background
● as the source file for an environmental sphere texture to
simulate a sky and horizon
● as the source file for a projection texture to simulate wood
grain, marble, or rock.
Very complex ramp textures may experience aliasing during

an animation. If this occurs, use Convert Solid Tex to convert the
ramp texture into an image file (see Convert Solid Tex on
page 27).
Ramp Texture
Parameters
184
Ramp Texture
Ramp Type
Controls the direction of the color ramp. The default
setting is V RAMP.
V Ramp U Ramp Diagonal Radial Circular
Box UV_Ramp Tartan Four Corner
Interpolation
Controls the way colors in the ramp are blended. The
default setting is LINEAR_RAMP.
None Linear_Ramp Ramp Up Ramp Down
Smooth Bump Out Bump In
Ramp
click to edit the color component, or

click-drag to move the color
component
click to delete the color component
click to add a new color component,

or click-drag to add and interactively
position a new color component
active color component
Each color component in the ramp has a circular color

handle on the left side of the ramp, and a square color icon
on the right side of the ramp (except for the bottom color
185
Ramp Texture
in the ramp). The active color has a white border around

its color handle. The Position and Ramp Color parameters
apply to the active color only. That is, to edit a color
component’s Position value or Ramp Color, you must first
click its color handle to make it the active color
component.
Only changes in Ramp Type, Interpolation, Position, and Ramp
Color are actually displayed in the ramp. Changes in all
parameters are displayed in the Multi-lister swatch.
Position
The position of the active color component in the ramp.
The valid/slider range is 0 (bottom of ramp) to 1 (top of
ramp).
Ramp Color, Intensity

The color or intensity of the active color component. Only
one of these parameters (Ramp Color or Intensity) is
available for a particular ramp texture. If the Ramp texture
is mapped to a three-channel parameter (for example,
Color), then the Ramp Color parameter is available. If the
Ramp texture is mapped to a single-channel parameter (for
example, Bump), then the Intensity parameter is available.
The slider range for Intensity is 0 to 1.
Uwave, Vwave
Uwave
Controls the amplitude of a sine wave offset of the texture
in the U and V directions. Increasing the Uwave or Vwave
value makes the texture appear increasingly wavy. The
0 0.1 0.5 1 slider range is 0 (no wave) to 1. The default value is 0.
Vwave
Tip To increase the number of waves in the texture, increase the

Urepeat and/or Vrepeat values.
0 0.1 0.5 1
Noise
The amount that the texture is offset in the U and V
directions by two-dimensional noise. If the texture repeats
0 0.1 0.5 1 (the Urepeat value and/or Vrepeat value are greater than
1), the noise will not repeat. That is, each instance of the
texture will be unique. The slider range is 0 (no noise) to 1.
186
Ramp Texture
Noise Freq.
Controls how fine-grained the noise is (if the Noise value is
non-zero). The slider range is 0 to 1. The default value is
0 0.1 0.5 1 0.5.
HSV Color Noise, Value

Noise
The HSV Color Noise parameters allow you to modulate the

texture color using three separate two-dimensional noises
which affect the color’s hue, saturation, and value. If the Ramp
texture is mapped to a single-channel parameter (for example,
Bump), then the Value Noise parameters (Val Noise and Noise
Freq.) replace the HSV Color Noise parameters.
Noise Hue
Offsets the color hue (mottles the color). The slider range
0 0.1 0.5 1
Sat (Saturation)
Offsets the color saturation or “whiteness” (creates a
weathered look). The slider range is 0 to 1. The default
0 0.1 0.5 1 value is 0.
Val (Value)
Offsets the color value or “blackness.” The slider range is
0 0.1 0.5 1
187
Ramp Texture
Freq. Hue, Sat (Saturation), Val (Value)

Freq. Hue
Controls the graininess of hue, saturation, and value
noise. For each non-zero Freq. value, additional
calculations are involved that slow down rendering. The
0 0.1 0.5 1 slider range is 0 to 1. The default value is 0.5.
Freq. Sat
0 0.1 0.5 1
Freq. Val
0 0.1 0.5 1
188
Ramp Texture
Stencil Texture
The Stencil texture is similar to the File texture. It lets you use
an image file as a surface texture; however, it also lets you
mask the image file to control how it covers a surface. Use the
Stencil texture to overlay different textures (and control which
parts of the textures are visible), or for label mapping.
See Label Mapping on page 141.
aw_logo label main512 main512.msk
Stencil Texture
Parameters
Image
The texture used by the Stencil texture. To use an image
file, you must map a File texture to this parameter.
Mask
The transparency of the Stencil texture. You can use the
Mask parameter either to control the overall transparency
0 0.5 0.9 1 of the entire texture (by using the numeric field or slider),
or to control the transparency of select regions of the
texture (by mapping a texture to Mask). To use an image
file, you must first map a File texture to this parameter.
For example, if the Stencil texture is mapped to a shader’s
None color, and the Mask value is 0.5, the resulting surface will
be an even mix of the shader color and the Stencil texture
189
Stencil Texture
color. If Mask is mapped with an image of a black circle on

white, the Stencil texture color will appear inside the circle,
and the shader color will appear outside the circle.
If you are using the Stencil texture an Overlay map, the
Mask setting determines the degree to which the texture it
was applied to can be seen through the Stencil texture.
See Overlay on page 112.
The slider range is 0 (opaque) to 1 (transparent). The
default value is 0.
Edge Blend
Controls the sharpness/softness of the edges of the
texture. The valid range is 0 to ∞. The slider range is 0 to 1.
HSV Color Key
The HSV Color Key parameters control the chroma key masking
of the Stencil texture.
Key Masking
Enables chroma key masking. The default setting is OFF. If
Key Masking is OFF, all other HSV Color Key parameters
have no effect.
Positive Key
Inverts the chroma key mask (only the colors specified in
the Color Key and HSV Range are displayed). The default
setting is OFF (the colors specified in the Color Key and HSV
Range are masked).
190
Stencil Texture
Color Key
The color to be masked in the texture. The default setting
is black. To mask a range of colors, you must also set the
Hue/Sat/Val Range parameters.
Hue Range
The range of hues (H) centered on the Color Key color
which will also be masked. The valid range is 0 to ∞. The
Sat Range
The range of saturations (S) centered on the Color Key color
Val Range
The range of values (V) centered on the Color Key color
Threshold
The point at which the color state changes. The valid
is 0.5.
191
Stencil Texture
Water Texture
The Water texture simulates linear water waves, concentric

water ripples (for example, caused by an object falling into
water), or a combination of waves and ripples. Use the Water
texture as a bump or displacement map to simulate water, or
as a color map to simulate light reflections or refractions from
a water surface.
Waves
water water_proc#2 under_water water_proc

Bump map Incandescence map
sand Water#10 water_caustic Water#2

Ripples Bump map Color map
Water Texture The Water Texture Parameters include the Linear Wave Parameters
Parameters which control the appearance of linear water waves, and the
Concentric Ripple Parameters, which control the appearance of
concentric water ripples.
Linear Wave Parameters
192
Water Texture
The Linear Wave Parameters control the appearance of linear

water waves. The Linear Wave Parameters do not affect the
concentric ripple component of the texture.
Numwaves
The number of linear waves in the texture. To create water
ripples with no linear waves, set the Numwaves value to 0.
1 3 8 32 To combine linear waves with concentric ripples, set the
Numwaves value to a low number (1 to 3). The valid range
is 0 to 100. The slider range is 0 to 32. The default value is
8.
Wave_time
Controls the appearance of the waves over time. If you
relate the wave effect to the wake from a boat, the waves
0 0.1 0.5 1 start off at some point with a certain velocity and
amplitude. This is time zero. As time increases, the waves
travel to shore and their appearance changes (their
velocity and amplitude decrease). The slider range is 0 to
To simulate moving water waves, animate the Wave_time
value. The waves will move as this value increases. The
actual speed of the waves is determined by the
Wave_velocity value and the rate at which you animate the
Wave_time value.
Wave_velocity
The speed of the waves. The valid range is 0 to ∞. The
0 0.1 0.5 1
Wave_Amplitude
Scales the height of the waves. The valid range is 0 to ∞.
0.05 0.1 0.25 0.5
Wave Frequencies
193
Water Texture
Frequency
Controls the distance between primary waves. The higher
the Frequency value, the shorter the distance. The valid
1 4 10 20 range is 0 to ∞. The slider range is 0 to 20. The default
value is 4.
Sub_frequency
Controls the distance between any secondary waves that
ride on top of the primary waves (for example, white
0 0.1 0.5 1 caps). The valid range is 0 to ∞. The slider range is 0 to 1.
The default value is 0.125.
Smoothness
Controls the intensity of any secondary waves. The valid
0 1 2 5 is 2.
Wind Direction
Wind_u, Wind_v
The strength of wind in the U and V directions (which
determines the overall direction of the linear wave
1, 1 1, -1 1, 0 0, 1 pattern). The slider range is -1 to 1. The default value for
Wind_u is 1. The default value for Wind_v is 0.
Concentric Ripple
Parameters
The Concentric Ripple Parameters control the appearance of

concentric water ripples. The Concentric Ripple Parameters do
not affect the linear wave component of the texture.
194
Water Texture
Ripple_time
Controls the appearance of ripples over time. For example,
if you relate the ripple effect to that of a water droplet
0 0.1 0.5 1 falling into a glass of still water, at time 0 there is no ripple;
the droplet has not touched the surface of the water yet.
As the time parameter increases to a value greater than 0,
the droplet has fallen onto the water surface and the ripple
wave effect simulates the effect on the water in the glass at
that point in time. When time has reached a value of 1, the
effect of the droplet on the water surface is nearly
complete and the water in the glass becomes still again.
To simulate moving water ripples, animate the Ripple_time
value. The ripples will move as this value increases. The
actual speed of the ripples is determined by the
Group_velocity value and the rate at which you animate the
Ripple_time value.
Frequency
Controls the distance between individual ripples. The
higher the Frequency value, the shorter the distance. The
1 5 10 25 valid range is 0 to ∞. The slider range is 0 to 20. The
default value is 25.
Amplitude
Scales the height of the ripples. The valid range is 0 to ∞.
0 0.1 0.5 1
Drop_size
The mass of the droplet that starts the water ripples.
(Imagine a water droplet falling into a glass of still water.)
0.1 0.3 0.5 1 A Drop_size value of 0, produces no ripple effect because
the droplet has no mass. As the Drop_size value increases,
the mass of the drop increases, causing a greater ripple
effect on the water surface. The valid range is 0 to ∞. The
Ripple Center
195
Water Texture
U_origin,V_origin
The location of the center of the ripples along the U and V
parametric directions. The slider range is 0 to 1. The
0, 0 0.5, 0.5 1, 0.5 1, 1 default value is 0.5.
Ripple Wavelets
Group_velocity
The speed of the primary ripple. The valid range is 0 to ∞.
0 1 2 3
Phase_velocity
The speed of sub-ripples. The valid range is 0 to ∞. The
0 1 2 3
Spread_start
Determines the degree of effect that a droplet will have on
a still water surface at time 0. A concentric ripple starts as
0 0.1 0.2 0.5 a point of disturbance in parameter space (defined by the
U_origin and V_origin values) when the Ripple_time value is
0. The size of the disturbance at time 0 is determined by
the Spread_start value. The greater the Spread_start value,
the greater the effect of the disturbance at time 0. The valid
is 0.005.
Spread_rate
The rate at which the primary ripple breaks up into sub-
ripples. (As a ripple expands outward, it breaks up into
0 0.25 0.5 1 sub-ripples.) The valid range is 0 to ∞. The slider range is 0
to 1. The default value is 0.3.
196
Water Texture
Ripple Reflections
The Ripple Reflections parameters define an imaginary

bounding box that ripples can reflect off. This effect, however,
is nine times slower than if there is no reflecting bounding box.
Reflect_bound.
Activates an imaginary reflective bounding box. The
OFF ON
Umin, Umax, Vmin, Vmax

Defines the bounding box in the U and V parametric
directions. If Reflect_bound. is OFF, these parameters have
, 1, 0, 1 0.25, 0.75, 0.25, 0.75 no effect. The slider range is 0 to 1. The default value for
Umax and Vmax is 1; the default value for Umin and Vmin is
0.
197
Water Texture
198
Water Texture
Solid Textures
In This Section: Solid Texture Overview 200

Using Solid Textures 201
Solid Texture Parameters 203
Solid Texture Types 207
Projection Texture 209
Snow Texture 222
sCloud Texture 224
sFractal Texture 228
sMarble Texture 230
sRock Texture 233
Leather Texture 235
Granite Texture 238
sWood Texture 241
Volume Texture 245
199
Solid Texture Overview
Solid textures are three-dimensional patterns that simulate

solid materials (for example, wood or marble) by either using
an image file or series of image files (Projection and Volume
textures) or using a computer graphic procedure (Snow, sCloud,
sFractal, sMarble, sRock, Leather, Granite, and sWood textures).
When you map a solid texture to a surface, the surface will
appear to be carved out of that material.
Environment textures map Do not map a solid texture to a shader’s Reflection parameter
to directions. Surface textures because it will not produce realistic-looking reflections.
and solid textures map to
positions.
200
Solid Texture Overview
Using Solid Textures
Typically, you use solid textures to make an object appear to be

carved out of a block of solid material (for example, wood or
marble). Solid textures determine the color of a surface based
on the XYZ values of each point on the surface. Solid textures
are, therefore, not affected by the parameterization of a
surface, and will not distort (the way a surface texture will)
when mapped to a surface with uneven parameterization.
Converting a Solid One of the disadvantages of using a solid texture is apparent

Texture to a File Texture during animation. When you animate a surface that is mapped
with a solid texture, the surface will appear to flow through
the solid material. One method of solving this problem is to
convert the solid texture into a File texture.
To convert a solid texture into a File texture:

1 Pick the surfaces you want to create a new shader for.
2 In the Multi-lister, pick the shader for the selected surfaces.
3 Select Edit > Convert Solid Tex in the Multi-lister. A dialog box
appears.
201
The default value for Pix Size is 256 pixels square. Image
files are created and sized so that the Pix Size corresponds
to the longest dimension of the largest selected surface. If
more than one surface is selected, the other image files are
proportionally smaller. The valid range is 8 to 1024 pixels.
Tip Larger image files require more memory to render, and

depending on the render specifications, may not noticeably
improve render quality. Anti Aliasing is recommended in
most circumstances, but Convert Solid Tex will take four
times longer than if Anti Aliasing is OFF.
Note Convert Solid Tex places the newly generated image

files in a sub-directory (that has the same name as the
shader being converted) in the pix directory of the
current project.
4 Click OK. Information is displayed in the information line.
The progress bar at the far right indicates the status of the
current pix creation.
202
Solid Texture Parameters
The Color Balance, Intensity, Blur, Effects, Recursion Depth, Solid

Noise Frequencies, and 3D Placement parameters are common to
most solid textures.
Color Balance, Intensity, See Texture Parameters on page 110.

Blur, Effects
Recursion Depth
Level_min, Level_max
The minimum and maximum number of iterations used to
calculate the texture pattern. This parameter controls how
0, 2 0, 5 0, 10 0, 25 fine grained the texture is. The slider range is 0 to 25. The
default value is 0 for Level_min and 20 for Level_max.
Tip If both Level_min and Level_max are high (close to 100),

rendering will take a long time. If you want to make the
fractal pattern more finely grained, lower Blurmult or Amult
instead.
Solid Noise Frequencies
203
Xripples, Yripples, Zripples

Determines how wavy the texture is in the X, Y, and Z
directions. These parameters represent the scale of the
0.5 1 1.5 2 fundamental frequency of the fractal used to generate the
Xripples texture. The slider range is 0 to 20. The default value is 1.
Note The Projection texture has an extra Solid Noise

Frequencies parameter called Stagger.
3D Placement
The 3D Placement parameters control the orientation of the

solid texture relative to the surface it is mapped to.
Texture Node
The name of the Texture Placement Object. See Texture
Placement Objects on page 105.
Tip The Texture Placement node is easier to find in the SBD

window if you know its name.
Wrap
Repeats the texture outside the region defined by the
Texture Placement object. If Wrap is OFF, the texture only
OFF ON appears on a surface inside the region defined by the
Texture Placement object. The default setting is ON.
Blend
Gradually blends the texture into the (unmapped) value of
the shader parameter being mapped. The blend region is
0 0.1 0.5 1 defined by the boundaries of the Texture Placement Object.
For example, if a Leather texture is bump mapped onto a
surface, and Blend is greater than zero, the bump will
gradually diminish as it reaches the boundaries of the
Texture Placement Object. If Blend is set to 0, the texture ends
204
abruptly at the boundaries defined by the Texture

Placement Object. The slider range is 0 (no blend) to 1 (very
gradual blend). The default setting is 0.
Tip Blend works best if Wrap is OFF. If Wrap is ON, the texture
will blend into the (unmapped) value of the shader
parameter being mapped at the boundary of the Texture
Placement Object and repeat infinitely as the texture is
repeated.
Link with Obj.

Links the texture to the active object it is mapped to so that
the texture undergoes the same transformations (except
cluster and CV deformations) as the object. To link the
texture to an object, pick the object and click the LINK
button. The name of the object is displayed in the Current
Link field.
Note You can only link a texture with one object (one DAG
or hierarchy).
Current Link
The name of any object that you have linked to the texture
using Link with Obj.
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206
Solid Texture Types
There are several different types of solid textures.
Projection Texture
The Projection texture converts a two-dimensional texture or

image file into a three-dimensional texture by projecting it in
one or several directions. See Projection Texture on page 209.
Snow Texture
The Snow texture simulates snow that has fallen on a surface.

See Snow Texture on page 222.
sCloud Texture
The sCloud texture simulates clouds, but can also be used to

create steam, smoke, or fire effects. See sCloud Texture on
page 224.
sFractal Texture
The sFractal texture represents a three dimensional random

function with a particular frequency distribution (a fractal).
See sFractal Texture on page 228.
sMarble Texture
The sMarble texture simulates marble: a vein material

sandwiched between layers of filler material, where the vein
material diffuses into the filler material. See sMarble Texture on
page 230.
sRock Texture
The sRock texture simulates rock using a random, three

dimensional distribution of two different types of grain
material. See sRock Texture on page 233.
207
Solid Texture Types
Leather Texture
The Leather texture simulates leather, but can also be used to

simulate other materials, including alligator skin, Styrofoam,
and concrete. See Leather Texture on page 235.
Granite Texture
The Granite texture simulates granite using a random, three

dimensional array of three different types of spheres
suspended in a medium. See Granite Texture on page 238.
sWood Texture
The sWood texture simulates wood by projecting a two

dimensional wood pattern. See sWood Texture on page 241.
Volume Texture
The Volume texture allows the Ball texture to use multiple

image files. See Volume Texture on page 245.
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Solid Texture Types
Projection Texture
The Projection texture converts a two-dimensional texture or

image file into a three-dimensional texture by projecting it in
one or several directions. This is the same method used by the
sMarble and sWood textures, so you can, for example, use
scanned or painted image files with the Projection texture to
create a variety of three-dimensional wood or marble textures.
The Projection texture is also useful for converting a surface
texture or image file to a solid texture to avoid texture
distortion due to non-uniform surface parameterization.
Shader brick_solid_proc Ramp#2

Color map Source
Planar projection Texture
cells cells_proj Ramp#27

Color map Source
Concentric projection Texture
Note the following when using the Projection texture:

● When using the Projection texture with textures that use
fractal noise (for example, Fractal, sFractal, sCloud, sMarble),
keep the Recursion Depth Level_min and Level_max values as
low as possible to minimize rendering time. See Recursion
Depth on page 203.
● You can use the Surface Placement and Label Mapping
parameters of a texture that is mapped to a Projection
texture to adjust the projection effect.
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Projection Texture
● You can create a Projection Object before creating the actual

texture in the Multi-lister, by using the Texture Projection
Object tools.
Projection Texture
Parameters
Projection
The projection method used to create a three-dimensional
texture from a two-dimensional texture.
PLANAR Extrudes the texture along the Z axis of

the texture transformation.
SPHERICAL Wraps the texture 360 degrees around
the Y axis to form a sphere centered at
0,0,0. There are two pinch points at the
-Y and +Y poles.
CYLINDRICAL Wraps the texture 360 degrees around
the Y axis to form a cylinder located
between -1 and 1 on the Y-axis. There are
two pinch points at the -Y and +Y poles.
BALL Wraps the texture 360 degrees around
the Z axis like a wrapper around a
lollipop. There is one pinch point at the
-Z pole.
CUBIC Creates six copies of the texture, and
projects them from 0,0,0 in six directions.
The projection in each direction
resembles a pyramid. The overall
projection resembles a cube with a copy
of the texture on each face. There are no
pinch points, so CUBIC can be used to
map repeating textures onto a sphere.
TRIPLANAR Extrudes the texture along either the X,
Y, or Z axis (the axis closest to the normal
at that point on the surface).
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Projection Texture
CONCENTRIC Projects a random vertical slice of the

texture from the center to the outside
edge of each voxel. A voxel is a volume
element (a cube). A certain amount of 3D
space will contain several voxels. The
size of individual voxels is based on the
size of the Texture Placement Object. A
surface that has a CONCENTRIC Projection
texture mapped to it will appear to be
carved out of a three-dimensional array
of cubes, where the color of each cube in
the array varies from the cube’s center to
its edge. For example, try using a Ramp
as the Source Texture, and scale the Texture
Placement Object very small.
Shader Concentric Source

Projection Texture
CAMERA Extrudes an image plane along the

camera’s (or the current window’s) view
line. To use this setting, see below.
The projection types described above represent the

defaults. You can customize the projection effect by
transforming the Texture Placement Object (for example,
non-proportional scaling or rotating), or by varying the
Noise Parameters or the Solid Noise Frequencies parameters.
211
Projection Texture
To use the CAMERA projection method:

1 Set Projection to CAMERA. The Projection Texture Parameters
window expands, listing all cameras that have an image
plane. (You can only use the CAMERA projection method
for cameras that have an image plane.)
toggle box
2 Click the Projective Camera toggle box for the camera you
want to create a Projection texture for.
3 Click the Create button. A Stencil texture representing the

image plane is automatically mapped to Source Texture.
Source Texture
The two-dimensional texture or image file projected to
create a three-dimensional texture.
If you map Source Texture with a File texture, make sure
that the File texture’s Filter parameter is set to either NONE
or BLEND. Higher order filters (QUADRATIC, QUARTIC, and
GAUSSIAN) give unpredictable projections.
Although you can use an environment texture or solid
texture as a Source Texture, the results will be
unpredictable.
Noise Parameters
The Projection texture creates a three dimensional texture by

projecting a two dimensional texture. The Noise Parameters
control the randomization (using fractal noise) of the texture
in the direction the texture is projected.
212
Projection Texture
Xamplitude, Yamplitude
A scaling factor applied to all values in the fractal noise
about the average value, in the texture’s X and Y
directions. The Projection texture will render faster if the
Xamplitude and Yamplitude values are both 0.
The valid range is 0 to ∞. The slider range is 0 (no noise) to
1 (strong noise). The default value is 0.
Ratio
Controls the frequency of the fractal noise. The valid/
default value is 0.3.
Solid Noise Frequencies
Xripples, Yripples, Zripples

Determines how wavy the texture is in the X, Y, and Z
directions. These parameters represent the scale of the
fundamental frequency of the fractal used to generate the
texture. The valid range is 0 to ∞. The slider range is 0 to
Stagger
Offsets repeated patterns of the texture (when the two-
dimensional texture’s Urepeat value and/or Vrepeat value
is greater than 1) so that alternate rows are offset exactly
half, like bricks in a brick wall. When Stagger is OFF, the
repeated patterns line up horizontally and vertically. The
Polyset Surface (U,V)

Definition
213
Projection Texture
The Polyset Surface (U,V) Definition parameters have no effect on

surface texture on polyset the Projection texture itself. Instead, you use them to re-
before and after polyset
re-parameterization parameterize a polyset so that a surface texture mapped to the
polyset will resemble a Projection texture.
If you animate a polyset that uses a Projection texture, the

polyset will appear to flow through the texture. You can solve
this problem by re-parameterizing the polyset and then
replacing the Projection texture with a surface texture. You may
before after also need to re-parameterize a polyset that originated in
another application and was imported with inadequate
texture coordinate information (for example, a DXF file).
When you map a surface with a Projection texture that uses a

cylindrical, spherical, or ball projection type, the texture will
have a seam or pole. A seam exists when the texture wraps
around a surface and its two opposite edges touch (where the
surface’s UV parameters jump from 1 to 0). A pole exists when
the texture becomes pinched together (where the surface’s UV
parameters become crowded together).
If you re-parameterize a polyset using a Projection texture that

surface texture on polyset that uses a cylindrical, spherical, or ball projection type, and then
was re-parameterized with
Clean Seams OFF and ON map a surface texture to the polyset, the texture may appear
distorted at the seam or pole. For example, the entire texture
may be repeated along the seam. To remove this distortion, set
Clean Seams ON before you re-parameterize the polyset. When
Clean Seams is ON, however, UV parameters may no longer be
within the 0 to 1 range. This is not a problem for polysets
within StudioTools, but it may be a problem for other
OFF ON applications to which you intend to export your data. To scale
UV parameter values back to within the 0 to 1 range, set
Normalize Seams ON before you re-parameterize the polyset.
You can also re-parameterize a polyset using the Apply UVs tool
(see Mapping Vertices to Projections and NURBS Surfaces on
page 116 of the Polygonal Modeling book).
To re-parameterize a polyset:
1 Pick the polyset(s) you want to re-parameterize.
2 Create a new shader and click the Map button beside any
parameter in the shader’s Control Window. (The specific
parameter you map the Projection texture to is
unimportant.)
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Projection Texture
3 Select the Projection texture from the Texture Procedures

window.
4 Select a Projection type in the Projection texture’s Control

Window.
5 Position and orient the Projection texture’s Texture Projection

Object in the modeling windows.
6 In the Projection texture’s Control Window, set Clean Seams

and Normalize Seams ON, and click the Apply Mapping
button beside Project to UV. The polyset is now re-
parameterized.
7 Create a new shader (or use an existing shader) that uses a

surface texture only (no environment textures or solid
textures), and assign it to the polyset. The surface texture
will now appear as if it were projected onto the polyset.
If, after rendering, you are not satisfied with the position
and orientation of the texture on the polyset, you can re-
parameterize the polyset by re-positioning and re-
orienting the Projection texture’s Texture Projection Object,
and then clicking the Apply Mapping button again.
Project to UV - Apply Mapping

Re-parameterizes the selected polysets by mapping the
vertices of the polygons to the Projection texture. A surface
texture mapped to the re-parameterized polyset will
resemble a Projection texture.
Clean Seams
Removes texture distortion at seams and poles when a
polyset is re-parameterized using a Projection texture that
uses a cylindrical, spherical, or ball projection type. If
Cleans Seams is ON, UV parameters may no longer be
within the 0 to 1 range. The default setting is ON.
Normalize Seams
Scales UV parameters to within the 0 to 1 range when a
polyset is re-parameterized. The default setting is OFF.
215
Projection Texture
Effects
The Projection texture has an additional Effects parameter:

Convert to Smear. See Effects on page 112 for a description of the
other Effects parameters.
Convert to Smear
Replaces the Projection texture with the Source Texture, and
applies a Smear Map so that the texture has the same visual
effect on the surface as the original Projection texture.
Often times a texture is best applied to a surface using a
3D projection, however this can create problems when the
surface is morphing. The convert to smear feature allows
surfaces to be reparameterized to match a projection by
using a smear map. This freezes the texture onto the
surface. The effect is similar to convert solid texture, but
allows for more freedom after the convert is done, and
does not degrade texture resolution. One can get away
with much lower resolution maps (smear maps) and
animated textures are easily handled. Convert solid
texture may still be preferred for some cases, however,
particularly when the texture may be touched up in 3D
paint.
To use Convert to Smear:

1 Select the surfaces you want to create a smear map for.
2 In the Multi-lister, double-click the Projection texture to open

its Control Window.
3 In the Projection texture Control Window, click the Convert to

Smear button. A dialog box appears.
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Projection Texture
The default Pix Size is 256 pixels square. Image files are
created and sized so that the Pix Size corresponds to the
longest dimension of the largest selected surface. If more
than one surface is selected, the other image files are
proportionally smaller. The valid range is 8 to 1024 pixels.
Tip Larger image files require more memory to render, and

depending on the render specifications may not noticeably
improve render quality. Anti Aliasing is recommended in
most circumstances, but Convert to Smear will take four
times longer than if Anti Aliasing is OFF.
Note Convert to Smear places the newly generated image

files in a sub-directory (that has the same name as the
shader being converted) in the pix directory of the
current project.
4 Click OK. Information is displayed in the information line.
The progress bar at the far right indicates the status of the
current pix creation.
5 When the Convert to Smear operation is complete:

◆ the Projection texture is replaced by its Source Texture,
◆ a File texture is mapped to this texture’s Smear Map
parameter, and
◆ the File texture’s Per Object Images list contains a
separate image file for each selected surface.
Each selected surface now has its own Smear Map which
has all of the same properties as the original Projection
texture.
217
Projection Texture
Notes
● Because the Convert to Smear operation destroys the
Projection texture, you may want to save this texture (or
copy the shader it is mapped to) before using Convert to
Smear.
● If you press Esc during the Convert to Smear operation, the

files created up to that point will be correct, but will not
necessarily be assigned. Also note that even if you delete
the shader used by Convert to Smear, the image files will
still exist in a directory with the same name as the original
shader in the current pix directory. If you perform a
second Convert to Smear operation using the same shader
and objects, the previously created files will be
overwritten without warning.
● You can use Convert to Smear for both spline type surfaces
and polysets or faces.
● Any image files created are referenced on the Per Object
Images list of the new file texture. Each surface gets its
own image file for every Projection texture converted. The
File texture created has no default Image file, only per
object files, therefore the shader swatch does not display
the file texture.
To display the texture on the shader swatch, copy any
image file name from the Per Object Images list to the
default Image field (click in the Object list to highlight the
image file name, then click in the default Image field with
the middle mouse button to paste).
Convert to Smear has the following limitations:
● If Wrap is OFF for the Projection texture, Convert to Smear

will not convert the texture properly.
● The Source Texture can only have certain Surface Placement
and Label Mapping settings:
◆ Uoffset, Voffset, Utranslate, and Vtranslate can be set to
anything
◆ Rotate should be set to 0
◆ Ucoverage and Vcoverage should be set to 1
◆ Urepeat and Vrepeat must have the same value; the
Rgbmult on the Smear Map must be scaled by the repeat
value. For example, if Urepeat and Vrepeat are both 5,
then set the Rgbmult “value” on the Smear Map to 5.
218
Projection Texture
● If the Source Texture has an image file or texture mapped to

Rgboffset, Rgbmult, or Overlay, then you must map a copy of
the Smear Map (the File texture created by Convert to Smear)
to that image file or texture.
● Bump and displacement maps may show artifacts.
Projection Tools There are two ways to create a Projection texture: using the
Multi-lister or using the Projection tools. To create a Projection
texture in the Multi-lister, you first create a shader, map a
Projection texture to the shader, and then position the Projection
texture using the corresponding Texture Projection Object. The
Projection tools let you create a Texture Projection Object in the
modeling window first, and then they automatically create the
corresponding shader and Projection texture in the Multi-lister.
There are eight different types of Projection tools, representing

the eight different types of projections. See Projection on
page 210 for a description of each projection type.
Projection Options
Each Projection tool has a similar option box.
Make global
Makes all projection tools default to the options you last
saved (using the Save button).
219
Projection Texture
Display editor
Automatically opens the Projection texture’s Control Window
after you place the Texture Projection Object in the modeling
window.
Magnet snap to B-box (Magnet snap to Bounding-box)

Snaps the Texture Projection Object as you move it in the
modeling windows as listed below.
SELECTION LIST snaps to selected components

(for example, CVs or edit
points)
FROM SELECTED DAGS snaps to selected objects
OBJECT snaps to objects
OFF does not snap to anything
(default)
If Magnet snap to B-box is set to SELECTION LIST, FROM

SELECTED DAGS, or OBJECT, the Draw snap box and
Uniform scale options become available.
The Magnet snap to B-box option is not available for the
Camera Projection tool.
Draw snap box

Displays the XYZ bounding box of the object being
snapped to. This option is not available for the Camera
Projection tool.
Uniform scale
Makes the projection object square. If Uniform Scale is off,
then the projection object is non-proportionally scaled to
the shape of the bounding box of the object being snapped
to. This option is not available for the Camera Projection
tool.
Snap to camera
Matches the position and orientation of the Texture
Projection Object to the modeling window’s camera. This
option is only available for the Camera Projection tool.
220
Projection Texture
To use the Projection tools:

1 Select a tool from the Objects cascading menu, or click one
of these icons:
The Texture Projection 2 Click or click-drag in a modeling window to place the

Object is different for each pivot point of the new Texture Projection Object.
Projection type.
A new shader appears in the Multi-lister, having a Projection

texture mapped to its Color.
Tips
● The projection objects are moved by their pivot points.
The Planar and Tri-planar projections are not centered on
their pivot points when they are created.
● When using the Camera projection, it may be helpful to
pick the objects you want to texture first, then use the Look
at tool in the Cameras palette before creating the projection
object.
221
Projection Texture
Snow Texture
The Snow texture simulates snow that has fallen on a surface.
lava snow_colour snow Snow#2

Color map Transparency map
To make snow appear on all objects in your scene, apply the

Snow texture as a transparency map on a white shader, and
then layer this shader onto other shaders. This way, the snow
can have its own unique shading attributes.
Try combining a Fractal bump map with a Snow color map. The
snow will only appear on the peaks and valleys of the bump
mapped surface. For best results, set the Fractal bump map’s
Amult and Blurmult values to a low number.
To simulate windswept snow, rotate the Snow texture by

rotating the 3D Placement Object about a horizontal line.
Snow Texture Parameters
Snow_color
The color of the snow that lies on the top of the surface.
Surface_color
The color of the surface that the snow lies on top of.
222
Snow Texture
Threshold
Determines the maximum slope that will hold snow. The
valid/slider range is 0 (90 degrees from horizontal) to 1 (0
0 0.5 0.8 1 degrees from horizontal). The default value is 0.5 (45
degrees from horizontal).
Depth_decay
The rate at which the snow color blends into the surface
color. The slider range is 0 to 10. The default value is 5.
1 2 5 10
Thickness
The apparent depth of the snow. Thickness controls the
opacity of the snow (deeper snow is more opaque). The
0 0.5 0.8 1 valid/slider range is 0 (transparent) to 1 (opaque). The
default value is 1.
223
Snow Texture
sCloud Texture
The sCloud texture simulates clouds, but can also be used to

create steam, smoke, or fire effects.
cloud_1 flames glow smoke
Note the following when using the sCloud texture:

● You should only map the sCloud texture to a sphere. The
sphere can be transformed in any way (for example, non-
proportionally scaled), as long as the actual base
component is a sphere. You can combine several spheres
to create complex cloud arrangements. If you map the
sCloud texture to any other type of surface, the results will
be unpredictable.
● The area surrounding the cloud is always transparent,
regardless of the type of mapping used.
● You can also create smoke and fire effects using lights with
fog and 2D noise, or with particles.
Cloud Effects
To create a cloud using the sCloud texture, create a new shader

and set the shader parameters as follows:
● Set Shading Model to LAMBERT
● Set Color to white (or grey for smoke)
● Set the Refractive Index value to 1
● Map Transparency with an sCloud texture.
224
sCloud Texture
Transparency is a 3-channel (RGB) mapping. As a result, the

sCloud texture requires additional settings to work properly as
a transparency map. Set the sCloud parameters as follows:
● Set Invert ON
● Set Color1 and Color2 to white
● Adjust the Transp_range value to make the cloud more
dense.
Apply the shader to a sphere.
Flame Effects
To create flames using the sCloud texture, create a new shader

and set the shader parameters as follows:
● Set Shading Model to LIGHTSOURCE
● Set Color to black
● Set the Refractive Index value to 1
● Set Transparency to its maximum setting (white)
● Set the Glow value to 0.5
● Map Incandescence with an sCloud texture.
Set the sCloud parameters as follows:

● Set Color1 to pure green and Color2 to pure red
● Set the Transp_range value to 0.3
● Set the Center_thresh value to -0.5
● Set the Amplitude value to 2
● Set Rgbmult to a Value of 2.
Apply the shader to a sphere or an elongated (non-

proportionately scaled) sphere. Non-proportionately scale the
sCloud texture’s Object Placement Object to create a more
vertical looking flame.
To simulate smoke, use the cloud example above to create a

shader, set the shader Color to black, and apply the shader to
an elongated sphere positioned above the flame sphere.
Animate the transformation icon slowly upwards.
225
sCloud Texture
To create an explosion effect, animate the sphere being scaled

up.
To create a roaring fire, animate the transformation icon for the

texture, moving it upward at a constant rate.
Glow Effects
To create glows using the sCloud texture, create a new shader

as described above to create flame effects. Set the sCloud
texture’s Amplitude value to 0, assign the shader to a sphere,
and put the object that you want to glow inside the sphere.
sCloud Texture
Parameters
Color1, Color2
The two colors that are blended together to form the
cloud.
Contrast
The contrast between Color1 and Color2. For example, if the
Contrast value is -1, Color1 and Color2 are reversed. The
slider range is 0 (the two colors are averaged over the
entire texture) to 1. The default value is 0.5.
Edge Rolloff Parameters
The Edge Rolloff Parameters determine how the texture’s

transparency changes as the surface it is mapped to turns
away from the camera.
226
sCloud Texture
Soft_edges
Gradually increases the transparency of the texture as the
surface it is mapped to turns away from the camera. This
OFF ON simulates natural looking clouds. If Soft_edges is OFF, the
texture is entirely opaque, and appears similar to the
sFractal texture. The default setting is ON.
Transp_range
The range over which the texture becomes transparent.
The Transp_range value controls the sharpness/softness of
0 0.1 0.5 1 the edges of the cloud. The valid range is 0 to ∞. The slider
range is 0 (sharp edges) to 1 (very soft edges). The default
value is 0.5.
Center_thresh, Edge_thresh
Determines how diffuse or concentrated the edge rolloff
is. If the Center_thresh value is low and the Edge_thresh
0, 1 -0.5, 1.5 -1, 2 -1, 1 value is high, the texture will resemble a dense cotton-ball.
If the Center_thresh value is high and the Edge_thresh value
is low, the texture will resemble a wispy cloud. The slider
range is -1 to 0 for Center_thresh and 1 to 2 for Edge_thresh.
The default value is 0 for Center_thresh and 1 for
Edge_thresh.
Noise Parameters
The Noise Parameters control the fractal noise used to generate

the sCloud texture.
Amplitude
Controls the strength of the fractal noise used to generate
the sCloud texture. The valid/slider range is 0 (no noise) to
0 0.3 0.5 1 1 (strong noise). The default value is 1.
Ratio
Controls the frequency of the fractal noise used to
generate the sCloud texture. The slider range is 0 (low
0 0.5 0.707 1 frequency) to 1 (high frequency). The default value is
0.707.
227
sCloud Texture
sFractal Texture
The sFractal texture represents a three dimensional random

function with a particular frequency distribution (a fractal)
and can be used to create many different types of effects.
earth sFractal#2 Cloudlayer sFractal#3

Color map
Incandescence map
Bump map
sFractal Texture
Parameters
Threshold
0 0.1 0.5 1 value is 0.
Amplitude
0 0.3 0.5 1 slider range is 0 (no noise) to 1 (strong noise). The default
value is 1.
228
sFractal Texture
Ratio
0 0.5 0.707 1 default value is 0.707.
229
sFractal Texture
sMarble Texture
The sMarble texture simulates marble: a vein material

sandwiched between layers of filler material, where the vein
material diffuses into the filler material.
marble_tex_ marble_tex_ marble_tex_ marble_tex_

proc proc_2 proc_3 proc_4
marble_proc marble_tex_proc lava marble_

incandescence
Color map
Incandescence
map
chrome_dents marbodent
Bump map
230
sMarble Texture
sMarble Texture
Parameters
Filler_color, Vein_color
The color of the filler material and the vein material.
Vein_width
The thickness or width of the veins. The slider range is 0 to
0 0.1 0.5 0.9
Diffusion
Controls the amount that the Vein_color blends into the
Filler_color. (The Contrast value also affects how the two
0 0.1 0.5 1 colors blend together.) The slider range is 0 (no blending)
to 1 (smooth blending). The default value is 0.5.
Contrast
The contrast between the Vein_color and Filler_color. The
0 0.1 0.5 1
Noise Parameters
The sMarble texture creates a three dimensional texture by

projecting a two dimensional texture. The Noise Parameters
in the direction the texture is projected.
Amplitude
about the average value. The valid range is 0 to ∞. The
0 0.5 1 1.5 slider range is 0 (no noise) to 1 (strong noise). The default
value is 1.5.
231
sMarble Texture
Ratio
0 0.5 0.707 1 default value is 0.707.
232
sMarble Texture
sRock Texture
The sRock texture simulates rock using a random, three

dimensional distribution of two different types of grain
material.
iron_cast sRock#3 stars_tex_2

Bump map Color map
sRock Texture
Parameters
Color1,Color2
The color of the two types of grains in the texture.
Grain_size
The size of grains in the texture. The Grain_size value
effectively scales the entire texture. The valid range is 0 to
0.01 0.05 0.1 0.2 ∞. The slider range is 0 (no grains) to 0.1 (large grains).
Diffusion
Controls the amount that Color1 blends into Color2. The
valid range is 0 to ∞. The slider range is 0 (no blending) to
0 0.2 0.5 1 1 (smooth blending). The default value is 1.
233
sRock Texture
Mix_ratio
Determines which of the two colors is the dominant color.
The valid range is 0 to ∞. The slider range is 0 (Color1 is
0.1 0.3 0.5 0.9 totally dominant) to 1 (Color2 is totally dominant). The
234
sRock Texture
Leather Texture
The Leather texture simulates leather, but can also be used to

simulate other materials, including alligator skin, Styrofoam,
and concrete, particularly when used as a bump map.
Color map
Bump map
For many situations, an image file of real leather will produce

a good leather simulation. However, it is often impossible to
map a file texture to a surface without distortions and
discontinuity. Chord Length texture mapping may eliminate
distortions, but it requires some effort and does not always
work. In these cases, use the Leather texture.
The Leather texture uses a three-dimensional array of spheres

to simulate two-dimensional leather. This is unlike real leather
because real leather is a surface, not a solid. However, the
Leather texture usually produces very realistic results. One
exception is if the surface is deformed during an animation,
because the surface will appear to move through the solid
texture. In this case, however, you can convert the solid texture
to a File texture (see Converting a Solid Texture to a File Texture
on page 201).
235
Leather Texture
Leather Texture
Parameters
Cell Color, Crease Color

The color of individual cells (Cell Color) and the medium
surrounding the cells (Crease Color).
Cell Size
The size of individual cells. The Cell Size value effectively
scales the entire texture. The valid range is 0 to ∞. The
0 0.5 0.8 1 slider range is 0 to 1. The default value is 0.5.
Density
Controls the spacing of cells in the texture. The valid range
is 0 to ∞. The slider range is 0 to 1 (fully packed). The
0 0.2 0.5 1 default value is 1.
Spottyness
Randomizes the Cell Color intensity. (The Threshold value
also influences the Cell Color intensity.) The valid range is 0
0 0.1 0.5 1 to ∞. The slider range is 0 (all cells have the same
intensity) to 1 (cell intensity is entirely random). The
Randomness
Randomizes cell position. The valid range is 0 to ∞. The
slider range is 0 (cells are arranged in a regular 3D lattice)
0 0.1 0.5 1 to 1 (cell location is entirely random). The default value is
0.5.
Threshold
Controls how much the Cell Color and Crease Color mix
into each other. The valid range is 0 to ∞. The slider range
0 0.5 0.83 1 is 0 to 1 (no mixing, cells appear as solid color dots). The
236
Leather Texture
Creases
Creates boundaries between cells that resemble the creases
in leather. If Creases is OFF, the cells diffuse uniformly into
ON OFF each other. The default setting is ON.
237
Leather Texture
Granite Texture
The Granite texture simulates granite using a random, three

dimensional array of three different types of spheres
suspended in a medium. The Granite texture is essentially the
same as the Leather texture, except that there are three cell
colors instead of one.
The Granite texture is very time consuming to render. Convert

it to a File texture whenever possible (see Converting a Solid
Texture to a File Texture on page 201).
granite_tex_ granite_tex_ granite_tex_ granite_tex_

proc_4 proc_5 proc_6 proc_7
granite_proc granite_tex_proc frost_bars Granite#2

Color map Bump map
238
Granite Texture
Granite Texture
Parameters
Color1, Color2, Color3, iller Color

The color of the three different types of cells (Color1,
Color2, Color3) and the medium surrounding the cells (Filler
Color).
Cell Size
The size of individual cells. The Cell Size value effectively
scales the entire texture. The valid range is 0 to ∞. The
0.15 0.5 1 2 slider range is 0 to 1. The default value is 0.15.
Density
Controls the spacing of cells in the texture. The valid range
is 0 to ∞. The slider range is 0 to 1 (fully packed). The
0 0.1 0.5 1 default value is 1.
Mix Ratio
Determines which of the three colors is the dominant
color. The valid/slider range is 0 (Color1 is dominant) to 1
0 0.1 0.5 1 (Color3 is dominant). The default value is 0.5 (Color2 is
dominant).
Spottyness
Randomizes the cell color intensity. (The Threshold value
also influences the cell color intensity.) The valid range is 0
0 0.3 0.5 1 to ∞. The slider range is 0 (all cells have the same
intensity) to 1 (cell intensity is entirely random). The
239
Granite Texture
Randomness
Randomizes cell position. The valid range is 0 to ∞. The
slider range is 0 (cells are arranged in a regular 3D lattice)
0 0.1 0.5 1 to 1 (cell location is entirely random). The default value is
1.
Threshold
Controls how much cell colors and filler color mix into
each other. The valid range is 0 to ∞. The slider range is 0
0 0.5 0.9 1 to 1 (no mixing, cells appear as solid color dots). The
Creases
Creates boundaries between individual cells. If Creases is
OFF, the cells diffuse uniformly into each other. The
ON OFF default setting is ON.
240
Granite Texture
sWood Texture
The sWood texture simulates wood by projecting a two

dimensional pattern. This pattern consists of layers or
concentric rings defined by veins and filler. When you map the
sWood texture to a surface, the surface will appear to be carved
out of wood. If you map the sWood texture to several surfaces,
they will appear to be carved from a single block of wood.
pine_tex cedar_tex white_pine_tex rings_tex_2
chestnut chestnut_tex taillight sWood#3

Color map Bump map
sWood Texture
Parameters
vein
filler
grain
241
sWood Texture
Filler_color
The color of the space between veins. The vein color
diffuses into the filler color.
Vein_color
The color of veins in the wood. The vein color diffuses into
the filler color.
Vein_spread
The amount that the vein color diffuses into the filler color.
0 0.25 1.5 3 default value is 0.25.
Layer_size
The average thickness of each layer or ring. (The thickness
of individual layers or rings is also influenced by the
0.02 0.1 0.25 0.5 Randomness and Age values.) The valid range is 0 to ∞. The
slider range is 0 to 0.5. The default value is 0.02.
Randomness
Randomizes the thickness of individual layers or rings.
The valid/slider range is 0 to 1. The default value is 0.5.
0 0.1 0.5 1
Age
The age (in years) of the tree from which the wood came.
The Age value determines the total number of layers or
0 5 20 100 rings in the texture, and influences the relative thickness
of central and outer layers. The central rings of wood are
thinner than the outer rings because a trees’ growth is
slower when it is young. The valid range is 0 to ∞. The
Grain Parameters (spots)
The Grain Parameters (spots) control the appearance of random

grain in the wood (which appears as spots in the texture’s
cross-section).
242
sWood Texture
Grain_color
The color of the random grain in the wood.
Grain_contrast
Controls the amount that the Grain_color diffuses into the
surrounding wood color. The valid/slider range is 0 to 1.
Grain_spacing
The average distance between grain spots. The valid/
slider range is 0.002 to 0.1. The default value is 0.01.
0.01 0.02 0.05 0.1
Concentric Ring Location
Center_u, Center_v
The location of the center of the texture’s concentric rings
in the U and V parametric directions. The slider range is -1
0, 0 0.5, 0.5 1, 1 0.5, -0.5 to 2. The default value is 0.5 for Center_u and -0.5 for
Center_v.
Tip Don’t set the Center_u or Center_v value less than -3 or

greater than 3.
Noise Parameters
The sWood texture creates a three dimensional texture by

projecting a two dimensional pattern. The Noise Parameters
in the direction the pattern is projected.
243
sWood Texture
Xamplitude,Yamplitude
about the average value, in the texture’s X and Y
0, 0 0.1, 0.1 0.5, 0.5 1, 1 directions. The sWood texture will render faster if the
Xamplitude and Yamplitude values are both 0. The valid
range is 0 to ∞. The slider range is 0 (no noise) to 1 (strong
noise). The default value is 0.1.
Ratio
0.1 0.35 0.5 0.9 default value is 0.35.
244
sWood Texture
Volume Texture
The Volume texture allows the Ball texture to use multiple

image files. If you map a File texture to the Ball texture’s Image
parameter, the Ball texture can only use a single image file and
the texture will have a “pinch point” or bad spot. If you map a
Volume texture to the Ball texture’s Image parameter, the Ball
texture automatically selects the “best” image file (for the
current view) from the sequence of image files specified in the
Volume texture. The “best” image file for a particular view is
the one whose bad spot is furthest away.
You can use the Volume texture to specify any number of image
files, although 32 is a reasonable maximum.
Volume Parameters
From, To
The extension number of the first (From) and last (To) file in
the sequence. The valid range is 0 to ∞. The slider range is
Pix Sequence
The name of any image file in the sequence (for example,
pixfile.4).
245
Volume Texture
246
Volume Texture
L igh ts
Lights
In This Section: Light Overview 250

Creating a Light 251
Light Options 253
Displaying Light Icons 254
Linking a Light 255
Link Editor 259
249
Light Overview
Lights illuminate objects. If your scene contains no lights, then

it will render entirely black (unless, for example, you are using
shaders with incandescence). You can also use lights to:
● deform objects (warps)
● influence the motion of objects during a dynamic
simulation (forces)
● emit particles
● create special optical effects (for example, halos, lens
flares, or fog).
250
Light Overview
Creating a Light
You can create a light using the Light tools or using the Multi-
lister. You can use the light options to set properties for any
new light you create.
Light#1 isn’t used explicitly By default, lights are named sequentially as you create them:
as a name; the first light with Light, Light#2, and so on. To avoid confusion, however, you
a given name is implicitly should name all lights as you create them. If you let the system
numbered 1.
assign default names and later combine two or more files, all
lights are renumbered to avoid duplicate names. It may then
become difficult to distinguish lights by name.
To create a light using the Light tools:
See Light Types on page 282. 1 Select a tool from the Lights cascading menu, or click one
of these icons:
2 Place the light by clicking in the modeling window, or by

typing a set of coordinates in the prompt line.
A new light swatch appears in the Multi-lister, and a new
light icon appears in the modeling window. Each type of
light has a unique modeling window icon and Multi-lister
swatch.
In addition, light manipulators are displayed in the
modeling window.
(To display the manipulators for an existing light, select
the pick Object tool, select the light, and select a Light tool.)
251
Creating a Light
Light Position
Look At Point
Most lights have one manipulator that controls the light’s

position. Spot lights have two manipulators: one
manipulator controls the light’s position, the other
manipulator controls its direction (look-at point). Each
manipulator consists of a square icon at its center, and
three colored arrow icons radiating from the center in the
X, Y, and Z directions.
By dragging a square icon you can move the light or the
light’s look-at point across the view plane (in orthographic
windows) or parallel to the ground plane (in perspective
windows). By holding the Alt key while you drag a square
icon you can snap the light to grid points.
By dragging an arrow icon you can move the light or the
light’s look-at point in the X, Y, or Z direction.
To create a light using the Multi-lister:
See New Light on page 26. ● In the Multi-lister, select Edit > New Light. A new point light
swatch appears in the Multi-lister, and a new point light icon
appears in the modeling windows at 0,0,0.
To display the light options box:
See Light Options on ● Do one of the following:

page 253.
◆ Select Lights from the Objects palette menu, then click
the box beside the name of a light type (for example,
Objects > Lights > Point ❏), or
◆ Double click the light icon from the Tool Palette.
252
Creating a Light
Objects palette > Light Options

Lights > Point
The Color, Intensity, Decay, Shadows, and Exclusive options are

common to all light types. Spot lights, volume lights, and
directional lights also have additional options.
Color
The RGB values for the light’s color. The default setting is
white (255, 255, 255).
Intensity
See Intensity on page 270.
Decay
See Decay on page 270.
Exclusive
See Exclusive Link on page 270.
253
Light Options
DisplayTgls > Displaying Light Icons

ObjectToggles >
Lights
You can control whether light icons are displayed in the

modeling windows.
To toggle the display of lights on or off:
● Select DisplayTgls > Object Toggles > Lights.
To open the Toggle Lights Options:
● Select DisplayTgls > Object Toggles > Lights ❏.
Toggle Lights Options
Toggle Type
Toggles the display of lights in All Windows or just in the
Current Window (the active window). The default setting is
All Windows.
254
Displaying Light Icons
Linking a Light
When you first create a light, its illumination is unrestricted.

That is, depending on the light’s type and parameters, it can
potentially illuminate every surface in your scene.
You may, however, want to restrict a light’s illumination by

linking it to a particular surface (or group of surfaces). If you
link a light to a surface, that surface will only be illuminated
by that light; all other lights are ignored. If the link is non-
exclusive, the light will also illuminate other surfaces. If the
link is exclusive, the light will only illuminate the surface it is
linked to.
You can link forces to objects using the same method for
linking lights to surfaces.
You can link a light to a surface using either the Link Lights tool
in the Multi-lister, or the Link Editor.
To link a light to a surface using the Multi-lister:

1 Use Pick > Object to select the surface(s) you want to link.
2 In the Multi-lister, select the light you want to link to the

active surface(s).
See Link Lights on page 34. 3 In the Multi-lister, select Shading > Link Lights.
255
Linking a Light
To link a light to a surface using the Link Editor:

1 Use Pick > Object to select the surface(s) and light(s) you
want to link.
See Link Editor on page 259. 2 Select Windows > Edit > Light link editor to open the Link
Editor.
All active lights and surfaces are listed in the Components

list (at the lowest component level) and in the Picklist.
See Link on page 261. 3 Click the Link button to link the lights and surfaces listed
in the Picklist.
Note To change the list of lights and surfaces in the Picklist,

see Link Editor on page 259.
Note An alert box is displayed if no lights or only lights are

listed in the Picklist. Make sure your selection includes
both lights and surfaces.
To make a link exclusive:
See Control Window on 1 Open the light’s Control Window.

page 35.
See Exclusive Link on 2 Set Exclusive Link ON.

page 270.
256
Linking a Light
To view a light link in the Objects window:

1 In the Multi-lister, select the light you want view.
See List Objects on page 33. 2 In the Multi-lister, select Shading > List Objects. The Objects
window appears, listing all surfaces to which the active
light is linked. Active objects appear highlighted in the
Objects window.
To view a light link in the Link Editor:

1 Use Pick > Object to select the linked surface(s) and light(s)
you want to view.
Editor.
3 Click the arrow (->) beside the surface or light in the

Components list. All surfaces/lights linked to that light/
surface are listed in the Current Links list.
257
Linking a Light
To remove a light link using the Multi-lister (Method 1):

1 Use Pick > Object to select the surface(s) you want to
unlink.
2 In the Multi-lister, select the light you want to unlink from

the active surface(s).
See Unlink Lights on page 34. 3 In the Multi-lister, select Shading > Unlink Lights.
To remove a light link using the Multi-lister (Method 2):

1 In the Multi-lister, select the light you want to unlink.
2 In the Multi-lister, select Shading > List Objects. The Objects

window appears, listing all surfaces to which the active
light is linked. Active objects appear highlighted in the
Objects window.
3 Hold the Shift key and click on the names in the Objects
window until all objects are highlighted.
See Unlink Lights on page 34. 4 In the Multi-lister, select Shading > Unlink Lights.
To remove a light link using the Link Editor:

1 Use Pick > Object to select the linked surface(s) and light(s).
Editor.
3 Select the linked surfaces and lights in the Components list

so they appear in the Picklist.
See Unlink on page 261. 4 Click the Unlink button.
258
Linking a Light
Windows > Edit > Link Editor

Light links
The Link Editor is the interface you use to create, list, and
remove links between lights and surfaces.
To open the Link Editor:

1 Use Pick > Object to select surfaces(s) and light(s) that you
want to link or unlink.
2 Select Windows > Edit > Light links.
The Link Editor contains three lists: Components, Current Links,

and Picklist. All lists are sorted alphabetically by name with
lights appearing before surfaces. The icons to the left of light
names represent the light types and are the same as those
displayed in the SBD window and the Multi-lister.
Components Components lists all lights and surfaces (at the component
level) that were active when you opened the Link Editor. (If you
unpick an active item in the modeling window, it will still be
listed in the Components list, but it will no longer be
highlighted.) Lights and surfaces that are highlighted in the
Components list are listed in the Picklist. You can select or
deselect components in this list by clicking on them. If the auto
259
Link Editor
button in the Picklist is ON, this selection is automatically

updated in the Picklist.
Click the arrow (->) beside a component’s name to list all

components that are currently linked to that component in the
Current Links list. If an arrow is not highlighted, that
component is not linked. Adding and removing lights/
surfaces from the Components list has no effect on the Picklist.
Select none, all

Selects all or none of the elements in the list. The numeric
value to the right of these two buttons is the number of
currently selected items.
Add
Adds highlighted lights/surfaces from the Picklist to the
Components list. Only lights or surfaces that are active (or
are below active DAGs) are affected.
Remove
Removes highlighted lights/surfaces from the Components
list.
Current Links Current Links lists all components linked to the active arrow’s
component in the Components list. For example, if the
highlighted arrow component is a light, Current Links lists the
surfaces linked to that light.
Select none, all

Selects all or none of the components in the list. The
numeric value to the right of these two buttons is the
number of currently selected components.
Picklist Picklist lists lights/surfaces that are active in the Components

list. Using the Link and Unlink buttons, you can link or unlink
lights/surfaces that are listed in the Picklist.
auto
Toggles auto update ON and OFF. If auto update is ON,
selecting or deselecting components in the Components list
automatically adds or removes them in the Picklist.
260
Link Editor
Tip Disable auto update if you are working on a large model.

This will reduce the number of times the screen has to
refresh.
update
Updates the Picklist to include only active components in
the Components list.The update button has no effect if auto
update is ON.
Link
Creates a link between the lights and surfaces listed in the
Picklist.
Unlink
Removes the link between lights and surfaces listed in the
Picklist.
Note Link Editor lists are grayed out when you are in an
option window or when you choose a function that
requires picking operations. While these items are
grayed out, you cannot use the Link Editor. To use it
again, choose one of the pick options.
261
Link Editor
262
Link Editor
Light Parameters
In This Section: Light Parameters 264

Active Effects 264
Common Parameters 269
Light Type Parameters 270
Shadow Parameters 271
Ray Tracer Soft Shadows 271
Glow 272
Radial Glow Effects 278
2D Glow Noise 279
Halo 274
Fog Illumination 274
Lens Flare 276
263
Light Parameters
To set light parameters, double-click on a light within the Multi-

lister.
Light Type
Controls how a light illuminates a scene. See Light Types on

page 282.
Active Effects
Most Active Effects parameters are common to all light types.

Some parameters are limited to specific light types.
Light
Controls whether a light actually emits light and
illuminates surfaces. This parameter has no effect on the
OFF ON Force, Glow, Halo, Fog, or Emit Particles parameter settings.
264
Light Parameters
For example, a light can glow or emit a force, but not

illuminate surfaces. The default setting is ON for lights and
OFF for warps.
Shadows
Controls whether a light will cast shadows during
raytracing. (Only spot lights can cast shadows during
OFF ON raycasting.) If Shadows is ON, the Shadow Parameters
become available. The default setting is OFF.
Force
The type of force exerted by a light during a dynamic
simulation (see Dynamics on page 313). The Force setting
determines how an object is accelerated when it is near the
force. The default setting is OFF.
DAMP Object acceleration is directly proportional to

the object’s absolute velocity. A positive
Force Intens. value slows down the object; a
negative value speeds it up. A very large
Force Intens. value causes the object to
oscillate wildly. If several damp forces
overlap, only the force with the highest Force
Intens. value affects the object.
DRAG Object acceleration is directly proportional
to:
● the object’s velocity (relative to the air
flow in the vicinity of the object),
● the size of the object (the largest face of
its bounding box),
● the object’s Drag Coeff (drag coefficient)
value, and
● the environment’s Air Density value,
and inversely proportional to the object’s
mass.
265
Light Parameters
A positive Force Intens. value slows down the

object; a negative value speeds it up. A very
large Force Intens. value causes the object to
oscillate wildly. If several drag forces
overlap, only the force with the highest Force
Intens. value affects the object. A drag force
has the effect of changing the local air
density.
MAGNET Object acceleration is inversely proportional
to the object’s mass (light objects are
accelerated more than heavy objects).
GRAVITY Object acceleration is independent of all
object properties; acceleration is the same for
all objects, regardless of their mass.
WIND Object acceleration is inversely proportional
to the object’s mass (light objects are
accelerated more than heavy objects). For
gaseous particles, the wind force defines the
motion of the particles directly. A wind force
defines the motion of the air at a point, and
influences the air drag of objects in its
vicinity.
Glow
The type of glow the light produces when viewed directly.
A light does not need glow in order to illuminate objects
when the scene is rendered; however, a light does need
glow in order to be visible by the camera when the scene is
rendered. You can assign glow to all light types except
ambient lights.
If Glow is set for a light, the Glow, Radial Glow Effects, and 2D
Glow Noise Glow Effects parameters become available. The
Off Linear Exponent. default setting is OFF.
OFF No glow
Ball Glow Spectral Rainbow LINEAR Glow slowly diminishes from the center
of the light
EXPONENTIAL Glow quickly diminishes from the
center of the light
266
Light Parameters
BALL_GLOW Glow diminishes faster towards a

distance (from the light center) specified
by the glow Spread value
frequencies (blue)
RAINBOW Simulates refraction due to water
droplets in air. The glow Spread value
determines the radius of the rainbow.
Halo
The type of halo the light produces when viewed directly.
Halo is similar to Glow, except that the falloff is more
gradual and different falloff types are available.
The Glow Intensity value must be greater than zero for the
Halo setting to have any affect. The default setting is OFF.
OFF No halo
Off Linear Exponent. LINEAR Halo slowly diminishes from the center
of the light
EXPONENTIAL Halo quickly diminishes from the center
all Glow Lens Flare Rim Halo of the light
BALL_GLOW Halo diminishes faster towards a
by the halo Spread value
LENS FLARE Simulates a bright light source
illuminating the surfaces of several
camera lenses. The intensity of the flare
is determined by the halo Intensity value.
The size of the flare circles is relative to
the field of view of the camera.
RIM HALO Forms a circular ring with a soft central
by the halo Spread value.
267
Light Parameters
Fog
The type of fog the light appears to be shining through.
You can assign fog to point lights and spot lights to
simulate light scattered from either a sphere of fog (for
point lights) or a cone of fog (for spot lights). The default
setting is OFF.
OFF No fog
LINEAR Fog slowly diminishes from the center
of the light
EXPONENTIAL Fog quickly diminishes from the center
of the light
BALL_GLOW Fog diminishes faster towards a
by the fog Spread value
BALL_GLOW provides sharper thresholds at the edge when

the fog Opacity value is non-zero. In spot lights, the Decay
value will determine how fast the light falls off from the
center of the light. Shadows can be cast into volumes of
fog by using spot lights when Shadows are set ON and the
Fog type is LINEAR.
Use fog to simulate effects such as smoke or fog in the air.
Light scatters diffusely and creates a radiance around light
sources. This type of radiance fills a volume of space, and
can show shadows of objects. Objects can immerse into the
glow or stand in front of it, unlike retinal glow, which is
always in front of objects. Fog glows can be visible even if
the light source is totally obscured.
Use fog to simulate illuminated fog. Smoky fog can be
simulated by using the 2D Noise parameters (this noise is
also available for glow). The smoke can be animated by
using the u and v offset parameters. Dark smoke can be
specified by using the opacity parameter and making the
color of the light black, or negative.
Note the following when using fog:
◆ Fog glow is 3D: a cone for spot lights and a sphere for
point lights. The camera can fly though fog glow.
268
Light Parameters
◆ If shadowing is on for shadow casting spot lights, the

fog glow displays the proper shadowing. For
example, if the spot light shines through a trimmed
hole, then the glow assumes the shape of the hole.
◆ Objects cast shadows into the volume of the fog. This
can cause striking effects when combined with the 2D
noise and glow effects.
For example, imagine the light on a police car in fog. As
the light cuts through the smoke, objects cast shadows into
the fog. When the light is pointing towards the camera a
flash occurs (glow for spots only occurs when the eye is
inside the spot light cone). The flash can have star and
perhaps lens flare effects. The only animation needed to
accomplish this is rotating the spot light.
Lens Flare
Simulates a bright light source illuminating the surfaces of
several camera lenses. The intensity of the flare is
OFF ON determined by the halo Intensity value. The size of the flare
circles created is relative to the field of view of the camera.
The Lens Flare parameter is not available for ambient
lights. The default setting is OFF.
See Particles on page 317. Emit Particles

Makes the light emit particles during an animation. If Emit
Particles is ON, the Particle Emission parameters become
available.
See Warps on page 345. Warp Objects

Causes surfaces linked to the light to be distorted.
Common Parameters
Color
The color of the light. If you map a texture to this
parameter, the light will project the texture. (The exact
White Red Green Blue method of projection depends on the Light Type.) The
default setting is white.
269
Light Parameters
Intensity
The brightness of the light. A light with an Intensity value
of 0 produces no light. A light with negative Intensity value
0 1 10 100 removes light from a scene in the area of the light’s
influence. The slider range is 0 to 100. The default value is
1.
Tip Use a negative Intensity value to reduce or remove hot-spots

or glare.
See Dynamics on page 313. Force Intens.

The strength of the force exerted by a light during a
dynamic simulation. Positive forces push away from the
light, and negative forces pull toward the light. This
parameter is only available if Force is set (that is, not OFF)
under Active Effects. The slider range is -10 to 10. The
default value is 1.
See Linking a Light on Exclusive Link

page 255. Makes the light only illuminate objects that are linked to
that light. A light with Exclusive Link OFF illuminates
objects that have no light links. The default setting is OFF.
Light Radius
The size (radius) of the light (in world space units). The
Light Radius value influences surface shading and
0 0.1 0.5 1 determines the separation of the shadows. (Shadows are
generated to match a globe shaped light with the specified
radius.) The slider range is 0 to 1. The default value is 1.
Light Type Parameters
The Light Type Parameters are different for each light type. Only
the Decay parameter is common to most light types.
Decay
Controls how quickly light intensity decreases with
distance. The Decay setting has no effect at distances less
0 1 2 3 than 1 unit. If Force is set (that is, not OFF) under Active
Effects, the Decay value controls how quickly the force
intensity decreases with distance.
270
Light Parameters
The Decay parameter works differently for volume lights

(see Decay on page 285). Valid settings are 0, 1, 2 or 3. The
0 no decay; light reaches everything

1 light intensity decreases directly (linearly) with
distance (slower than real world light)
2 light intensity decreases proportionally with the
square of distance (the same as real world light)
3 light intensity decreases proportionally with the
cube of distance (faster than real world light)
Shadow Parameters
The Shadow Parameters are only available if Shadows is ON

under Active Effects. The Ray Tracer Soft Shadows parameters are
not available for area lights or linear lights.
Shadow Color
The color of shadows produced by the light. For example,
you can use Shadow Color to simulate shadows produced
Black Red Green Blue by colored glass.
Ray Tracer Soft Shadows
Soft Shadows
Makes the light produce soft shadows during raytracing.
The nature of soft shadows which are created is
OFF ON determined by the distance of the light from the object
casting shadows combined with the Light Radius value.
Shadows are generated to match a globe shaped light with
the specified radius (in world space units). If the light
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Light Parameters
source is small and/or far away, hard edge shadows will

result. Shadows become softer edged as the light's radius
increases, as happens in the real world. However, because
a jittered super sampling technique is used, the region of
partial shadow (penumbra) can become noisy. To correct
this, turn up the number of samples used, adjusting either
the Shadow Samples value (on light) or the global anti-
aliasing level.
If you use a blending function, Soft Shadows can be useful
even when the Light Radius value is 0 and the Shadow
Samples value is 1. This method helps avoid jagged
shadow boundaries.
See Self Shadow Correction on Use Shadow Map

page 291. Toggles the Shadow Map method ON or OFF.
Shadow Samples
The minimum number of shadow feeler rays per sample
(used to create raytracer soft shadows). A large Shadow
1 2 10 40 Samples value increases rendering times but produces
smoother soft shadows. The valid range is 0 to 100. The
Glow
The Glow parameters control the appearance of the light’s

glow, and are only available when Glow is set (that is, not OFF)
under Active Effects.
Glow Color
The color of the light’s glow. The default setting is white.
White Red Green Blue
272
Light Parameters
Intensity
The brightness of the glow. As the Intensity value increases,
so does the apparent size of the glow effect. A negative
0.1 0.5 1 5 Intensity value subtracts from other glows. (The Decay
value controls how the glow brightness decreases with
distance.) The slider range is 0 to 5. The default value is 1.
Spread
Controls the size of the glow effect. Negative values can
have odd but useful effects. The slider range is 0 to 5. The
0.1 0.5 1 3 default value is 1.
Star Level
Simulates camera star filter effects. The slider range is 0 to
-1 0 1 4 Use the Star Points parameter to set the number of points
on the star. Use the Rotation parameter to rotate the star.
Radial Noise
Randomizes the spread of the glow to simulate starburst
effects and eyelashes refracting light. The slider range is 0
-1 0 0.5 1 to 1. The default value is 0.
Negative values of Radial Noise produce thicker noise. Use
the Noise Freq. parameter (under Radial Glow Effects) to
control the smoothness of this effect.
2D Noise
The strength of two-dimensional noise applied to the
glow. The noise is generated on a plane that is centered at
-1 0 0.5 1 the location of the light and always oriented towards the
camera. The slider range is 0 to 1. The default value is 0.
To create the illusion of illuminated smoke around a
glowing light source, set the 2D Noise value to about 0.5
and slowly animate the Uoffset and Voffset values. The
smoke will appear to slowly drift by the light.
Generally fog illumination (2D Noise under Fog Illumination)
is better than glow for creating smoke and fire effects,
because fog is a 3D effect (for example, glow 2D noise
cannot be occluded by objects).
273
Light Parameters
Opacity
The amount that the light’s glow obscures objects behind
it. Opacity can be thought of as the opposite of
0 2 3 4 transparency. The slider range is 0 to 0.5. The default value
is 0.
Halo
The Halo parameters control the appearance of the light’s halo,

and are only available when Halo is set (that is, not OFF) under
Active Effects.
Halo Color
The color of the halo. The default setting is white.
Intensity
The brightness of the halo. As the Intensity value increases,
so does the apparent size of the halo effect. (The Decay
0.1 0.5 1 5 value controls how halo brightness decreases with
distance.) The slider range is 0 to 5. The default value is 1.
Spread
Controls the size of the halo effect. The Spread value also
controls the size of the glow if Glow is RIM HALO. Halo size
0.1 0.5 1 5 is generally larger than glow size when the halo Spread
and glow Spread values are the same. The slider range is 0
to 5. The default value is 1.
Fog Illumination
274
Light Parameters
The Fog Illumination parameters control the appearance of the

light’s fog, and are only available for point lights and spot
lights when Fog is set (that is, not OFF) under Active Effects.
Fog Color
The color of the fog. The default setting is white.
Intensity
The brightness of the fog. (The Decay value controls how
fog brightness decreases with distance.) The slider range is
0.1 0.5 1 5 0 to 5. The default value is 1.
Tip Combine Glow and/or Halo with Fog to give a bright,

focused center to the fog.
Spread
Point Light
The fog Spread value has a different effect on point lights
and spot lights. For point lights, it determines the size of
the glowing spherical volume of fog. For spot lights, it
determines how the fog brightness varies across the spot
0.1 0.5 1 5
light beam. A high Spread value produces fog with
Spot Light uniform brightness. A low Spread value produces fog
which is brighter at the center of the spot light beam. The
spot light Decay value controls how fog brightness
decreases with distance from the light source. The slider
0.1 0.5 1 5
Radial Noise
Randomizes the spread of the fog to simulate starburst
effects and eyelashes refracting light. The slider range is 0
-1 0 0.5 1 to 1. The default value is 0.
Negative values of Radial Noise produce thicker noise. Use
the Noise Freq. parameter (under Radial Glow Effects) to
control the smoothness of this effect.
2D Noise
The strength of two-dimensional noise applied to the fog.
The noise is generated on a plane that is centered at the
-1 0 0.5 1 location of the light and always oriented towards the
camera. The slider range is 0 to 1. The default value is 0.
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Light Parameters
Opacity
The amount that the light’s fog obscures objects behind it.
(Opacity can be thought of as the opposite of
0 2 5 10 transparency.) The slider range is 0 to 0.5. The default
value is 0.
Tip Adjust the Opacity value to simulate fire and smoke effects,
which frequently do not let all the light in a scene pass
through. To simulate black smoke, set the light color near
black and the Opacity value high (around 10).
Lens Flare
The Lens Flare parameters control the appearance of the light’s

lens flare, and are only available when Lens Flare is ON under
Active Effects.
FFlare Color
The color of the lens flare circles. If you map a texture onto
this parameter, each lens flare circle will contain the
Default Red Green Blue texture scaled to fit inside each circle. The default setting is
RGB 160, 160, 255.
Tip Use a circular Ramp texture to create a colorful rainbow

flare effect.
276
Light Parameters
Intensity
The brightness of the flare effect. (The Decay value controls
how the lens flare brightness decreases with distance.) The
0.1 0.5 1 5 valid range is 0 to ∞. The slider range is 0 to 5. The default
value is 1.
Num Circles
The number of circles in the lens flare effect. The valid
1 5 10 20 value is 20.
If the Num Circles value is very large, rendering times may
be long, especially if the Min Size and Max Size values are
large and the Flare Color is textured.
Min Size, Max Size

The size of the circles is randomized between these two
values. The valid range is -∞ to ∞. The slider range is 0 to
0.1, 0.5 0.1, 1 0.1, 2 0.1, 5 5. The default value is 0.1 for Min Size and 1 for Max Size.
Color Spread
The amount that the hue of individual circles is
randomized about the Flare Color. The Color Spread value
0 0.25 0.5 1 has no effect if the Flare Color is not at least partially
saturated (for example, not white or grey). The slider
Focus
The sharpness of circle edges. The valid range is 0 (very
blurry) to 1 (totally sharp). The default value is 0.6.
0 0.25 0.6 1
Vertical, Horizontal
Controls the axis of the flare effect relative to the center of
the image. If the light source moves, the flare will appear
0, 0 0, 0.3 0.3, 0 0.3, 0.3 to rotate through this point. The slider range is -1 to 1. The
default value is 0.
Length
The length of the flare effect relative to the light location. If
Length is small, all circles will overlap the light. If Length is
0 0.25 0.5 1 large, the circles will spread out across the image. The
Length value has no effect if the Vertical and Horizontal
values are both 0. The slider range is 0 to 1. The default
value is 1.
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Light Parameters
Hexagon
Makes flare elements shaped like hexagons (instead of
circles).
OFF ON
Tip To create lens flares having shapes other than circles or

hexagons, apply a texture map onto Flare Color using an
image of the desired shape (white on black).
Radial Glow Effects
The Radial Glow Effects parameters control the appearance of

glow and fog radial effects (2D Noise, Radial Noise, and Star
Level), and are only available when Glow and/or Fog is set (that
is, not OFF) under Active Effects.
Rotation
Rotates glow and fog noise and star effects (2D Noise,
Radial Noise, and Star Level) about the center of the light.
0 45 90 180 The slider range is 0 to 360 (degrees). The default value is
0.
Star Points
The number of points on glow star filter effects. A Star
Points value of 1 produces a comet-like effect. A non-
0 1 4 10 integer Star Points value could render with a seam or hard
line at the top of a star effect. The slider range is 0 to 10.
Tip Set the Star Points value to 1, the Star Level value to 1, and
the Glow type to RAINBOW to produce a rainbow arch.
Noise Freq.
Controls the smoothness of glow and fog radial noise (see
Radial Noise on page 273). The slider range is 0 to 5.The
0 0.5 1 5 default value is 0.5.
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Light Parameters
2D Glow Noise
The 2D Glow Noise parameters control the appearance of glow

and fog 2D noise, and are only available when Glow and/or
Fog is set (that is, not OFF) under Active Effects.
Threshold
The cutoff value for the 2D noise. As the Threshold value
approaches 0, fog and glow 2D noise breaks up into
0 0.25 0.5 1 smaller patches. The slider range is 0 to 1. The default
value is 1.
Tip You can use Threshold to simulate globular clusters, ejecta

from explosions, snow and rain effects, especially when the
Uscale and Vscale values are high. You can also use it to
make flames and smoke more patchy.
Uscale, Vscale
Scales glow and fog 2D noise in the horizontal (Uscale)
and vertical (Vscale) directions. The slider range is 0 to 5.
0, 0 0.5, 0.5 1, 1 5, 5 The default value is 1.
Tip You can use Uscale and Vscale to create layered fog or tall
flames. Animate the Uscale and Vscale values from high to
low values to make the noise appear to fly apart like an
explosion.
Uoffset, Voffset
Offsets glow and fog 2D noise in the horizontal (Uoffset)
and vertical (Voffset) directions. For example, you can
0, 0 0.02, 0 0, 0.02 .02, .02 animate the Uoffset and Voffset values to simulate smoke,
rain, or snow moving past a light. Noise will repeat after
an offset of 1. The slider range is 0 to 1. The default value
is 0.
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Light Parameters
280
Light Parameters
Light Types
In This Section: Light Types 282

Point Light 284
Spot Light 286
Directional Light 295
Ambient Light 297
Area Light 299
Volume Light 301
Linear Light 308
281
Objects palette > Light Types

Lights
There are seven different types of lights. There is also a tool for
creating default lighting for a scene.
Point Light
Point lights are like incandescent light bulbs—they cast light

in all directions. See Point Light on page 284.
Spot Light
Spot lights cast light in one direction only, emanating from a

point in a cone. See Spot Light on page 286.
Directional Light
Directional lights are directional source lights that have color,

intensity, and direction, but no obvious source in the scene.
See Directional Light on page 295.
Ambient Light
Ambient lights are similar to point lights except that only a

portion of the illumination emanates from the point. The
remainder of the illumination comes from all directions and
lights everything uniformly. See Ambient Light on page 297.
Area Light
Area lights are two-dimensional rectangular light sources.

See Area Light on page 299.
Volume Light
Volume lights define a closed volume in which objects will be

illuminated, and nothing outside the volume is directly
illuminated by the light. See Volume Light on page 301.
282
Light Types
Linear Light
Linear lights are one dimensional line-like lights (similar to

fluorescent tubes). See Linear Light on page 308.
Default Lighting
The Create defaults tool sets the default lighting for a scene.
When you select Lights > Create defaults, an ambient light and a
directional light are automatically created. Their orientation
and position are pre-defined and their values are based on
each light’s default options.
283
Light Types
Point Light
Point lights are like incandescent light bulbs — they throw

light evenly in all directions.
Multi-lister Modeling
Swatch Window
Icon
Point Light Options The Point Light Options can be opened using the Point light tool
(see Creating a Light on page 251).
284
Point Light
Color, Intensity, Decay, Exclusive

See Light Parameters on page 264.
Shadows
See Shadows on page 265.
Point Parameters The Point Parameters are located in a point light’s Control
Window (see Control Window on page 35).
Decay
285
Point Light
Spot Light
Spot lights cast light in one direction only, emanating from a

point in an expanding cone.
Swatch Window
Icon
Spot Light Options The Spot Light Options can be opened using the Spot light tool
286
Spot Light

Spread, Dropoff, Penumbra

See Spot Parameters on page 287.
Shadows
Edge Quality, Resolution, Fog Samples

See Shadow Casting on page 290.
Min Depth, Blend Offset

See Self Shadow Correction on page 291.
Spot Parameters The Spot Parameters are located in a spot light’s Control Window
(see Control Window on page 35).
287
Spot Light
Dropoff
Controls the rate at which light intensity decreases from
the center to the edge of the spot light beam. The valid
0 5 10 50 range is 0 to ∞. The slider range is 0 to 255.
Typical values are between 0 and 50. Values of 1 and less
produce almost identical results (no discernible intensity
decrease along the radius of the beam). The default value
is 0 (no dropoff).
Tip The Penumbra parameter produces an effect somewhat

similar to the Dropoff parameter.
Spread
The angle (in degrees) from edge to edge of the spot light’s
beam. Resolution problems may occur when the Spread
10 30 45 90 value is greater than 170; small objects may not cast
shadows. The valid/slider range is 2 to 179. The default
value is 90.
Penumbra
The angle (in degrees) over which the intensity of the spot
light falls off linearly to zero.
-10 0 10 50 For example, if the Spread value is 50 and the Penumbra
value is 10, then the spot light has an effective spread of 60
(50 + 10) degrees; however, the spot light intensity
decreases to 0 between the angles of 50 and 60 degrees. If
the Spread value is 50 and the Penumbra value is -10, then
the spot light has an effective spread of 50 degrees and the
spot light intensity decreases to 0 between the angles of 40
and 50 degrees.
The valid range is -90 to 90. The slider range is -10 to 10.
288
Spot Light
Show Spread
Displays a circle representing the Spread value of the spot
light in the Spot View window. The default setting is OFF.
Show Penumbra
Displays a circle representing the Penumbra value of the
spot light in the Spot View window. The default setting is
OFF.
Up
Displays the up vector of the spot light in the Spot View
window. The default setting is OFF.
Spot View The Spot View window displays a perspective view from the
spot light and lets you interactively position the spot light.
Any changes you make to the Spot Parameters are
automatically updated in the Spot View window.
Dolly
Yaw/Pitch
Azimuth/Elevation
Track
The Track, Azimuth/Elevation and Yaw/Pitch tools change the spot

light’s actual position and/or orientation. The Dolly tool only
changes the view in the Spot View window, and does not alter
the spot light’s position or orientation.
It may be difficult to use the Spot View window if the Spread

value is greater than 170.
289
Spot Light
Quick Render
Displays a quick render of your scene in the Spot View
window. If you change the spot light’s attributes or
position when Quick Render is ON, objects in the Spot View
window will re-render automatically. The default setting
is OFF.
Shadow Casting
Resolution
The size of the shadow depth map used during raycasting,
which determines the softness/sharpness of shadows.
8 50 512 1024 (The Spread and Edge Quality values also affect the general
softness/sharpness of shadows.)
High Resolution values produce sharp edged shadows but
also use more memory and slow down rendering. Low
Resolution values use little memory and speed up
rendering. Use a Resolution value of 50 to produce very
soft and smooth shadows. The valid range is 2 to 4096. The
A spot light with a low Spread value produces sharper
shadows than a spot light with a high Spread value, if their
Resolution values are the same. For example, a spot light
with a Spread value of 90 requires a Resolution value twice
that of a spot light with a Spread value of 45 in order to
have the same shadow sharpness.
Edge Quality
The size of the blur filter used on the shadow depth map.
The valid range is 1 to 10. The slider range is 1 to 5. The
1 2 5 10 default value is 2.
A low Edge Quality value (1 or 2) may produce slight
aliasing (staircasing) around shadow edges. Increasing the
Edge Quality value will eliminate this aliasing, but will
increase rendering time. This will also cause the edges to
become softer, requiring a larger shadow Resolution value
to maintain sharp edges.
290
Spot Light
Adjust the Resolution value (not the Edge Quality value) to

control the general level of blur.
Fog samples
Controls the quality of light fog shadows. A high Fog
samples value produces better quality fog shadows, but
4 50 512 1024 also increases rendering time. The valid range is 4 to 4096.
The default value (50) is usually good enough; however,
small details may be missed or may appear jittery. In this
case, increase the Fog samples value up to the Resolution
value.
Use Depth Map

Creates a spot light shadow depth map file the first time
the scene is rendered for re-use during subsequent
renders. This eliminates the need for the renderer to re-
calculate the shadow depth map for each render, and
decreases overall rendering time. However, Use Depth Map
is only useful if objects do not move within the spot light’s
field of view (for example, during a camera fly-by).
The file created by Use Depth Map has the same name as
the spot light. The default setting is OFF.
Self Shadow Correction
The Self Shadow Correction parameters let you correct self-

shadowing problems that can occur with shadow casting spot
lights during raycasting. A spot light uses a shadow map (or
depth map) to calculate the shadows cast by surfaces. If a
surface is illuminated by a spot light, then the shadow map
will begin at the illuminated surface and extend away from
the light. Any surface that lies within this shadow map will be
in shadow.
291
Spot Light
scene lit by spot light above spot light shadow map
A problem may occur on illuminated, shadow casting

surfaces. Because the shadow map has a fixed resolution, it
may not be smooth enough to describe a surface. The shadow
map may actually intersect the surface. This means that the
illuminated surface will be partially within its own shadow.
The result is a dark moire pattern on the surface.
shadow map
illuminated surface
shadow map in
front of surface
where the shadow map is in self-shadow moire pattern
front of the surface, the surface
will be within its own shadow
To solve this problem you can set the Min Depth parameter to a
small value. The renderer will then temporarily move the
shadow casting surface toward the light, before calculating the
shadow map, so the surface will no longer be within its own
shadow.
Min Depth = 0 small Min Depth value
The problem with using Min Depth is that it may be difficult to

know what is too small a value and what is too large a value. If
the Min Depth value is too small, the surface will still be
partially within its own shadow. If the Min Depth value is too
large, other surfaces which should be in shadow may no
292
Spot Light
longer be in shadow. Another problem is that the Min Depth

value is in world space units, so the magnitude of the value
will depend on the scale of your scene. Using Min Depth can
also interfere with motion blur.
Using Blend Offset is a better method of solving self-shadowing

problems. Whereas Min Depth moves the entire shadow casting
surface an equal amount, Blend Offset moves different surface
points different amounts, based on the probability that the
original point on the shadow map was correct.
Self-shadowing can be even more of a problem with motion-

blurred objects. The renderer calculates motion blur by
simulating the shutter and exposure time of a real camera. The
motion blurred object is rendered several times between the
shutter’s open and close times for each frame. The shadow
map, however, is only calculated at the shutter mid-point. If
the object is moving very fast away from the spot light, then it
may appear to be entirely within its own shadow for part of
the motion blur.
To solve this problem, use the new, experimental shadow map

algorithm by including the following line in your SDL file for
each shadow casting spot light:
use_old_shadow_map_algorithm=FALSE
This new shadow map algorithm is disabled by default

because it has problems shadowing particles and light fog. If a
motion-blurred object is moving very fast, then even this new
shadow map algorithm may be unable to solve self-
shadowing problems. In this case, increase the Min Depth or
Blend Offset values in addition to using the new shadow map
algorithm.
Min Depth
The world space distance that points on shadow casting
objects are moved toward the spot light before the shadow
0 0.01 0.05 0.5 map is calculated (during raycasting). Adjust the Min Depth
value to correct self-shadowing problems. The valid range
is 0 to ∞. The slider range is 0 to 10. The default value is
0.05.
If the Min Depth value is 0, then an object will shadow itself
by 50% (if it casts shadows) when the light is at an inclined
angle to the surface. A relatively small Min Depth value can
bring the surface out of its own shadow, especially when
293
Spot Light
combined with a small Blend Offset value. If the Min Depth

value is too high, the object may not cast shadows onto
surfaces that are very close.
Also, if the surface does not have to cast shadows but only
receive them, set Shadows off for the object (see Shadows on
page 445). A Min Depth value of 0 is then fine. A typical
example of this is a ground plane.
Blend Offset
Proportionally scales the distance that points on shadow
casting objects are moved toward the spot light before the
0 0.1 0.5 1 shadow map is calculated (during raycasting). Adjust the
Blend Offset value to correct self-shadowing problems. The
valid range is 0 to ∞. The slider range is 0 to 10. The
default value is 1.
294
Spot Light
Directional Light
Directional lights have color, intensity, and direction, but no

obvious source in the scene. Use directional lights to simulate
very distant light sources. For example, the sun can be
considered a directional light since it is far enough away that
light rays reaching the earth are effectively parallel.
Directional lights do not decay with distance.
Because directional lights only have a direction, their location

in a scene is unimportant. This also means that during
raytracing they can cast shadows on objects behind their
apparent location in a scene.
Swatch Window
Icon
Directional Light Options The Directional Light Options can be opened using the Directional
light tool (see Creating a Light on page 251).
Color, Intensity, Exclusive

295
Directional Light
Shadows
296
Directional Light
Ambient Light
Ambient lights are similar to point lights except that only a

portion of the illumination emanates from the point. The
remainder of the illumination comes from all directions and
lights all objects uniformly.
Swatch Window
Icon
Ambient Light Options The Ambient Light Options can be opened using the Ambient light
tool (see Creating a Light on page 251).
297
Ambient Light

AmbientShade
See Ambient Shade below.
Ambient Parameters The Ambient Parameters are located in an ambient light’s Control
Ambient Shade
The proportion of directional light to omnidirectional
(ambient) light. The slider range is 0 (light comes from all
0 0.5 0.75 1 directions) to 1 (light comes only from the position of the
light). The default value is 0.5.
298
Ambient Light
Area Light
Area lights are two-dimensional rectangular light sources.

They are particularly useful for simulating the rectangular
reflections of windows on surfaces. An area light is initially
two units long and one unit wide. Use Xform > Scale and
Xform > Non-p scale to re-size an area light.
The diffuse component of area lights is very small. To increase

diffusion, move the light further from the object it is
illuminating and increase its Intensity value. Area light
shadows are much more costly than point light shadows. The
increase in cost is proportional to the complexity of the scene
and the size of the area light.
Swatch Window
Icon
Area Light Options The Area Light Options can be opened using the Area light tool
299
Area Light

Shadows
Area Parameters The Area Parameters are located in an area light’s Control
Decay
300
Area Light
Volume Light
Volume lights define a closed volume within which objects are

illuminated; nothing outside the volume is illuminated by the
volume light.
Within the volume, the direction and intensity can vary in

many different parameters. A volume light is a convenient
way to “link” a light spatially, instead of by object. One main
use of the volume light is as a force and/or particle emitter.
Volume lights are also useful for removing hot spots or glare
by using a negative Intensity value.
Swatch Window
Icon
The shape of the volume
light’s modeling window icon
is based on the light’s Shape
Volume Light Options The Volume Light Options can be opened using the Volume light
301
Volume Light

Shape
See Shape on page 302.
Volume Parameters The Volume Parameters are located in a volume light’s Control
Volume lights have many parameters which define the shape

of the volume and the direction of the light/force in the
volume.
Shape
Defines the shape of the volume light as either a BOX,
SPHERE, CYLINDER, CONE, or TORUS. The default setting
is SPHERE.
You can also use the Xform tools to position or reshape a
volume light. Apply the Xform to the light icon in the
modeling window or to the DAG node above the light in
the SBD window.
Specular
Makes the light contribute to the specular component. (If
the Intensity value is negative, set Specular OFF.) The
default setting is ON.
Decay
Controls how quickly the light intensity decreases with
distance within the light’s volume. (The volume light Decay
parameter differs slightly from the Decay parameter for
other light types.) The slider range is 0 to 10. The default
value is 1.
302
Volume Light
0 No decay (light reaches everything within the

volume and nothing outside).
>0 Light intensity decreases from the center to the
edges of the volume. For example, a value of 0.5
produces a linear dropoff from the center to the
edges. With a value close to 1, intensity drops off
very fast from the middle. With a value close to 0,
intensity drops off slowly in the middle and fast
near the edges.
<0 Light intensity decreases from the edges to the
center of the volume.
The direction that light decays depends on the volume

light’s Shape setting.
Shape Decay Direction
BOX and SPHERE all directions from the center

CYLINDER and CONE in the direction of the principal
axis
TORUS perpendicular to the principal
axis
If Emit Particles is ON under Active Effects, the Decay value

controls where within the volume the particles are
emitted. For large positive values of Decay, particle
emission is concentrated in the center of the volume. For
large negative values, particle emission is entirely on the
surface of the volume.
If Force is set (that is, not OFF) under Active Effects, the
Decay value controls how quickly the force intensity
decreases with distance within the light’s volume.
Decay Start
Defines how far out from the center of the volume the
light intensity begins to decay. The slider range is 0 to 1.
303
Volume Light
Dropoff
Controls the rate at which light intensity decreases from
the principal axis to the edge of the light for CONE and
CYLINDER volume lights only. The slider range is 0 to 10.
Typical values are between 0 and 50. Values of 1 and less
produce almost identical results (no discernible intensity
decrease along the radius of the volume). The default
value is 0 (no dropoff). The volume light Dropoff parameter
is similar to the spot light Dropoff parameter (see Dropoff on
page 288).
Dropoff Start
Defines how far out from the principal axis of the volume
the dropoff starts. The slider range is 0 to 1. The default
value is 0.5.
Torus Radius
The ratio of the minor radius to the major radius for
TORUS volume lights only. The slider range is 0 to 0.5. The
default value is 0.5 (a typical bagel, where the “hole” is
reduced to a single point).
Cone End Radius

The radius of the end of the cone for CONE volume lights
only. If the Cone End Radius value is negative, the direction
of the cone is reversed. The slider range is 0 (a true cone)
to 1 (a cylinder). The default value is 0.1.
Arc
The portion (in degrees) of the swept volume for CONE,
SPHERE, TORUS, and CYLINDER volume lights only. The
slider range is 0 to 360. The default value is 360 (the entire
volume).
Directionality
The proportion of directional light to omnidirectional
(ambient) light. The slider range is 0 (light comes from all
directions, like an ambient light) to 1 (light comes from
one direction only, like a directional light). The default
value is 1.
304
Volume Light
Direction Vectors
The Direction Vectors define the direction of the directional

component of the light. If the Directionality value is 0, the
Direction Vectors have no effect.
If Emit Particles is ON under Active Effects, the Direction Vectors

determine the initial direction of the particles. If Force is set
(that is, not OFF) under Active Effects, the Direction Vectors
control the direction of the force within the light’s volume.
Concentric
The direction of the directional component of the light
toward or away from the volume’s axis. The slider range
is -1 (toward axis) to 1 (away from axis). The default value
is 1.
Directional
The direction of the directional component of the light up
or down the volume’s axis. The slider range is -1 (down
axis) to 1 (up axis). The default value is 0.
Radial
The angle of the directional component of the light relative
to the volume’s axis. The slider range is -1 (at a negative
angle to axis) to 1 (at a positive angle to axis). The default
value is 0 (perpendicular to axis).
Turbulence(noise)
The Turbulence(noise) parameters define irregularities in light

emission, force fields, and/or particle emission (for example,
to create a flickering light, or a random wind field). These
305
Volume Light
parameters are similar to the environment Turbulence(noise)

parameters (see Turbulence (noise) on page 71).
Intensity
The strength of the turbulence. The slider range is 0 (no
turbulence) to 1. The default value is 0.
Spread
Scales the turbulence in space so that the given amount of
turbulence covers a smaller or larger volume. The slider
Persistence
Scales the turbulence in time so that it changes faster or
more slowly. The slider range is 0 to 10. The default value
is 5.
Animated
Makes the turbulence either static (OFF) or animated (ON).
Static turbulence does not change over time (for example,
dappled lighting). In a static turbulent wind field, the
eddies are always in the same place; a stream of particles
moving through static turbulence always follows the same
path.
Animated turbulence changes over time (for example,
flickering light). Particles moving through animated
turbulence follow different paths. The default setting is
ON.
Directional
In the lighting calculation, the difference between the light
direction and the turbulence is used to avoid accidentally
illuminating the backs of objects. The default setting is ON.
Turbulence Table
306
Volume Light
Turbulence is defined by its turbulence table. The Turbulence

Table parameters define the turbulence table for a light’s
turbulence.
The turbulence table can be very large. A turbulence table

with a Space Resolution of 16 and a Time Resolution of 16 (that is,
a 16 x 16 table) takes up over 4Mb. A 32 x 32 table takes up
about 36Mb.
If the Turbulence Table parameters are the same for different

lights, the lights can share a single turbulence table, reducing
rendering time.
Space Resolution
Defines how large the turbulence table is in X, Y, Z. If the
table is smaller than the light’s volume, the turbulence
pattern repeats seamlessly within the volume. The valid
settings are 1, 2, 4, 8, and 16. The default setting is 16.
Time Resolution
Defines the resolution in time for animated turbulence.
The value of Time Resolution is the number of 3D tables
created. The valid settings are 1, 2, 4, 8, 16, and 32. The
Roughness
Determines how smooth or rough the turbulence is. The
Variability
Determines how smoothly or roughly the turbulence
changes over time. The slider range is 0 to 1. The default
value is 0.5.
Granularity
Determines how fine grained the turbulence is. The slider
307
Volume Light
Linear Light
Linear lights are one-dimensional lines of light like fluorescent

tubes. A linear light is initially two units long. Use
Xform > Scale to re-size a linear light.
Linear light shadows are much more costly than point light
shadows. The increase in cost is proportional to the
complexity of the scene and the length of the linear light.
Swatch Window
Icon
Linear Light Options The Linear Light Options can be opened using the Linear light
308
Linear Light

Shadows
Linear Parameters The Linear Parameters are located in a linear light’s Control
Decay
309
Linear Light
310
Linear Light
D yn a mics
Dynamics
In This Section: Dynamics Overview 314
313
Dynamics Overview
Dynamics is a branch of physics that describes how objects

move. Using dynamics, you can animate objects realistically
by defining their physical properties and then creating forces
which act upon them. For example, you can animate a ball
falling and bouncing, or smoke rising and blowing in the
wind, using dynamics.
To use dynamics you must run a dynamic simulation. A

dynamic simulation calculates how objects will react to forces,
or to collisions with other objects, and automatically animates
them with the appropriate motion. You can set up and run a
dynamic simulation in the Run Dynamics window (see Running
a Dynamics Simulation in the Animating book).
Objects Objects are the things that move during a dynamic simulation.
There are two types of objects that you can animate using
dynamics: geometry objects and particles.
Geometry Objects
Geometry objects are surfaces that you have modeled. In order

for a geometry object to be included in a dynamic simulation,
it must be either passive or active. Active objects react to forces
and collisions. Passive objects provide colliding surfaces for
active objects, but they do not react to collisions or forces. You
can make an object either passive or active in the Participating
Objects section of the Run Dynamics window (see Participating
Objects in the Animating book).
An object’s physical properties (density, elasticity, friction, and

drag) will influence how it reacts to forces and collisions. You
can define an object’s physical properties in the Dynamics
Properties section of the object’s shader’s Control Window (see
Dynamics Properties on page 97).
314
Dynamics Overview
Particles
Particles are collections of small pieces of geometry that can be

emitted from a surface or light and animated using dynamic
forces (see Particles on page 317).
Forces Forces simulate natural phenomena like gravity, magnetism,

wind, drag, and damping, and influence the motion of objects
during a dynamic simulation. There are two types of forces:
environment forces and force objects.
Environment Forces
Environment forces (gravity, air density, and turbulence) are

global forces which influence the motion of all objects during a
dynamic simulation. You can set the environment forces in the
Dynamics Globals section of the environment’s Control Window
(see Dynamics Globals on page 69).
Force Objects
Force objects (gravity, magnet, wind, drag, and damp)

influence the motion of objects in a local area during a
dynamic simulation. A force object is actually a light which
has a force component (that is, the light’s Force parameter is
set to GRAVITY, MAGNET, WIND, DRAG, or DAMP). Any light can
exert a force in addition to, or instead of, emitting light. If a
light has a force component, a force icon will appear in the top
left corner of the light’s Multi-lister swatch.
indicates the force type (if any)
indicates that the force is linked to a surface

indicates that any link to a surface is exclusive
Damp Drag Magnet Gravity Wind
You can link a force to an object (in the same manner you
would link a light to an object), so that only that object is
influenced by the force.
315
Dynamics Overview
You can set the force type by setting the Force parameter in the
Active Effects section of the light’s Control Window (see Force on
page 265). You can set the strength of the force by setting the
Force Intens. value in the Common Parameters section of the
light’s Control Window (see Force Intens. on page 270).
316
Dynamics Overview
Particles
In This Section Particle Overview 318

Using Particles 319
Particle Parameters 323
317
Particle Overview
Particles are collections of small pieces of geometry that can be

emitted from a surface or light and animated using dynamic
forces. Particles can simulate many types of effects, including
smoke, fire, explosions, water, rain, snow, sweat, grass, or hair.
clouds firebomb hair snowfall
318
Particle Overview
DisplayTgls > Using Particles

Render Toggles >
Particles
File > Export >

Particles To create particles, you must create a particle emitter. You can
then preview the particles created by this emitter by either
playing back the animation or performing a dynamic
simulation.
If your particles begin emitting before frame 1 of the

animation, you may want to save the particle runup so that it
does not need to be calculated each time you run the
animation.
You can also control how particles are displayed in the

modeling windows.
To create a particle emitter:

1 Create a surface or light to be used as a particle emitter.
See Emit Particles on page 89. 2 If the emitter is a surface, create a new shader, and set Emit
Particles ON under Special Effects.
See Emit Particles on If the emitter is a light, set Emit Particles ON under Active
page 269. Effects.
To preview particles:
See Viewing Running ● Select Animation > Playback to preview the particles, or
Animation and Running a select Animation > Run dynamics to perform a dynamic
Dynamics Simulation in the simulation. Particles are emitted from the surface or light.
Animating book.
To speed up the display of particles in the modeling
windows:
◆ work with only one modeling window
See Particles/Sec on page 336. ◆ reduce the Particles/Sec value
See Time Random on To better visualize the motion of particles, set Time Random
page 338. OFF.
319
Using Particles
To save particle runup:

1 Use the time slider to go to the first frame of the
animation.
2 Select File > Export > Particles.

The file lister is displayed.
3 Enter a name for the particle file and click Save Particles.
Note If you have run Playback, and there are particles

present when playback is finished, then Export Particles
will save them in the specified directory as
Shadername.<currentframe> or
Lightname.<currentframe>. If there are no
particles present, nothing will be saved, and a
message will be displayed in the promptline. The
shaders and lights themselves are not modified.
4 Open the particle emitter’s Control Window.
See Use File on page 324. 5 In the Particle Emission section of the Control Window, set Use
File to RUNUP.
The Filename field automatically contains the name of the
particle file, for example:
The file name should not /usr/username/demo/sdl/emitter.psys/

contain an extension number shadername
(for example,
shadername.0) Now when you play back the animation, the particle
runup is read from the particle file.
To toggle the display of particles on or off:
● Select DisplayTgls > Render Toggles > Particles.
To open the Toggle Particle Options box:
● Select DisplayTgls > Render Toggles > Particles ❏.
320
Using Particles
Toggle Particle Options
Toggle Type
Toggles the display of particles in All Windows or just in the
Current Window (that is, the active window). The default
setting is All Windows.
Display Method
Controls how particles are displayed in the modeling
windows. The most commonly used settings are Line and
Full Shaded. The default setting is Line.
Display Method Particles are displayed as...
Line Lines. A line represents the path of

a particle across the timestep.
Outline Circles. The size of a circle
represents the size of the particle.
Hair particles are displayed with
additional lines to indicate hair
width.
Dot Filled circles and lines.
321
Using Particles
Display Method Particles are displayed as...
Color Line Colored lines. A line represents the

path of a particle across the
timestep. The color of a line
represents the color of the particle.
Color Outline Colored circles. The size of a circle
represents the size of the particle.
The color of a circle represents the
color of the particle.
Color Dot Filled colored circles and lines.
Full Shaded Fully shaded. Particles are actual
size, and are displayed with actual
levels of transparency.
If your machine does not support full RGB double

buffering, Full Shaded particles may appear faint or contain
dots or banding. Use a dark background to minimize
these effects, or use Quick render to preview particles (see
Quick Render on page 397).
See Color on page 329. If particle Color intensity is greater than 1, the shaded
preview will appear green. The final render, however, will
be white.
322
Using Particles
Particle Parameters
Particle parameters control the generation, behavior, and

appearance of particles emitted from a light or from surfaces
which have the shader assigned to them.
To set particle parameters, double-click on the particle system

in the Multi-lister.
Particle Emission
The Particle Emission parameters determine whether particles

will be generated or read from an external file, the type of
particles generated, and the type of motion they will have.
These parameters are only available if Emit Particles is ON.
Presets
Predefined particle effects. When you select a Preset, all
Particle Emission parameters are automatically set. (If you
want to keep any parameter settings you have made, save
the shader or light before you select a Preset.) You can then
adjust these parameters to customize the particle effect.
When you select the following Presets, suggested
environment Glow Threshold and turbulence Intensity
values are displayed (see Threshold on page 65 and
Intensity on page 65).
Preset Suggested Values
STEAM turbulence Intensity (0.4)

SMOKE turbulence Intensity (1)
CIGARETTE SMOKE turbulence Intensity (0.4)
323
Particle Parameters
Preset Suggested Values
CAMP FIRE turbulence Intensity (0.4)

TORCH Glow Threshold (0.5)
turbulence Intensity (1)
CANDLE Glow Threshold (0.5)
turbulence Intensity (0.5)
ROCKET THRUST Glow Threshold (0.1)
turbulence Intensity (1)
Use File
Reads particles in from a series of files instead of
generating them during the animation. These files may
have been generated from a previous simulation and
saved using Save Particles (see Save Particles of the
Animating book) or File > Export > Particles (see To save
particle runup: on page 320), or they may have been
generated in another application and converted to an
Alias particle file. The default setting is OFF.
If Use File is set (that is, not OFF), the Filename parameter
becomes available (see Filename below).
The TRANSFORMED option is only available if the particle
emitter is a volume light. The EMIT_XFORMED option is
only available if the particle emitter is a volume light or a
shader.
OFF Particles are read from memory (or

generated during the animation);
particles are not read from particle
files.
NORMAL Particles are read from particle files;
particles are not read from memory
(or generated during the animation).
Particles are emitted from the
location of the emitter when the
particle files were created.
324
Particle Parameters
TRANSFORMED Particles are read from particle files;

particles are not read from memory
(or generated during the animation).
current location of the emitter. If the
emitter is a surface, particles are only
emitted from one surface having the
particle emitting shader assigned to
it.
RUNUP Particles are read from particle files.
If particle files do not exist for all
frames between the runup start and
the end frame, particles are
generated between the last particle
file and the end frame, using the last
particle as a starting point. To use
this option, the Filename must be a
prefix only (for example, .../sdl/
test.psys/Light, not
Light.30).
EMIT Particles are read from particle files
and read from memory (or generated
during the animation). That is,
particles from the particle files are
added to the particles in memory.
All particles are emitted from the
location of the emitter when the
particle files were created.
EMIT_XFORMED Particles are read from particle files
and read from memory (or generated
during the animation). That is,
particles from the particle files are
added to the particles in memory.
current location of the emitter. If the
emitter is a surface, particles are only
emitted from one surface having the
particle emitting shader assigned to
it.
325
Particle Parameters
Filename
The full path to the particle files to be used during an

animation. This parameter is only available if Use File is
set (that is, not OFF).
For example, if the particle emitter (a shader) is called
Shader#1, and you typed test when prompted for a
Save Particles file location, the particle files will be stored
in ./user_data/<project>/sdl/test.psys/
Shader#1.n, where n is the frame number for that
particle file. To use a single particle file, enter the path, file
name, and extension of the particle file (for example, .../
sdl/test.psys/Shader#1.30) in the Filename field. To
use a series of particle files, enter only the path and file
name (for example, .../sdl/test.psys/Shader#1).
See Particle File Format in the File Formats and Data Transfer
online documentation for more information on particle
files.
Motion Type
Defines the type of motion particles have. The default
setting is GAS.
GAS Particles have no mass and no momentum.

Particles follow the motion of the air and are
only affected by turbulence and wind forces.
SOLID Particles have mass and momentum. Particles
are affected by all forces.
HAIR Particles have mass and are affected by all
forces.
When Motion Type is HAIR, particles are linked to

previously emitted particles to create a continuous strand.
If the emitter is in motion, the oldest particles will lag
behind because they do not actually move with the
emitter. This lag can create a nice effect, like hair in water.
If this lag effect is too great, either reduce the Hair
Segments value or increase the Simulation substeps value (in
the Render Globals window).
326
Particle Parameters
Start Frame
The frame of the animation where particle emission
begins. To “run up” the particle system and have particles
in mid-motion when the animation begins, set the Start
Frame value to a value lower than the animation Start
frame (for example, use a negative Start Frame value). The
End Frame
The frame of the animation where particle emission stops.
Render Parameters
The Render Parameters control the appearance of rendered

particles. You can interactively modify the Render Parameters
when the animation is stopped (that is, the display in the
modeling windows will be updated automatically).
Render Type
Controls the overall appearance of particles. The default
setting is THIN GAS.
327
Particle Parameters
THIN GAS The THIN GAS method is best

suited for fairly transparent
particle systems. This method is
fast, as it uses the average density
of the particles along a ray to
calculate the particle systems
contribution to a pixel.
CLOUD For denser particle systems, the
CLOUD method is more accurate
(but slower). SELF SHADOWING
works best with the CLOUD
method, but will also work with
other Blob Lighting options. This
method calculates the contribution
of the blobs in sorted order front to
back, so that the structure of the
individual blobs is more visible.
CLOUD works well for hair.
THICK_CLOUD THICK CLOUD adds the effect of self
shadowing of a blob on it self, so
that when the blobs are large and
fairly opaque they will appear to
have a diffuse shading effect. This
works well for cumulous clouds,
and can simulate a silver lining
effect when backlit. THICK CLOUD
will look the same as CLOUD if
there is no self shadowing of the
particles.
BLOBBY SURFACE BLOBBY SURFACE renders the
implicit surface created by the
blobs.
TUBE TUBE works best for rendering hair
as this renders the particles as a
tapered tube.
Blob Lighting
The method used to calculate the lighting of particles. The
default setting is CONSTANT.
328
Particle Parameters
CONSTANT All particles are assigned the

particle Color. Scene lighting is
ignored.
ILLUMINATED Light falling on a particle is
averaged, and that value assigned
to the entire particle. If the blobs
are discrete, sudden changes in
illumination may be noticeable.
SELF_SHADOWING Light is calculated for each particle
on a per-pixel basis. This is the
slowest method.
If Motion Type is HAIR, and a Color

texture is mapped to Color, The color of the particles. If a texture is mapped to this
the top of the texture maps
to the base of the hairs, and parameter, the U values of the texture are mapped to Color,
the bottom of the texture and the V values are mapped to the particles’ lifetime. For
maps to the tips of the hairs. example, map a V RAMP texture to Color to control particle
color over particle lifetime.
If Parent Color is ON, the particles’ actual color is
determined by multiplying the emitter’s Color by the
particle’s Color. To make the particles have the exact same
color as the emitter, set Parent Color ON and particle Color
to white.
If Motion Type is HAIR, and a Incandescence

texture is mapped to The color and brightness of light that particles appear to be
Incandescence, the top of
the texture maps to the base emitting. If a texture is mapped to Incandescence, the U
of the hairs, and the bottom values of the texture are mapped to Incandescence, and the
of the texture maps to the V values are mapped to the particles’ lifetime. For
tips of the hairs. example, map a V RAMP texture to Incandescence to control
particle incandescence over particle lifetime.
If Motion Type is HAIR, and a Transparency

texture is mapped to The color and level of transparency of the particles. If a
Transparency, the top of the
texture maps to the base of texture is assigned to Transparency, the U values of the
the hairs, and the bottom of texture are mapped to Transparency, and the V values are
the texture maps to the tips mapped to the particles’ lifetime. For example, map a V
of the hairs. RAMP texture to Transparency to control particle
transparency over particle lifetime.
Actual particle transparency is also based on the particle
Size and Density values. Smaller or less dense particles will
appear more transparent.
329
Particle Parameters
If Diffusion is ON, mapping a texture to Transparency will

have no effect.
Blob Map
Maps a texture to individual blobs (particles). Surface
textures are mapped by projection from the eye point, so
the texture moves with the blob and always faces the
camera. Solid textures are mapped according to the solid
texture placement object, so blobs appear to move through
the texture. Assigning a color to Blob Map has no effect.
Parent Color
Makes particles have the same color as the point on the
emitter that they originated from. If Render Type is BLOBBY
SURFACE, the blobs will have the same texture map as the
emitter.
If Parent Color is ON, the particles’ actual color is
determined by multiplying the emitter’s Color by the
particle’s Color. To make the particles have the exact same
color as the emitter, set Parent Color ON and particle Color
to white.
Density
The visual density of the particles. Particles with a low
Density value appear transparent; particles with a high
Density value appear opaque. The slider range is 0
(completely transparent) to 1 (particles have the
transparency of the emitter). The default value is 1.
Actual particle transparency is also based on the particle
Size value and Transparency setting. Smaller particles will
appear more transparent.
Tip SELF_SHADOWING is more noticeable when the Density

value is high. Motion blur and animated transparency look
better when the Density value is approximately 1/
Transparency.
Translucence
The particles ability to transmit and diffuse light. The
330
Particle Parameters
Surf Shading (Surface Shading)

Controls the level of shading on the surface of the particle
system. It behaves somewhat differently depending on the
Motion Type and Render Type selected. The slider range is 0
If Render Type is BLOBBY SURFACE or Motion Type is HAIR,
the Surf Shading value controls specular illumination. As
the value approaches 1 the highlight becomes more
intense and focused.
If Render Type is THIN GAS or CLOUD and Motion Type is
GAS or SOLID, the Surf Shading value controls the amount
of diffuse illumination at the surface of the particle.
The surface of the cloud for this shading is controlled
using the Blob Threshold parameter. As the value
approaches 1, the shading of a cloud becomes completely
surface shaded, with no volume illumination of the
particles.
If this is non-zero, it uses the Blob Threshold to create a
“virtual surface” which provides normals to be used in the
shading calculation. Increasing the surface shading gives
the blobs sharper edges, (for example, clouds have a large
surface shading component). A value of 1 means diffuse
surface illumination, a value of 0 means blob illumination.
Because normals are provided, the rendering is slower
when the Surf Shading value is non-zero.
Blob Threshold
The density at which you threshold the surface for Surf
Shading or BLOBBY SURFACE rendering. The slider range
is 0 to 1. The default value is 0.2.
Blob Noise
The strength of noise applied to particles to make
individual blobs (particles) look less regular. This helps
hide the fact that the underlying system may have a small
number of large blobs. The slider range is 0 to 1. The
default value is 0.
331
Particle Parameters
Noise Freq
Controls how fine-grained the blob noise is (if the Blob
Noise value is non-zero). Set the Noise Freq value according
to the size of the particles (larger values for larger
particles). The slider range is 0 to 1. The default value is
0.1.
Noise aspect
Scales the blob noise along the path of the particle. A low
Noise aspect value makes the noise long and stretched out.
This is particularly useful when using blob noise to
simulate sub-hairs within a hair strand. The slider range is
-1 to 1. The default value is 0.
Blur Quality
Generates blobs along the paths of the particles to
simulate motion blur. If the Blur Quality value is high, the
particles are small, and they travel a long way in one
frame, then a lot of blobs will be created for each frame. In
this case, rendering will be slow and a lot of memory will
be used. The slider range is 0 to 1. The default value is 0.5.
Glow Intensity
The brightness of particle glows (see Glow on page 266).
332
Particle Parameters
Particle Properties
GAS Particle
Properties
SOLID Particle
Properties
HAIR Particle
Properties
The Particle Properties define the physical properties of

particles, which influence particle motion. These parameters
vary by particle Motion Type. You can interactively modify the
Particle Properties when the animation is stopped (that is, the
display in the modeling windows will update automatically).
Size
The (world space) size of a particle. If a texture is mapped
to this parameter, the U values of the texture are mapped
to Size, and the V values are mapped to the particles’
lifetime. For example, map a V RAMP texture to Size to
control particle size over particle lifetime, or to vary the
thickness of hair along its length. As the Size value
increases, so does particle overlap and rendering time. The
If Diffusion is ON, mapping a texture to Size will have no
effect.
The Size and Mass values determine density and
buoyancy for solid particles. A particle that is less dense
than the environment medium will rise.
333
Particle Parameters
Buoyancy
Controls whether particles rise or fall in the environment
medium. This parameter is only available when Motion
Type is GAS. The slider range is -1 (particles move
downward) to 1 (particles move upward). The default
value is 0.
Mass
The mass (in kilograms) of an individual particle. This
parameter is only available when Motion Type is SOLID or
HAIR. The Mass value determines the acceleration caused
by a magnet force (heavier particles are accelerated more
than lighter particles). The slider range is 0 to 1. The
See Air Density on page 69. The Size and Mass values determine density and
buoyancy for solid particles. A particle that is less dense
than the environment medium will rise.
See Elasticity on page 97. Elasticity

Controls how much speed a particle loses when it collides
with and bounces off of another object. This parameter is
only available when Motion Type is SOLID or HAIR. The
slider range is 0 (all speed is lost) to 1 (no speed is lost).
See Friction on page 98 and Friction

Wall Friction on page 70. Controls how much speed a particle loses when it rubs
against another object. The Friction parameter is similar to
the real-world coefficient of friction (see Wall Friction on
page 70). This parameter is only available when Motion
Type is SOLID or HAIR. The slider range is 0 (frictionless, no
speed is lost) to 1 (all speed is lost). The default value is 0.
Tip Use a negative Friction value to prevent particles from

sticking to surfaces.
Hair Leng. Max, Min (Hair Length Maximum, Minimum)

The maximum and minimum length of hairs. Individual
hair length is randomized between the Hair Leng. Max and
Min values. This parameter is only available if Motion Type
is HAIR. The valid range is 0 to ∞. The slider range is 0 to 5.
The default value is 2 for Hair Leng.Max and 1 for Min.
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Particle Parameters
When Motion Type is HAIR, there are no LifeSpan min or max

parameters under Generation parameters. The Hair
Leng.Max and Min and Hair Segments values determine the
lifespan of particles.
You must be running the animation to interactively
modify the Hair Leng.Max and Min values.
Hair Leng.Map (Hair Length Map)

Scales the hair length across the surface. Where the texture
is white, the hair will be its normal length (as determined
by the Hair Leng.Max and Min values). Where the texture is
50% grey, the hair will be half its normal length. Where the
texture is black, there will be no hair. This parameter is
only available if Motion Type is HAIR.
The length scaling is done by removing segments at the
tips of the hair. The Hair Segments value must be high
enough to scale the hair length to the range of lengths
represented in the Hair Leng.Map texture.
Hair Stiffness
The stiffness of the hair. As the Hair Stiffness value
approaches 1, the hair responds less and less to forces.
This parameter is only available if Motion Type is HAIR. The
If the emitter moves, the hairs may lag behind or stretch in
length. These time lag effects are not affected by the Hair
Stiffness value. To eliminate time lag effects, make the Start
and End frames (under Particle Emission) for the simulation
greater than the Hair Segments value (and increase the
Particles/Sec value under Generation).
Hair Segments
The number of line segments along the longest strands of
hair (the Hair Leng.Max value).
If the emitter moves, the oldest particles will lag behind
where the lag time (in frames) equals the value set in Hair
Segments and the Start and End Frame values set under
Particle Emission. This lag can create a nice effect (like hair
in water), but if it is too large, either reduce the Hair
Segments value, or increase the simulation's Start and End
Frame values. If you increase the Start and End Frame
335
Particle Parameters
values, you must also increase the number of Particles/Sec

under Generation in order to generate the same number of
hairs.
This parameter is only available if Motion Type is HAIR. The
Generation
The Generation parameters determine how many particles are

emitted, and when and where on the surface they are emitted.
You must be running the animation to interactively modify
Generation parameters (that is, the display in the modeling
windows will update automatically).
Particles/Sec
The number of particles emitted per second. The valid
value is 300.
The rate of particle emission is independent of the frame
rate of the animation.
If Time Random is OFF, the Particles/Sec value determines
the number of emission points.
Particles/Sec
# of emission points =
frames/second
When Motion Type is HAIR, the number of emission points
is the number of hairs.
Reduce the Particles/Sec value when changing parameters
and previewing particles to help visualize particle motion
and to speed up the display (especially for hair).
336
Particle Parameters
To control the location of particle emission on a surface,

map a texture to Particles/Sec. Where the texture is white,
the rate of particle emission will be its normal value for
that surface area. Where the texture is 50% grey, the rate of
particle emission will be half its normal value for that
surface area. Where the texture is black, there will be no
particle emission. If you map a texture to Particles/Sec,
however, the overall rate of particle emission will be lower
than Particles/Sec value.
To animate the location of particle emission on a surface,
assign a 3D texture to Particles/Sec and animate the 3D
texture placement object.
Speed
The average speed of particles when they are emitted. The
actual speed of an individual particle is randomized
between Speed - Speed Range and Speed + Speed Range.
To control the speed of particles by the emission location,
map a texture to Speed. Where the texture is white,
particle speed will be its normal value. Where the texture
is 50% grey, particle speed will be half its normal value.
Where the texture is black, particle speed will be zero.
If the Speed value is negative, particles will emit from the
opposite side of the surface emitter.
Speed Range
Randomizes particle emission speed about the average
speed (the Speed value). The actual speed of an individual
particle is randomized between Speed - Speed Range and
Speed + Speed Range. If the Speed Range value is 0, all
particles are emitted at the Speed value. The slider range is
0 to 1. The default value is 0.1.
If the Speed Range value is greater than the Speed value,
particles will emit from both sides of the emitter.
Speed Decay
Defines when a particle loses its initial speed. This
parameter is only available when Motion Type is GAS. The
slider range is 0 (initial speed is lost immediately) to 1
(initial speed is never lost). The default value is 0.8.
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Particle Parameters
U Bend, V Bend
The direction of particle emission (relative to the emitter
surface normal) in the U and V directions. These
parameters are not available if the emitter is a light. The
slider range is -1 (particles emitted tangent to surface in
negative U and V directions) to 1 (particles emitted
tangent to surface in positive U and V directions). The
default value is 0 (particles emitted perpendicular to
surface).
Lifespan Min, Lifespan Max

The minimum and maximum lifespan of a particle (in
frames). If the Lifespan Min and Lifespan Max values are
different, then particle lifetimes are uniformly distributed
between them. The valid range is 0 to ∞. The slider range
is 0 to 1000. The default value is 10 for Lifespan Min and 50
for Lifespan Max.
The Lifespan Min and Lifespan Max parameters are not
available when Motion Type is HAIR. The Hair Leng.Max and
Min and Hair Segments values determine the lifespan of
particles.
Time Random
Randomizes the location of particle emission. If Time
Random is OFF, particles are emitted from the same
location(s) on the surface in every frame. If Time Random is
ON, particles are emitted from different locations in every
frame. The Time Random parameter is not available when
Motion Type is HAIR. The default setting is ON.
Tip Set Time Random OFF to help visualize particle motion.
Normalize
Makes the generation of particles on polysets uniform
(based on the current frame) by taking the areas of
polygons into consideration.
Behavior
338
Particle Parameters
The Behavior parameters determine if particles can collide with

other objects, and what happens when they do. You must be
running the animation to interactively modify the Behavior
parameters.
Diffusion
Makes particles automatically grow in size and become
more transparent to simulate diffusion (for example,
smoke or steam in air). When a particle becomes almost
entirely transparent, it will die even if it has not reached
the end of its lifespan. The default setting is OFF.
The Diffusion parameter is only available when Motion Type
is GAS. When Diffusion is ON, the Diffusion Rate parameter
becomes available.
Set Lifespan Min/Max high enough so the particles can
diffuse naturally. If a particle has not diffused by the last
second of its life, it will diffuse over this last second.
If there are no forces or turbulence acting on the particles,
the only diffusion is this forced diffusion at the end of the
particle’s lifespan. If the air turbulence is rough and
strong, particles diffuse rapidly and die young. If the
turbulence is smooth, particles live much longer and form
long tendrils.
Smoke with greater detail is possible using diffusion
because particles only grow in size when they are forced
to spread apart due to force effects. For example, if you
created cigarette smoke with a turbulent volume light
force above the stream of smoke, the particles would not
diffuse (and die) until they hit the turbulent force. Another
advantage to using diffusion is that it tends to avoid lone
blobs: when a clump of particles separate, the particles
will grow (becoming more transparent) so that the blobs
stay overlapping.
When using diffusion, the start size of a particle is the Size
value, and the size across the particle life is determined by
the local differential in forces acting on the particle. The
texture map on particle Size is ignored when Diffusion is
ON.
The transparency of the particle is based on a combination
of the Transparency setting (which may still be mapped),
and the transparency due to growth in size of the particle.
The default Transparency setting (RGB 100,100,100) should
generally provide good results; however, if particles seem
339
Particle Parameters
to pop out slightly at the end of their life, you may want to
increase the Transparency setting (and possibly increase the
Density value).
The Density value will affect how large the particles can
grow. If the density is high, particles can grow to many
times the start size before dying.
The Transparency value does not affect particle growth, so
that a very low Density value combined with a very low
Transparency setting can result in particles that die before
they have become fully transparent.
Diffusion Rate
Controls the speed at which particles grow in size when

Diffusion is ON. The slider range is 0 to 2. The default value
is 1 (good for most situations).
If particles are emitted in tight clusters, overlapping one
another, use a low Diffusion Rate value (less than 1). If
particles are emitted so that they barely overlap, use a
higher Diffusion Rate (more than 1). At a Diffusion Rate of 2,
two particles that just touch at the edges are guaranteed to
stay in contact until they die, however in a turbulent field
it is more likely that the overlap will increase.
Particles will always completely diffuse over the last
second of their lifespan, regardless of the Diffusion Rate
value. Therefore, it is generally better to give the particles
long Lifespan Min/Max values (1000 or more) so that the
particles die due to diffusion by forces and turbulence.
See Collision Walls on Collisions

page 70, and Collision Types Makes particles able to collide with collision walls that are
in the Animating book.
ON and any simulation objects that have particle collisions
ON. When Collisions is ON, the Hit Method parameter
becomes available. The default setting is OFF.
Hit Method
340
Particle Parameters
Defines what particles do when they collide with an

object. The Hit Method parameter is only available when
Collisions is ON. If Hit Method is SPLIT, the Split Vel. Min
parameter becomes available.
BOUNCE Particles bounce off the surface, based on

the Elasticity value of the particles and of
the surface’s shader.
DIE Particles disappear from the frame after
they collide.
SPLIT Particles split into several new particles.
Each new particle inherits the parent
particle’s age and lifetime. Particles must
be moving fast enough (more than the
Split Vel. Min value) in order to split,
otherwise they will just bounce.
SPLIT_SKIM Similar to SPLIT, but any particles that
would have penetrated the surface after
splitting bounce off almost tangent to the
surface (3 degrees off) instead.
Split Vel. Min
The speed a particle must be moving when it collides with

an object in order to split. The Split Vel. Min parameter is
only available when Hit Method is SPLIT.
Curl
Determines the amount particles twist about their
direction of motion. This is especially useful with hair. The
slider range is 0 (no curl) to 1 (tight curl). The default
value is 0.
Tip To create more curls in hair, increase the Hair Segments

value.
341
Particle Parameters
Child Particles
The Child Particles parameters determine if, when, and how a

particle spontaneously splits into several particles. You must
be running the animation to interactively modify the Child
Particles parameters.
Split Time
The fraction of a particle’s lifetime at which it splits into
several particles. Particles can split spontaneously (once
per particle) as well as split by collision. The slider range
is 0 (particle birth) to 1 (particle death). The default value
is 0.
Num Children (Number of Children)

The number of child particles that a splitting particle will
generate. The slider range is 0 to 10. The default value is 2.
Branch Angle
The angle (in degrees) that child particles will move
relative to the parent particle’s original direction (after any
collision). A large Branch angle value may result in the
child particles penetrating the object that the parent
particle collided with. The slider range is 0 to 180. The
Randomization
Randomizes the direction of child particles by rotating the
Branch angle around the parent particle’s direction. The
Particle Rendering The Particle Rendering Parameters in the Render Globals window
Parameters control whether particles are rendered and the accuracy of the
particle simulation. See Particle Rendering Parameters on
page 439.
342
Particle Parameters
Volume Light Parameters If the emitter is a volume light, some Volume Parameters will
also control the behavior of the particles. See Decay on
page 285 and Direction Vectors on page 305.
343
Particle Parameters
344
Particle Parameters
Warps
In This Section: Warps Overview 346

Creating a Warp 349
Displaying Warped Surfaces 351
Converting a Warped Surface into a Polygonal Surface 352
Warp Parameters 353
345
Warps Overview
Warps can be thought of as forces that deform surfaces.
A warp is actually a light which has a warp component (that

is, the light’s Warp Objects parameter is set to TRIANGLE_RES
or PIXEL_RES). Any light can exert a warp in addition to, or
instead of, emitting light.
A warp deforms a surface by displacing it, somewhat like a

displacement map. The strength and direction of this
displacement is determined by the warp intensity (Warp
Intens.), and the light Type (DIRECTIONAL, POINT, LINEAR,
SPOT, AREA, VOLUME, AMBIENT).
Warps have several advantages over displacement maps.

Some of the features of warps include:
● Warps produce the same displacement, regardless of
surface parameterization, so the level of detail is identical
for a warp applied to several surfaces.
● Warps interactively display the surface displacement in
the modeling windows.
● Warps deform continuously across multiple surfaces.
● Warps deform all geometry types (faces, patches, and
polygons), including any combination of geometry types.
● The direction of deformation is continuous in space, so
seams between surfaces do not break apart. Surface
continuity at blends and joins is preserved.
● Surfaces may be deformed in any direction. Spirals, twists,
and swirls are possible.
● Warps do not require or produce any increase in the
density of the surface data. Fine detail is possible without
having to increase triangulation levels.
● Warped surfaces can be converted into polygonal
equivalents.
346
Warps Overview
● Warp parameters can be animated. For example, you can

simulate a crashing wave by simply using a sphere and an
animated warp. Warp parameters can also be animated by
expressions.
● Multiple warps can be easily combined.
● Unlike deformation methods that simply move triangles,
warps have the option to apply a per pixel warping at
render time. This allows high frequency detail, such as
fine ripples and fractal noise, to be accurately rendered
without requiring a large number of triangles.
Using Warps You can use warps to put dents on surfaces, flow ripples
through flags, or simulate bones, muscle and sinew
underneath skin. Keep in mind that:
● The Warp tools are presets. You are not limited to these
presets, and can create your own type of warp using a
different Light Type, and/or by mapping a texture to the
warp’s Color parameter.
● A warp must be linked to a surface (in the same manner
you would link a light to a surface).
● The amount of deformation given to a surface is
unbounded, so, for example, a spherical volume warp (the
Bulge preset) can push a surface well beyond the bounds
of the warp.
● A directional light warp simply displaces the position of
the object along the direction the light is pointing, as the
intensity and direction of this kind of field is constant
(unless it is textured).
● Warps with decay are more useful as the amount of push
varies over space.
● Volume lights are generally the best for warping, because
they provide the most control over decay direction (the
Direction Vectors).
● You can texture a warp to create unusual deformations.

(To texture a warp, map a texture to the light’s Color
parameter.) For example, the Ripple preset is a volume
light with a water texture applied to its Color parameter.
The Mangle preset uses a volume light with turbulence to
push the surface in random directions.
347
Warps Overview
● If you texture map a warp, the texture’s U and V

coordinates are based on the volume light’s size.
● If you texture map a warp, the amplitude of the warp is
based on the Warp Intens. value, the texture’s Rgbmult
value, and the light’s Intensity value.
348
Warps Overview
Objects palette > Creating a Warp

Warp
You can create a warp using the Warp tools or by creating a

light and then giving it a warp component.
Light#1 isn’t used explicitly By default, warps are named sequentially as you create them:
as a name; the first warp Light, Light#2, and so on. To avoid confusion, however, name all
with a given name is your warps as you create them. If you let the system assign
implicitly numbered 1.
default names and later combine two or more files, all warps
are renumbered to avoid duplicate names. It may then become
difficult to distinguish warps by name.
To create a warp using the warp tools:

1 Select the surface(s) that you want to apply a warp to.
2 Select a tool from the Warps cascading menu, or click one

of these icons:
3 If you do not have a surface selected, the system prompts:

Pick the surface(s) to be warped, then
press Go to create a new warp object.
Pick the surface or surfaces you want to warp, then click
the Go button.
4 A new warp is automatically created, sized to fit, and

linked to the selected surfaces.
Note the following when using warps:

● The presets on the tool palette are a small subset of the full
range of warps effects available. The warp is in fact a light,
and any light field type can be used.
● To see the effect of a warp on a surface, drag the surface
through the warp.
349
Creating a Warp
● Use the Xform tools (Move, Scale, Rotate, Non-p Scale) to

customize the warp effect.
● The warp is not initially grouped to the selected objects,
but should be grouped if you do not want the object to
travel through the warp when it is transformed.
To create a warp from a light:
See Control Window on 1 Double-click the light swatch in the Multi-lister to open the
page 35. light’s Control Window.
See Warp Objects on 2 Set Warp Objects to PIXEL_RES or TRIANGLE_RES.

page 353.
See Linking a Light on 3 Link the warp to the surfaces you want to warp.
page 255.
Unlike lights or forces, warps must be linked in order to
have an effect. When you create a warp using the Warp
tools, the warp is automatically linked to the selected
surfaces.
350
Creating a Warp
DisplayTgls > Displaying Warped Surfaces

Render Toggles >
Warps
You can control whether warped surfaces are displayed in the

modeling windows. If you toggle the display of warped
surfaces off, then the unwarped surface will be displayed in
the modeling windows.
To toggle the display of warped surface on or off:
● Select DisplayTgls > Render Toggles > Warps.
351
Displaying Warped Surfaces
Converting a Warped Surface into a

Polygonal Surface
You can convert a warped spline surface into a polygonal

surface to help visualize object intersections during an
animation, or to make sure the camera doesn’t pass through a
warped surface during a fly-by.
To convert a warped surface into a polygonal surface:

1 Select the warped surface.
See Creating Polygons from 2 Select Create polygons from the Polygons menu, or click this
NURBS on page 15 of the icon.
Polygonal Modeling book.
The Spline Surface to Polygons window appears.
3 Set the parameters in the Spline Surface to Polygons window

and click Build.
A polygonal version of the deformed surface is created.
352
Converting a Warped Surface into a Polygonal Surface
Warp Parameters
Double-click on a warp in Warps have all the same parameters that lights do (see Light
the multi-lister to set its Parameters on page 263). The main parameters for warps are
parameters. Warp Objects (under Active Effects), and the Object Warping
parameters.
Warp Objects
The method used to warp a surface. The default setting for
lights is OFF. The default setting for warps is
TRIANGLE_RES.
OFF No warp is applied.

TRIANGLE_RES Warp is applied to triangle vertices.
PIXEL_RES Warp is applied to triangle vertices
and then to each rendered pixel (like a
bump map). This lets you see finer
details than the triangle size. Using
this option, you can create the look of
a sharp edged fillet with only a few
triangles. However, PIXEL_RES can
sometimes take much longer to render
than TRIANGLE_RES. Use PIXEL_RES
only when you need fine detail or
sharp edges.
Object Warping
The Object Warping parameters become available when Warp

Objects is set to either TRIANGLE_RES or PIXEL_RES.
Parameter defaults are different for different warp presets.
353
Warp Parameters
Warp Intens.
The strength of the warp which controls how much the
surface is deformed. The slider range is -5 to 5. The default
setting is 1.
When adjusting the Warp Intens. value, scale the Sample
Size value by the same factor to preserve the smoothness
of the deformation.
Warp Steps
The number of iterations used to calculate surface
deformation. If the Warp Steps value is greater than 1, the
warp can cause the surface to curl around itself. The slider
Rendering time is directly proportional to the Warp Steps
value. If the Warps Steps value is high (for example, 10),
rendering may take a long time.
Sample Size
The size of the sample (in world space units) used to
calculate surface deformation. The slider range is 0.001
(sharply shaded surface deformation) to 10 (smoothly
shaded surface deformation). The default value is 0.1.
For razor sharp detail, set Warp Objects to PIXEL_RES and
Sample Size to a very small value.
If Warp Objects is set to TRIANGLE_RES, set the Sample Size
value no smaller than the general size of the triangles
rendered. This avoids cases where the triangle normals
change too abruptly, making the triangle edges noticeable.
When adjusting the Warp Intens. value, scale the Sample
Size value by the same factor to preserve the smoothness
of the deformation.
354
Warp Parameters
Camera s
Cameras
In This Section: Camera Overview 358

Using Cameras 362
Using Image Planes 365
Camera Editor 368
Camera Parameters 370
Image Plane Properties 381
Note For information on using the Cameras palette, see the

Studio Interface section of the Basic Tools book.
357
Camera Overview
Cameras are objects that you use to view a scene. A modeling

window represents the view from a camera. This view is used
to create an image of your scene during rendering.
A camera represents a particular view of your scene. By

changing the position and orientation of a camera, and the
properties of the camera’s lens and film, you can control the
camera’s view.
A modeling window represents the view of a particular

camera. Each modeling window has an associated camera, but
each camera does not necessarily need to have an associated
modeling window.
358
Camera Overview
The Persp[Camera] window represents the view of

a camera (the green icon in the Top[Top#4] window)
camera icon
There are two types of cameras: orthographic and perspective.

The view from an orthographic camera does not include the
effect of perspective. That is, an object will appear the same
size no matter how far it is from the camera. The view from a
perspective camera includes this effect; an object will appear
larger when it is close to the camera, and smaller when it is far
from the camera.
A single scene may contain several cameras. For example, by

default a scene contains four cameras corresponding to the
four modeling windows: top, front, right, and perspective
(camera). You can render the view from one or several of the
cameras in a scene.
In some cases a modeling window may not represent the exact

view of a camera. For example, if the aspect ratio of the film
back does not match the aspect ratio of the camera’s modeling
window, then the window will only show a portion of the
359
Camera Overview
camera’s view (see Film Back Properties on page 372). Another

example is the magnify window which represents a magnified
view of a modeling window.
A perspective camera appears in the SBD window as a group

of nodes representing the camera’s position (eye point), view
(look at point), and up point. You can also display perspective
cameras in the orthographic modeling windows as a green
icon. Orthographic cameras do not appear in the SBD window
unless the camera has an image plane.
Image Planes An image plane is an image that you can attach to a camera’s
view. This image appears in the camera’s modeling window
and in images rendered from that camera (either in front of or
behind the scene). Any camera can have one or several image
planes. For example, you could use an image plane as a visual
reference when building a model, or as a background for your
scene when rendering.
Note In StudioTools for Windows NT there are two types of

image planes: animation image planes and sketch
image planes. In StudioTools for UNIX operating
systems all image planes are animation image planes.
See the Sketching book for more information on sketch
image planes.
360
Camera Overview
An image plane appears in the SBD window beneath the

camera’s eye node. This it is not a hierarchical grouping,
however. Any transformations you make above the eye node
do not affect the image plane. If you add an image plane to an
orthographic camera, the orthographic camera appears in the
SBD window with the image plane beneath its eye node.
image plane (perspective camera)

image plane (orthographic camera)
361
Camera Overview
Using Cameras
You use cameras to generate views for modeling windows and

to generate views to render.
Creating or Copying a You can create a new camera by selecting Layouts > New camera
Camera (see Creating New Windows in the Studio Interface book). You
can copy an existing camera using the Clone tool (see Cloning
the Current Window in the Studio Interface book).
Displaying Camera Icons You can control whether camera icons are displayed in the
orthographic modeling windows by selecting
DisplayTgls > Object Toggles > Camera (see Changing the Display
of Cameras in the Studio Interface book).
Changing a Camera’s You can change a camera’s view by changing its Camera
View Properties, Film Back Properties, and Lens Properties. (see Camera
Properties on page 370, Film Back Properties on page 372, and
Lens Properties on page 374). You can also change a camera’s
view using the camera tools (see Using Cameras in the Studio
Interface book), or the modeling window control icons.
Zoom and Dolly
Both zooming and dollying change the size of all objects in

your scene as they appear in the camera’s window. Dollying,
however, also changes the size of objects that are near the
camera relative to objects that are far from the camera.
Zooming maintains the relative size of objects in your scene.
362
Using Cameras
Original View
Dolly In Zoom In
Track and Film Back Offset
Both tracking and changing the film back offset value change
the position of all objects in your scene as they appear in the
camera’s window. Tracking, however, also changes the
position of objects that are near the camera relative to objects
that are far from the camera. Changing the film back offset
value maintains the relative position of objects in your scene.
Original View
Track Film Back Offset
Animating a Camera You can animate a camera parameter setting in the Camera
Editor by Shift-clicking the name of the parameter, and then
clicking the Key button in the title bar of the Camera Editor. This
is similar to the procedure for animating parameter settings in
the Control Window (see Animating Parameter Settings on
page 43). You can also animate a camera using
Animation > Turntable, Animation > Autofly, or Animation > Set
keyframe (see the Animating book).
Selecting Camera Views You can select which camera views will render an image file,
to Render mask file, or depth file in the Render Globals window.
363
Using Cameras
To select which camera views will render:
See Render Globals Window 1 Select Render > Globals to open the Render Globals window.
on page 417.
See Image File Output on 2 In the Image File Output section of the Render Globals
page 432. window, set the Image toggle on for the camera views you
want to render as images. By default, only perspective
cameras have their Image toggle on. You can also set the
Mask and Depth toggles to select which camera views will
render as mask files or depth files.
A camera will not render an image file, mask file, or depth
file if the camera is invisible, regardless of its Image, Mask,
and Depth toggle settings.
364
Using Cameras
Using Image Planes
If you have StudioTools for You use image planes as visual references while building a
Windows NT, see the model, or as a means of compositing background and/or
Sketching book for foreground images during rendering.
information on using image
planes for sketching.
Adding or Deleting an You can add any number of image planes to a camera.
Image Plane
To add an image plane to a camera using Import Image
Plane:
1 Select the modeling window of the camera you want to
add an image plane to.
See Importing Image Planes in 2 Select File > Import > Image plane to open the File Requestor.
the Studio Interface book.
3 Use the File Requestor to select the image file you want to
use as an image plane, and click Load Image.
The image plane appears in the modeling window.
To add an image plane to a camera using the Camera

Editor:
See Camera Editor on 1 Select Windows > Edit > Cameras to open the Camera Editor.
page 368.
See Camera on page 370. 2 At the top of the Camera Editor, set Camera to the camera
you want to add an image plane to.
See Add on page 381. 3 In the Image Planes section of the Camera Editor, click the
Add button to open the File Requestor.
4 Use the File Requestor to select the image file you want to
use as an image plane, and click Load Image.
The image plane appears in the modeling window, and an
image plane swatch appears in the Image Planes section of
the Camera Editor.
365
Using Image Planes
To delete all image planes from a camera:

1 Select the modeling window of the camera you want to
delete all image planes from.
See Deleting Image Planes in 2 Select Delete > Del image planes ❏ to open the Delete Image
the Studio Interface book. Plane Options box.
See Delete Image Plane 3 In the Delete Image Plane Options box, set Delete Type to
Options in the Studio Interface Current Window, and click Go.
book.
All image planes are deleted from the active window.
To delete one image plane from a camera:
See Camera Editor on 1 Select Windows > Edit > Cameras to open the Camera Editor.
page 368.
See Camera on page 370. 2 At the top of the Camera Editor, set Camera to the camera
you want to delete an image plane from.
See Delete on page 381. 3 In the Image Planes section of the Camera Editor, select the
swatch of the image plane you want to delete, and click
the Delete button.
The image plane is deleted from the camera’s window,
and from the image plane swatch list in the Image Planes
section of the Camera Editor.
Animating an Image You can animate an image plane using a variety of different
Plane methods:
● Animate an image plane parameter setting in the Camera
Editor by Shift-clicking the name of the parameter, and
then clicking the Key button in the title bar of the Camera
Editor. This is similar to the procedure for animating
parameter settings in the Control Window (see Animating
Parameter Settings on page 43).
● Use a series of images as an animated image plane by
setting the Frame Type parameter in the Image section of
the Camera Editor (see Frame Type on page 383).
● Use Animation > Set keyframe (see Setting Keyframe
Animation in the Animating book).
366
Using Image Planes
Sizing and Positioning an By default, an image plane fills the camera view with the
Image Plane entire image. You can size and position an image plane so that
only a portion of the image appears or so the image appears in
a specific region of the camera view.
Use the Image Placement parameters in the Camera Editor to size

and position an image plane (see Image Placement on page 389),
or pick the image plane (Picking Image Planes in the General
Tools section of the Basic Tools book) and use the Xform tools to
transform it.
Masking an Image Plane You can mask an image plane so that only portions of the
image are visible. Use the Mask parameters in the Camera Editor
to mask an image plane (see Mask on page 386).
367
Using Image Planes
Windows > Edit > Camera Editor

Cameras
The Camera Editor is the primary interface that you use to edit
cameras and image planes.
Camera Editor parameters The Camera Editor contains parameters which control the
behave similarly to Control properties of cameras and image planes. The title bar of the
Window parameters (see Camera Editor contains a keyframe button which lets you set a
Parameters on page 38).
keyframe for a parameter, and a model pick button which lets
you select the modeling window associated with the current
camera in the Camera Editor.
To open the Camera Editor:

1 Select the modeling window corresponding to the camera
you want to edit.
2 Select Windows > Edit > Cameras.

model pick button
keyframe button
368
Camera Editor
See the next sections for details on the parameters available in

this window:
● Camera Parameters on page 370
● Image Plane Properties on page 381
369
Camera Editor
Windows > Edit > Camera Parameters

Cameras
The camera parameters control the camera’s view. Perspective

cameras have more parameters than orthographic cameras.
Camera
The camera whose parameters are currently displayed in
the Camera Editor: Top, Right, or Front window cameras, or
Camera (the perspective window’s camera). If you have
additional cameras in your scene, they will also be listed
in this menu, including cameras that are not used by any
windows.
Camera Properties
The Camera Properties control the position and orientation of

the current camera. The Twist and Perspective Gain parameters
are only available for perspective cameras.
Name
The name of the current camera. You can type in this field
to change the name of the camera. If you change the name
of a camera, the name in the camera’s window (in the title
bar) also changes.
370
Camera Parameters
Camera Lock
Locks the camera in place so that you are not able to dolly,
track, or move the camera in any way. This can be useful
when working with image planes. The default setting is
OFF (the camera is not locked).
Auto Render Clip

Makes the renderer automatically compute the near and
far clipping planes (based on the bounding boxes of the
objects in your scene) so that they include all visible
objects in the current view frame. This parameter has no
actual effect on the camera.
You can also produce this auto clipping behavior by
editing the SDL file and setting the near clipping plane
value to 0.
Clipping planes are ignored during raytracing.
Position, Look At, Up

Determines the camera’s view by defining the camera’s
position (Position), view point or focal point (Look At), and
up vector end point (Up). Each parameter has three fields,
corresponding to the XYZ coordinates for that parameter.
Positioning a camera by editing these parameters may be
difficult, and is not recommended for positioning
orthographic cameras. If you do edit these parameters,
display the camera in the orthographic windows to help
visualize the changes (see Displaying Camera Icons on
page 362).
Twist
The tilt of the camera (from side to side) in degrees. The Up
and Twist parameters define the same camera property in
different ways. Changing one alters the other. For
example, if you change the X Up value to 2, the Twist value
automatically changes to -63.435. The slider range is -180
Perspective Gain
Controls the speed that you can dolly the camera. For
example, doubling the Perspective Gain value will double
the speed that you can dolly the camera. The valid range is
0 to ∞. The slider range is 0 to 25. The default value is 1.
371
Camera Parameters
Note If the camera’s point of interest is active, the

Perspective Gain value has no effect. StudioTools
automatically determines the speed that you can dolly
the camera based on the distance between the camera
and its point of interest.
Film Back Properties
The Film Back Properties let you set the film size of the current
camera by entering numeric values. You can also select a
standard film size from the Predefined Film Backs list.
Film Back (inches)

The horizontal and vertical size of the film format (in
inches). The default values are 0.4 and 0.285.
Be careful when setting these values because they are
related to the camera’s Focal Length and Angle of View
values (see Lens Properties on page 374).
Film Offset (inches)

The horizontal and vertical offset of the film center from
the lens axis center (in inches). The default values both 0.
Predefined Film Backs
372
Camera Parameters
The Predefined Film Backs are standard film sizes that you can
select for the current camera. Each predefined film back has a
Film Back, Film Aspect, and Squeeze Aspect parameter; however,
you can only edit the Film Back value (StudioTools does not use
the Film Aspect and Squeeze Aspect values).
To select a predefined film back, simply click on it. When you

select a predefined film back, the Film Back values (under Film
Back Properties) automatically change. To add a new
predefined film back, click the Add button. To delete a
predefined film back, select the film back from the list and
click the Delete button.To edit a predefined film back, double
click the field you want to edit, type in the new value, and
press Enter.
TV predefined film back Imax predefined film back
Film Back
The horizontal and vertical size of the film format (in
inches).
Film Aspect
The ratio of the horizontal and vertical size of the film
format.
Squeeze Ratio
A scaling factor applied to the horizontal and vertical size
of the film format (to represent non-symmetric lenses).
To mimic the squeeze ratio for an anamorphic lens:

1 In the Camera Editor, select the Anamorphic predefined film
back, or create your own film back.
2 In the Image File Output section of the Render Globals

window, set the X Resolution and Y Resolution to values
appropriate for an anamorphic lens (for example, 500 and
423), and set the Pixel Aspect Ratio to an appropriate value
373
Camera Parameters
(for example, 2). The Pixel Aspect Ratio (under Render

Globals) produces the same effect as the Squeeze Ratio (in
the Camera Editor).
3 Render your scene.
4 To view the undistorted image, select

Render > Filter > Resize to resize the rendered pix file to the
correct dimensions. Set Y to the Y Resolution value you
used, and X to the X Resolution value you used multiplied
by the Pixel Aspect Ratio value you used (for example, 1000
and 423).
5 View the image file.
Lens Properties
The Lens Properties define the properties of the current

camera’s lens.
Focal Length and Angle of View
Focal length and angle of view are two different methods of

defining the same lens property:
● A long focal length represents a narrow angle of view (for
example, a telescope, or a camera zoom lens). Objects that
are far from the camera, appear large or close to the
camera.
● A short focal length represents a wide angle of view (for
example, a camera wide angle lens). Objects that are close
to the camera appear small or far away. Objects that are
374
Camera Parameters
very close to the camera may appear disproportionately

large relative to objects that are only slightly farther away
from the camera.
short focal length (15mm) long focal length (65mm)

wide angle of view (37.419) narrow angle of view (8.938)
very short focal length (1.602) short focal length (12.264)

very wide angle of view (145) wide angle of view (45)
camera very close (0,-4,0) camera close (0,-12,0)
Focal Length (mm)

Lets you set the camera’s focal length either from a list of
standard, real world focal lengths (between 15mm and
200mm), or by entering a value in the User Focal Length
field (user). If you set Focal Length to user, the User Focal
Length parameter becomes available. The default setting is
user.
User Focal Length (mm)

Lets you set the camera’s focal length by typing in any
value. The valid range is 1 to ∞.
Angle of View
The horizontal angle of the view seen by the film. The
valid/slider range is 0.2 to 179.
375
Camera Parameters
The angle of view is also The Angle of View value is related to the focal length value
known as the lens angle. It (either the Focal Length setting or the User Focal Length
represents the width of the value), and the Film Back value:
film back as seen through
the lens, expressed as an ◆ If you change the Angle of View value, the Focal Length
angle. value automatically changes (and switches to user
defined if it is not already). The Film Back values do
not change.
◆ If you change the Focal Length value, the Angle of View
value automatically changes. The Film Back values do
not change.
◆ If you change the Film Back values, the Angle of View
value automatically changes. The Focal Length value
does not change.
Depth of Field
Makes the renderer perform a depth of field calculation to
vary the focus of objects based on their distance from the
camera. If Depth of Field is ON, the following parameters
become available: F-Stop, User F-Stop, and Scaling Factor.
The default setting is OFF (no depth of field calculation is
performed; all objects are in focus).
The depth of field calculation is a post-rendering process,
and can take from tens of seconds to a few hours,
depending on the size of the image, the camera
parameters, and the depth values, but not the complexity
of the scene.
Because depth of field changes with depth, your scene
must reflect its real world size and the Main Units must be
set properly in Preferences > Construction
options > Units > Linear.
F-Stop
Lets you set the camera’s f-stop either from a list of
standard, real world f-stops (between 1.4 and 32), or by
entering a value in the User F-Stop field (user). The default
setting is user.
Small F-Stop values (such as 1.4) tend to give a very small
depth of field. That means that the region at the specified
distance from the camera that is in focus (the region
between near and far) is small. Large F-Stop values (such
as 32) tend to give a larger depth of field.
376
Camera Parameters
User F-Stop
Lets you set the camera’s f-stop by typing in any value.
The valid range is 0.5 to ∞.
The Scaling Factor Scaling Factor

parameter is the same as the A scaling factor applied to the Focal Distance value. This
SDL variable
units_to_feet. parameter lets you define the Focal Distance value in units
other than feet (for example, meters) by setting the Scaling
Factor value to the number of units in one foot. For
example, if you wanted to define the Focal Distance value
in meters, you would set the Scaling Factor value to 0.3048
because there are 0.3048 meters in one foot. The slider
Auto Focus
Automatically focuses the camera on the camera’s Look At
point. If Auto Focus is OFF, the Focal Distance parameter
becomes available, and the camera focuses at the Focal
Distance value. The default setting is OFF.
If the Look At point is not between the near and far clipping
planes, Auto Focus will focus the camera either at the near
clipping plane or at the far clipping plane (whichever is
closer to the Look At point). See ClippingNear/Far on
page 379.
Focal Distance
The distance from the camera at which the camera focuses.
The valid range is 0.001 to ∞. The slider range is 0.001 to
100. The default setting is automatically set to the Auto
Focus value (based on the Look At point) when you set Auto
Focus OFF.
If the Focal Distance value is not between the near and far
clipping planes, the Focal Distance value will be
automatically set to either the near clipping plane distance
or the far clipping plane distance (whichever is closer to
the Focal Distance value). See ClippingNear/Far on page 379.
Camera/Window
Properties
377
Camera Parameters
The Camera/Window Properties control how the camera’s view

appears in the camera’s window.
Aspect Ratio Fit

Controls how the camera’s window displays the camera’s
view. If the shape of the camera’s window is not the same
as the shape of the camera’s Film Back, then the window’s
display can fit the camera’s view in one dimension only
(Horizontal or Vertical). The default setting is Fill which
automatically fits the camera view in the camera window
(in either the horizontal or vertical direction) so that the
camera view fills the window
Horizontal Aspect Ratio Fit Vertical/Fill Aspect Ratio Fit

super 16mm Film Back super 16mm Film Back
Horizontal/Fill Aspect Ratio Fit Vertical Aspect Ratio Fit

TV Film Back TV Film Back
Offset
Offsets the camera view in the camera window. The
direction of the offset is determined by the padding
created by the Aspect Ratio Fit setting, either horizontally (if
Aspect Ratio Fit is Vertical or Fill), or vertically (if Aspect Ratio
Fit is Horizontal or Fill). The valid/slider range is -1 to 1. The
default setting is 0 (no offset).
378
Camera Parameters
Digital Properties
ClippingNear/Far
The distance to the camera’s near and far clipping planes.
The default values are 0.1 and 200.
For orthographic windows, the ClippingNear/Far values are
distances along the axis that points into the screen. For
example, if the Top window shows the XZ plane, then the
ClippingNear/Far values are distances along the Y axis.
For perspective cameras, the Clipping Near/Far values are
distances from the camera.
You cannot enter a ClippingNear/Far value less than 0.1
within StudioTools. However, you can enter a value less
than 0.1 by editing the SDL file.
Stereo View
Creates a stereo pair of images of your scene during
rendering. The two image files are named
<filename>_left and <filename>_right. If Stereo
View is OFF, only a single image of your scene is created
during rendering. If Stereo View is ON, the Parallel Offset
and Eye Offset parameters become available. The default
setting is OFF.
Parallel Offset
Offsets the Look At points of the two cameras used to
generate a stereo pair of images so that the two cameras
point in parallel directions. The default setting is OFF (the
two cameras share the same, non-offset, Look At point).
Eye Offset
The distance between the two cameras used to generate a
stereo pair of images (when Stereo View is ON). Eye offset is
also known as ocular separation, and represents the
distance between the viewer’s two eyes. The two cameras
are offset perpendicular to the Look At vector and the Up
vector.
379
Camera Parameters
Objects that are closer to the camera than the focal point
will appear to protrude from the screen when the stereo
pair of images is viewed. Objects that are further from the
camera than the focal point will appear to recede into the
screen.
The greater the Eye Offset value, the greater the stereo
effect, but the narrower the effective depth of the scene. If
the Eye Offset value is too large, or the focal point is too
close to the camera, your eyes will not be able to converge
the two images into a stereo pair.
The Eye Offset value is measured in the same units that
your scene uses. The slider range is 0 to 5. The default
value is 1.
Motion Blur
Blurs the entire rendered image when the camera is
moving (as opposed to blurring an object when the object is
moving), for example, when you are performing a flyby.
380
Camera Parameters
Windows > Edit > Image Plane Properties

Cameras
Image Planes
The Image Planes section of the Camera Editor contains a list of

image plane swatches for the current camera, and buttons that
let you add a new image plane to the camera or delete an
existing image plane.
By default, a camera has no image planes, and no image plane

swatches are listed. You can add one or more image planes to a
camera using the Add button. The image planes are then listed
in the Image Planes section of the Camera Editor, and the Image
Plane Parameters for the active image plane become available.
The active image plane is highlighted in white in the image
plane swatch list. You can select an image plane by clicking on
its swatch.
See Adding or Deleting an Add

Image Plane on page 365. Lets you add a new image plane to the current camera by
selecting an image file with the File Requestor.
You can also add an image plane to the active window’s
camera by selecting File > Import > Image plane (see
Importing Image Planes in the Studio Interface section of the
Basic Tools book).
Delete
Deletes the selected image plane.
381
Image Plane Properties
Image Plane Parameters
The Image Plane Parameters represent the parameters for the

active image plane (the image plane that is selected in the
Image Planes list).
Name
The name of the selected image plane in the Image Planes
list.
Sketch Layers
If Sketch Layer is ON, the image plane is a sketch image
plane. If Sketch Layers is OFF, the image plane is an
animation image plane.
See the Sketching book for more information on sketch
image planes.
Note The Sketch Layers parameter is only available in

StudioTools for Windows NT.
Display Mode
Controls how the image plane is displayed in the
modeling windows and in the SBD window. The image
plane will only render when Display Mode is either Rgb or
Off. The default setting is Rgb.
Outline A rectangle with diagonals.

Rgb Full 24 bit color image.
Off No display.
382
Display Mode Off Rgb Display Mode Outline Display Mode
See Rgbmult on page 110. RGB Mult

A scaling factor applied to all colors in the image plane.
That is, all colors in the image plane are multiplied by the
RGB Mult color. For example, you can color correct an
image plane that appears too green by setting the RGB Mult
color to a shade of blue. The default color is white (no
effect).
See Rgboffset on page 110. RGB Offset

An offset factor applied to all colors in the image plane.
That is, all colors in the image plane have the RGB Offset
color added to them. For example, you can brighten an
image plane that appears too dark by setting the RGB
Offset color to a shade of grey. The default color is black
(no effect).
Image
Image File
The image plane’s source image file name. If this file is
part of a sequence (for example, image.1, image.2,...),
then only the base file name is displayed (for example,
image). Image File may be an absolute path (for example,
/usr/3DCD/pix/image), or it may be a file name
relative to the current project (for example, image).
Frame Type
Determines whether the image plane will use an animated
sequence of image files (Regular or Keyframe), or a single
image file (Off). The default setting is Off.
383
Off the image plane uses a single image file, even

if the image file is part of a sequence
Keyframe the image plane uses an irregular sequence of
image files (see Keyframe Frame Type below)
Regular image plane uses a regular sequence of image
files (see Regular Frame Type on page 385)
Note In StudioTools for Windows NT the Frame Type

parameter is only available when Sketch Layers is OFF.
Keyframe Frame Type
If you want to use an irregular sequence of image files as an

animated image plane (for example, if the sequence only
includes image files for frames 1, 7, 11, 14, 18, and 33), set
Frame Type to Keyframe. The Frame and Offset parameters
become available.
By keyframing (Animation > Set keyframe) the Frame parameter,

you can create an animation curve for the image plane which
you can edit in the Action Window. If you do not have an image
file for every frame of your animation, then use the STEP
tangent type when animating the image files (see STEP in the
Animating book).
You can also use the Read button to automatically create

keyframes for all available image files.
Frame
The image file frame number that you want to use for the
current frame of your animation. The slider range is 0 to
Offset
The frame of your animation at which the image plane
displays the first image file of the sequence. The slider
384
For example, if the image plane files are named image.1,

image.7, ..., image.33, and the Offset value is 7, then
image.1 is displayed at frame 1 + 7 = 8 of the animation,
image.7 is displayed at frame 7 + 7 = 14, ..., and
image.33 is displayed at frame 33 + 7 = 40. In addition,
image.1 is displayed at frames 1 to 7 because it is the first
image of the sequence, and image.33 is displayed at
frames 41 to the end of the animation because it is the last
image of the sequence.
Read
Scans your image file directory for images of the form
image.# (where # is the image’s frame sequence
number), and automatically keyframes those images at the
correct frames. You can press the Read button again at any
time to include any new image files in the animation. You
can also edit the animation curve for the image plane’s
Frame parameter in the Action Window.
For example, if image files exist for frames 1, 7, 11, 14, 18,
and 33, and the Offset value is 7, clicking the Read button
will automatically keyframe these images at frames 8, 14,
18, 21, 25, and 40.
The Read button is very useful if you do not know which
frames you have available (for example, if someone else is
generating keyframe pose images for you at the same time
that you are building the animation).
Regular Frame Type
If you want to use a regular sequence of image files as an

animated image plane (for example, if the sequence includes
image files for frames 1, 2, 3, 4, 5,..., 30), set Frame Type to
Regular. The Start/End and By/Offset parameters become
available.
By setting these parameters, you automatically create an

animation curve for the image plane’s Frame parameter which
you can edit in the Action Window.
385
Start/End
The first and last frame number of the image file sequence.
By/Offset
The increment of each image file frame number (By), and
the frame of your animation at which the image plane
displays the first image file of the sequence (Offset).
For example, if the image plane files are named image.1,
image.2, ..., image.30, and the Offset value is 7, then
image.1 is displayed at frame 1 + 7 = 8 of the animation,
image.2 is displayed at frame 2 + 7 = 9, ..., and
image.30 is displayed at frame 30+7 = 37. In addition,
image.1 is displayed at frames 1 to 7 because it is the first
image of the sequence, and image.30 is displayed at
frames 38 to the end of the animation because it is the last
image of the sequence.
Mask
Image plane masking is The Mask parameters let you mask the Image File so that only
similar to label masking (see portions of the image are visible.
Label Masking on page 143).
Note In StudioTools for Windows NT the Mask parameters

are only available when Sketch Layers is OFF.
Mask Type
The method used to mask the image plane’s Image File.
The default setting is Off (no mask).
Off no mask; the entire rectangular Image File

is displayed
Image the mask is taken directly from the Image
File (for example, if the image contains
transparency information)
386
File the mask is taken from a separate image:

the Mask File (see File Mask Type below)
Chroma-Key the mask is based on a certain color, or a
certain range of colors, in the Image File
(see Chroma-Key Mask Type on page 388)
Invert Mask
Reverses the effect of the mask so that masked areas
become unmasked, and vice-versa. The default setting is
OFF.
File Mask Type
See File Masking on page 143. If you want to use a separate image file to mask the image
plane’s Image File, set Mask Type to File. The Mask File and Frame
Type parameters become available.
Mask File
The name of the image file used as a mask by the image
plane. Where the Mask File is white, the Image File will be
visible. Where the Mask File is black, the Image File will not
be visible. Where the Mask File is grey, the Image File will be
partially visible. The Mask File is automatically positioned
in the same location as the Image File.
Frame Type
Determines whether the image plane will use an animated
sequence of mask files (Regular or Keyframe), or a single
mask file (Off). The default setting is Off. The Mask
parameter Frame Type is identical to Image parameter
Frame Type (see Frame Type on page 383).
One use of animated Image File and Mask File is to view a
pre-rendered walk cycle for a character and evaluate the
character’s interaction with other characters.
387
Chroma-Key Mask Type
See Chroma Key Masking on If you want to mask certain colors, or a certain range of colors,
page 144. in the Image File, set Mask Type to Chroma-Key. The Key Color,
Hue Range, Sat Range, Value Range, and Threshold parameters
become available.
One use of chroma key masking is to mask out the blue

background of live action that was filmed against a blue
screen.
Key Color
The color to be masked in the Image File. The default color
is RGB 0,0,255. To mask a range of colors, you must also
set the Hue/Sat/Val Range parameters.
Hue Range
The range of hues (H) centered on the Key Color which will
also be masked. The slider range is 0 to 1. The default
value is 0.5.
Sat Range
The range of saturations (S) centered on the Key Color
which will also be masked. The slider range is 0 to 1. The
Val Range
The range of values (V) centered on the Key Color which
will also be masked. The slider range is 0 to 1. The default
value is 0.5.
Threshold
The point at which the color state changes. The slider
388
Image Placement
See Sizing and Positioning an The Image Placement parameters control how the Image File
Image Plane on page 367. covers the camera view. For example, you may not want to
display any bad edges that may be in your Image File, or you
may want the image to occupy a very specific region of the
screen.
Depth Type
Determines whether the image plane appears in front of or
behind your scene, and in front of or behind other image
planes. If Depth Type is Priority, a numeric field becomes
available.
The value of the Priority numeric field determines the order

the image planes appear in. Image planes with Priority
greater than 0 will appear in front of the rendered scene.
Image planes with Priority less than or equal to 0 will
appear behind the rendered scene.
389
Image Plane, Depth Type Off

Image Plane, Depth Type Priority -1
Image Plane, Depth Type Priority 0
Rendered Scene
Image Plane,
Depth Type Priority 1
Image Plane,
Depth Type Priority 2
Camera
In StudioTools for Windows NT, when Sketch Layers is ON,

the Depth Type options are Behind (the image plane appears
behind 3D objects) and Infront (the image plane appears in
front of 3D objects).
Image XY Ratio Lock

Maintains the image plane’s proportions by keeping the
Bottom Left and Top Right values at a constant ratio. The
Note In StudioTools for Windows NT the Image XY Ratio

Lock parameter is only available when Sketch Layers is
OFF.
Bottom Left, Top Right

The position of the bottom left corner and top right corner
of the image plane measured in world units.
Size
The horizontal and vertical size of the image plane
measured in world units.
390
Extend/Crop Right
If Add Right is on and you increase/decrease the X Pixels
value, the right side of the sketch image plane is
extended/cropped. If Add Right is off, the left side of the
sketch image plane is extended/cropped.
Note The Add Right parameter is only available in

StudioTools for Windows NT when Sketch Layers is
ON.
Extend/Crop Top
If Add Top is on and you increase/decrease the Y Pixels
value, the top of the sketch image plane is extended/
cropped. If Add Top is off, the bottom of the sketch image
plane is extended/cropped.
Note The Add Top parameter is only available in StudioTools

for Windows NT when Sketch Layers is ON.
Pixels
The horizontal and vertical resolution of the image plane
measured in pixels per world unit.
Wrap Horiz, Wrap Vert (Wrap Horizontally, Wrap Vertically)

Tiles (repeats) the image horizontally (Wrap Horiz) or
vertically (Wrap Vert) when the coverage area is larger than
the size of the image. The default setting is OFF.
Note In StudioTools for Windows NT the Wrap Horiz and

Wrap Vert parameters are only available when Sketch
Layers is OFF.
391
Offset XY
The origin of the image plane relative to the origin of the
Image File.
Note In StudioTools for Windows NT the Offset XY

Offset XY 0,0 Coverage XY

Coverage XY 320, 240 The horizontal and vertical dimensions of the image plane
relative to the Image File.
Note In StudioTools for Windows NT the Coverage XY

Offset XY 85, 60
Coverage XY 150, 130
392
R en d erin g
Preview Rendering
In This Section: Preview Rendering Overview 396

Quick Render 397
Direct Render 407
Sketch Render 410
Modeler Wire 412
395
Preview Rendering Overview
Before you perform a final render, you will want to preview

the appearance of objects, shaders, textures, and lights using
one of the preview renderers. Preview rendering is typically
faster (and lower quality) than final rendering. Preview
renderers include Quick Render, Direct Render, Sketch Render,
and Modeler Wire.
396
Preview Rendering Overview
Render > Quick Quick Render

Render
Quick Render renders a preview-quality image for the active

window that can include shaders, textures, lights, and the
environment, as well as shadows, particles, and animation.
Quick Render is faster than “real” rendering because it
samples a scene once per vertex, instead of once per pixel.
You can Quick Render a window for a one-time preview of

your scene, or you can use Quick Render in persistent mode to
let you easily update this preview as you make changes to
your scene. Using Quick Render in persistent mode is an
effective compromise between working in wireframe and
shaded modeling modes.
Quick Render has the following limitations:

● In Quick Render, “faces” (created with the Planar tool)
will render unpredictably unless the face is a single
component, is built from co-planar curves, and contains
no crossing holes.
● Quick Render only calculates shadows from spotlights.
● Quick Render does not render light glows in orthographic
views.
● Quick Render does not render shader transparency,
reflection, or refraction. However, Quick Render does
approximate transparency maps.
● StudioTools calculates ambient shading differently than
conventional methods.
Conventionally, ambience is constant (reduced only by the
diffuse component of the surface)—a sphere with only
ambient shading would look like a flat disk.
To avoid this, StudioTools makes the ambient shading a
function of the surface normal and the eye vector, in
addition to the diffuse component of the surface.
If you want conventional ambiance, set the Ambient Shade
parameter of the ambient light to 0 (see Ambient Shade on
page 298).
397
Quick Render
Using Quick Render To perform a Quick Render:

1 Select the modeling window you want to Quick Render.
You can also perform a 2 Select Render > Quick render.

Quick Render by selecting
Shading > Quick Render The Quick Render window appears on top of the active
from within the Multi-lister. window.
See Quick Render on page 33. To stop the Quick Render before it is completed, press Esc.
See Persistence on page 405 To control whether the Quick Render window closes
and Tgl Persistence on (when you click it) after one Quick Render or remains
page 401. open (and updates when you click it), set the Persistence
option in the Quick Render Options window, or the Tgl
Persistence option in the Quick Render window options
menu.
To redraw the Quick Render window, click in the window.
To redraw a limited area within the Quick Render
window, click-drag a box around the area in the Quick
Render window that you want to update. If you have
already drawn a bounding box in the window, click inside
the box to redraw within the box, or click outside the box
to redraw the entire window.
To adjust the quality and the redraw speed of the Quick
Render window, move the render quality slider on the
right side of the Quick Render window, then click in the
window to redraw the scene at the new setting.
See Shader Monitor on To control whether the Quick Render window

page 402. automatically updates only affected parts of the Quick
Render when you edit a shader, set the Shader Monitor
option in the Quick Render window’s options menu.
To close the Quick Render window:
● Click anywhere in the Quick Render window, or click the

close icon in the top left corner of the Quick Render
window. If Persistence is ON, you can only close the Quick
Render window by clicking the close icon.
To open the Quick Render options window:
● Select Render > Quick render ❏.
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Quick Render
To record a Quick Render animation to a video device:

1 Select Render > Quick render ❏ to open the Global Quick
Rendering Parameters option box.
The QuickRender/Record 2 Set Record ON. The QuickRender/Record option box appears.
option box only appears if
you have tape editing
hardware available and
properly installed.
VTR device, FBD device

The VTR (Video Tape Recorder) or FBD (Frame Buffer
Device) to record to.
Center
Centers the image during recording.
Fit
Scales the image to fit the selected VTR or FBD device.
TimeCode/Frame
The time code frame number on the tape to begin
recording. For example, if TimeCode/Frame is 00:10, the
Quick Render will begin recording ten minutes into the
tape.
3 Set the QuickRender/Record options and click OK.
For information on using video recording devices, see Using

Video in the Complementary Applications book.
399
Quick Render
Quick Render Window

options menu
redraw bounding box copy Quick Render
image to clipboard
resize menu
render
quality
slider
Resize Menu
Size From Globals

Resizes the Quick Rendered image based on the X
Resolution and Y Resolution values in the Render Globals
window (see X Resolution, Y Resolution on page 435).
Size From Window

Resizes the Quick Rendered image based on the modeling
window that was active when you selected Quick Render.
Options Menu
Render Control
Toggles the render status display in the prompt line.
Selecting Render Control acts the same as selecting
DisplayTgls > Render toggles > Render status.
Render Globals
Opens the Render Globals window (see Render Globals
Window on page 417). Selecting Render Globals acts the
same as selecting Render > Globals.
400
Quick Render
Save to Image
Saves the Quick Rendered image as an Alias pix file.
Tgl Persistence
Toggles the persistence of the Quick Render window. If Tgl
Persistence is ON, the Quick Render window will remain
open while you continue to work in the modeling
windows, until you click the Quick Render window’s
close icon. If Tgl Persistence is OFF, a mouse click will close
the Quick Render window and return you to the
wireframe view.
Lock Source Window

Displays the Quick Render for the source window (the
window that was active when you activated Quick
Render) whenever you update the Quick Render window
(for example, if Persistence or Tgl Persistence is ON and you
click in the Quick Render window). If Lock Source Window
is OFF, and you update the Quick Render window, the
Quick Render window displays the Quick Render for the
active window.
Active Objects
Renders only objects that are picked in the modeling
windows.
Background
Renders the background environment. After selecting
Background, set Tgl Persistence ON and click in the Quick
Render window to redraw the scene with the background.
Save Geometry
Keeps the tessellation of NURBS surfaces in memory to
provide a faster display (at the expense of using more
memory). The next time Quick Render refreshes, it can
skip the tessellation phase.
Note The Save Geometry algorithm is not 100% reliable.
401
Quick Render
Turbo Assist
Uses hardware shaders and lights to speed up the Quick
Render when possible. After selecting Turbo Assist, set Tgl
Persistence ON and click in the Quick Render window to
redraw the scene.
Shader Monitor
Automatically updates affected parts of the Quick Render
whenever you edit a shader. Quick Render uses the z-
buffer to only redraw the pixels of the shader, without
having to redraw the entire scene.
If Shader Monitor is ON ...Quick Render only redraws

and you change the green the rear sphere’s pixels
sphere’s color to “checker”...
Flat Shading
Disables the smoothing algorithms and displays surfaces
using flat-color polygons. After selecting Flat Shading, set
Tgl Persistence ON and click in the Quick Render window
to redraw the scene.
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Quick Render
Quick Render Options
To open the Global Quick Rendering Parameters option box,

select Render > Quick render ❏.
Quality
Controls the quality of the Quick Render (Low, Medium, or
High) by setting the number of subdivisions if Subdivision is
set to Global. The Quality setting does not affect final
renderings.
Render
Determines whether all objects (All) or only selected
objects (Active) are displayed during Quick Rendering. The
default setting is All.
403
Quick Render
Subdivision
Determines whether the Quality setting’s global
subdivision parameters (Global) or individual objects’
subdivision parameters (Per Object) are used to subdivide
objects during Quick Rendering. The default setting is Per
Object.
Particles
Determines whether particles are displayed during Quick
Rendering. The default setting is Fast.
Off particles are not displayed

Fast particles are displayed at draft-like low
quality
Full Render particles are displayed at full render, high
quality
Flat Shading
Disables the smoothing algorithms and displays surfaces
using flat-color polygons. One normal of each triangular
facet represents the triangle, giving objects a faceted
appearance. When Flat Shading is OFF, objects are smooth
shaded.
Background
Displays the background environment. If Background is
OFF, the Quick Render displays the scene’s wire
background.
Shadow Pass
Performs a shadow pass calculation (if any shadow
casting spotlights exist) and displays shadows produced
by shadow casting spotlights. You may need to increase
Shading Frequency to better view shadows.
Note Particles cast shadows in Quick Render with any light

type.
Output Image
Saves the Quick Rendered image as an Alias pix file.
404
Quick Render
Turbo Assist
Uses hardware shaders and lights to speed up the Quick
Render when possible. The current settings in the Toggle
Shade Settings window determine how objects are Quick
Rendered. For example, if Turbo Assist is on in the Quick
Render Options window and Display Textures is on in the
Toggle Shade Settings window, then textures will be Quick
Rendered (even if Textures is off in the Quick Render Options
window).
Textures
Displays textures on surfaces. The default setting is ON.
You may need to increase the Shading Frequency value to
better view textures.
Animation
Quick Renders every frame of an animation. If Animation is
OFF, only the current frame is Quick Rendered.
Note The Animation setting only affects Quick Renders. The

Animation parameter in the Render Globals window is
unchanged.
Glow Pass
Performs a glow pass calculation (if any light or shadow
glows exist), and displays light and shader glows.
Note Light glows are only displayed in perspective views.

Shader glows are displayed in all views.
See To record a Quick Render Record

animation to a video device: on Lets you record the Quick Render to a video tape recorder
page 399.
or frame buffer device.
Persistence
Lets the Quick Render window remain open while you
continue to work in the modeling windows, until you
click the Quick Render window’s close icon. If Persistence
is OFF, a mouse click will close the Quick Render window
and return you to the wireframe view.
405
Quick Render
Shading Frequency
The frequency of shading samples taken per patch. By
increasing Shading Frequency, you increase the quality of
the Quick Render (without increasing the number of
surface subdivisions). You may need to increase the
Shading Frequency value to better view shadows, or
surfaces with textures or high specularity. The slider range
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Quick Render
Render > Direct Direct Render

Render
Direct render is a convenient way to launch and monitor one

or more renders while working within StudioTools.
See renderer in the Utilities Direct render opens a new window on top of the active
online documentation. window, and renders that window’s view using one of the
four stand-alone renderers (renderer, raytracer,
powercaster, or powertracer) in one of five render modes
(Raycaster, Raytracer, Hidden Line, Powercaster, or Powertracer).
Using Direct Render To direct render a window:
● Select Render > Direct render. The Direct Render window

appears on top of the active window and renders the
window’s view.
To stop a direct render, click in the Direct Render window.
To pause/restart a direct render, click the pause icon in the
Direct Render window title bar.
To re-render a direct render, click the re-render icon in the
Direct Render window title bar.
To re-render a particular region of the direct render, click-
drag a box in the Direct Render window.
To close the Direct Render window:
● Click the close icon on the left side of the title bar.
To open the Direct Rendering Options window:
● Select Render > Direct render ❏.
407
Direct Render
Direct Render Window

re-render
pause
render
renderer name
copy to
render status clipboard
re-render bounding box
Direct Rendering Options
408
Direct Render
Renderer Type
The type of renderer used: Raycaster, Raytracer, Hidden Line,
Powercaster, or Powertracer. If Renderer Type is Powercaster
or Powertracer, the Processors parameter becomes
available. The default setting is Raycaster.
Processors
Determines whether the renderer uses all available
processors (All), or only a certain number of the available
processors (User Defined). This parameter is only available
when Renderer Type is Powercaster or Powertracer. If
Processors is User Defined, the Num Processors parameter
becomes available. The default setting is All.
Num Processors
The number of processors the renderer uses. This
parameter is only available if Renderer Type is Powercaster
or Powertracer, and Processors is User Defined. The valid/
409
Direct Render
Render > Sketch Sketch Render

Render
Sketch render is a convenient method of previewing a surface

that you have created with the aid of a 2D sketch image plane.
Sketch render automatically converts the image plane to a
shader, assigns it to the model, and then Quick Renders the
scene.
Using Sketch Render When you sketch render a model, the following processes are
automatically performed:
If there already exists a 1 A new shader named Temp_Sketch_Render is created in the

shader named Multi-lister based on a projection of the image plane. That is,
Temp_Sketch_Render (for the new shader has a Projection texture mapped to its Color
example, from previously
performing a sketch render), parameter, the Projection texture has a File texture mapped
then it is replaced with the to its Source Texture parameter, and the File texture has the
new shader. image plane file mapped to its Image parameter. You must
have an image plane defined in order to use Sketch
Render.
2 The new shader is temporarily assigned to all surfaces.
See Quick Render on 3 Either all surfaces or only active surfaces are Quick
page 397. Rendered in the active window (based on the current
settings in the Sketch Rendering Options window and in the
Global Quick Rendering Parameters window).
When you close the Quick Render window (for example, by

clicking in it), the new shader remains in the Multi-lister;
however, all original shaders are re-assigned to their
respective surfaces.
If you perform another sketch render, the Temp_Sketch_Render

shader will be replaced. If you wish to keep a sketch render
shader, rename if before performing another sketch render.
410
Sketch Render
To sketch render a scene:
● Select Render > Sketch render. The model Quick Renders in

the active window (based on the current settings for the
Sketch Rendering Options and the Global Quick Rendering
Parameters). You must have an image plane defined in
order to use Sketch Render.
To open the Sketch Rendering Options window:
● Select Render > Sketch render ❏.
Sketch Rendering
Options
Render
Determines whether all objects are sketch rendered (All), or
only active (picked) objects are sketch rendered (Active).
The default setting is All.
411
Sketch Render
Render > Modeler Modeler Wire

Wire
Modeler Wire creates an on-screen wireframe preview of a

scene, either a single frame or an entire animation. The
wireframe of each surface has the same color as the shader
assigned to that surface. You can save the output of a Modeler
Wire render, or record it to a video device.
Using Modeler Wire To use Modeler Wire:

1 Set the following options:
See Animation on page 418. ◆ If you want to Modeler Wire render an entire
animation, open the Render Globals window
(Render > Globals), and set Animation ON. If you want to
Modeler Wire render a single frame, set Animation OFF.
See Output Image on ◆ If you want to save the Modeler Wire output, open the
page 404. Global Quick Rendering Parameters window
(Render > Quick render ❏), set Output Image ON, and click
Save.
See To record a Quick Render ◆ If you want to record the Modeler Wire output to a
animation to a video device: on video device, open the Global Quick Rendering
page 399. Parameters window (Render > Quick render ❏), set
Record ON, and click Save.
2 Select Render > Modeler wire. The background of the active

window changes to the background color, and all surfaces
are displayed as colored wireframes.
3 If you are Modeler Wire rendering a single frame, click

anywhere to close the Modeler Wire render.
If you are Modeler Wire rendering an entire animation, the
Modeler Wire render will close automatically when the
animation ends.
To open the Render Model Wire Options window:
● Select Render > Modeler wire ❏.
412
Modeler Wire
Render Model Wire

Options
Mode
Determines the appearance of objects in the Modeler Wire
rendered image. The default setting is Thin Lines.
Thick Lines thick wireframe over the background

color
Thin Lines thin wireframe over the background
color
Current Window surfaces (and the background) appear
exactly as they do in the modeling
windows (for example, smooth lines,
Shade, hulls, CVs)
413
Modeler Wire
414
Modeler Wire
Rendering Parameters
In This Section: Rendering Parameters Overview 416

Render Globals Window 417
Render Stats Window 441
415
Rendering Parameters Overview
Rendering parameters control how a scene will render. There

are two types of rendering parameters: global rendering
parameters and object rendering parameters. Global rendering
parameters are contained in the Render Globals window, and
control how the overall scene will render. Object rendering
parameters are contained in the Render Stats window, and
control how individual objects will render.
416
Rendering Parameters Overview
Render > Globals Render Globals Window
The Render Globals window contains the global rendering

parameters which control how the overall scene will render.
To open the Render Globals window:
● Select Render > Globals.
Global Rendering
Parameters
The global rendering The global rendering parameters control how the overall scene
parameters behave similarly will render.
to the Control Window
parameters (see Parameters
on page 38).
Render
Determines whether all objects in your scene are rendered
(ALL), or only active (picked) objects are rendered
(ACTIVE). The default setting is ALL.
417
Render Globals Window
Note The ACTIVE option has nothing to do with active

animation.
Animation
Determines if several frames of an animation are rendered
(ON), or only the current (single) frame is rendered (OFF).
The Animation setting determines if animation is included
in the SDL file. If Animation is ON, the Animation Range From
parameter and the Animation Output Filename Extensions
parameters become available. The default setting is OFF.
Animation Range From

Determines which frames of an animation are rendered
when Animation is ON. The default setting is TIME SLIDER.
TIME SLIDER The Start and End values set in the Time
Slider.
MIN/MAX The minimum and maximum frames of
the animation. If an animation exists,
these non-editable values are displayed
below the Animation Range From
parameter.
GLOBAL Displays the following parameters which

let you set the animation Frame Start, End,
and By values.
Frame Start,End, By
The first (Frame Start) and last (End) frame number of the
animation to render, and the increment between frames
(By). These parameters are only available when Animation
Range From is GLOBAL.
418
Global Quality Level

Controls the overall quality level of rendered images by
automatically setting the Global Quality Parameters, Anti-
aliasing Levels, and Raytracing Maximum Limits to preset
values. The default setting is MEDIUM.
Animation Output Filename Extensions
The Animation Output Filename Extensions parameters control the

format of the rendered images’ file name extensions. These
parameters are only available if Animation is ON.
Modify Extensions
Lets you set the starting number (Start Extension) and the
amount which the extension is incremented by (By
Extension). If Modify Extensions is ON, the Start Extension and
By Extension parameters become available. The default
setting is OFF.
Start Extension, By Extension

Lets you set the starting number (Start Extension) and the
amount which the extension is incremented by (By
Extension). These parameters are only available when
Modify Extensions is ON. The slider range is 1 to 100. The
default value is 1.
Extension padding
The total number of characters in file name extensions. If
the number of digits in the frame number is less than the
Extension padding value, then leading zeros are added to
the extension. For example, if the frame number is 12, and
the Extension padding value is 4, the image file will have the
extension <pixfile>.0012. The valid range is 0 to ∞.
419
Global Quality Parameters (low, mid, high)

Global Quality
Parameters (when
Revert to V9.0
Tessellator is off)
Global Quality
Parameters (when
Revert to V9.0
Tessellator is on
and Subdivision
Global Quality
Parameters (when
Revert to V9.0
Tessellator is on
and Subdivision
The Global Quality Parameters control how surfaces are

tessellated during rendering. The parameters are different
depending on the Revert to V9.0 Tessellator, Quality Type, and
Subdivision Type settings. Default values are different
depending on the Global Quality Level setting. The default
values listed below are for the MEDIUM Global Quality Level.
Revert to V9.0 Tessellator

ON—StudioTools uses the 9.0 tessellation method to
tessellate surfaces.
OFF—StudioTools uses the 9.5 tessellation method to
tessellate surfaces.
Mesh Tolerance (cm)

The maximum allowable distance (measured in
centimeters) between a NURBS surface and its tessellated
version. The Mesh Tolerance value controls how smoothly
surfaces are tessellated. The lower the Mesh Tolerance
value, the smoother the appearance of surfaces; however,
rendering times may also increase. If the silhouettes of
surfaces appear faceted or jagged, decrease the Mesh
Tolerance value. The slider range is 0.005 cm to 0.01 cm.
The default value is 0.05 cm.
420
Displacement Detail
Controls how finely surface areas with displacement maps
are tessellated. The higher the Displacement Detail value,
the finer the appearance of surface displacements;
however, rendering times may also increase. The slider
Quality Type
Determines which set of render quality parameters are
used during rendering. Render quality parameters control
subdivision, anti-aliasing, and raytracing limits. The
default setting is PER OBJECT.
PER OBJECT each object renders based on its Object

Rendering Parameters (see Object Rendering
Parameters on page 444)
GLOBAL all objects render based on the Global
Quality Parameters (see Global Quality
Parameters (low, mid, high) on page 420)
Subdivision Type
The method used to subdivide surfaces during rendering.
The default value is ADAPTIVE.
ADAPTIVE Subdivides surfaces (patches) into triangles

based on surface curvature. (Faces cannot
be adaptively subdivided.) Surfaces with
high curvature are divided into more
triangles than flatter surfaces with low
curvature. If Subdivision Type is ADAPTIVE,
then the Adaptive Minimum, Adaptive
Maximum, and Curve Threshold parameters
become available. See Adaptive Subdiv on
page 445.
UNIFORM Subdivides surfaces into uniformly sized
triangles (that is, without taking surface
curvature into account). Trimmed surfaces
must be adaptively subdivided. Only the U
Divisions value is used for subdividing
faces. When Subdivision Type is UNIFORM,
the U Divisions and V Divisions parameters
become available. See Uniform Subdiv on
page 446.
421
See Minimum Subdiv, Adaptive Minimum, Adaptive Maximum

Maximum Subdiv on The minimum and maximum number of subdivisions
page 445.
between CVs in both U and V directions. Values must be
powers of 2 between 0 and 7 (either 1, 2, 4, 8, 16, 32, 64, or
128). If you enter any other value between 1 and 256, the
next highest valid value is used. The default value is 2 for
Adaptive Minimum and 4 for Adaptive Maximum.
See Curvature Threshold on Curve Threshold

page 446. The threshold for subdivision in both the U and V
directions. The higher the Curvature Threshold value, the
greater the number of triangles, and the more accurate the
curvature. The valid/slider range is 0 to 1. The default
value is 0.96.
See Uniform U, Uniform V on U Divisions, V Divisions

page 446. The number of subdivisions surfaces will have between
CVs in both the U and V directions, regardless of surface
curvature. The valid range is 1 to 256. The default value is
4.
Anti-aliasing Levels
The Anti-aliasing Levels control the quality of anti-aliasing used

during rendering. The default values listed are for the MEDIUM
Global Quality Level.
If you are rendering a scene with a few small details that can
easily be missed, try setting the Minimum value to 0 or 1, the
Maximum value from 4 to 8, and the Threshold value from 0.9 to
1.0. This gives very short rendering times and excellent image
quality.
422
Minimum
The minimum number of subdivisions (or super samples)
per pixel. The higher the Minimum value, the better the
anti-aliasing; however, a large Minimum value can
significantly increase rendering times. The valid/slider
range is 0 to 32. The default setting is 0.
Maximum
The maximum number of subdivisions (or super samples)
per pixel. The higher the Maximum value, the better the
anti-aliasing.The valid range is 0 to 32. The default setting
is 4.
If the Minimum value is greater than the Maximum value, the
Minimum value is automatically reset to the Maximum value.
Threshold
Uses the colors at each corner of a pixel to determine if
finer anti-aliasing is required. If the value differences at
each pixel corner are greater than the Threshold value, the
pixel is subdivided again. The valid/slider range is 0 to 1
(the maximum number of samples are always performed).
Jitter
Rotates the N-Rooks sampling template after each use to
avoid moire patterns on repeating pattern textures. Set
Jitter ON for higher quality rendering. The default setting is
ON.
Reduced Samples
Uses a sampling technique that avoids anti-aliasing every
pixel at the most expensive level. An occasional pixel’s
anti-aliasing is skipped if it will not be very noticeable
(speeding up the rendering process). This option,
however, may produce artifacts. The default setting is OFF.
Raytracing Maximum
Limits
423
The Raytracing Maximum Limits set limits on the number of

reflections, refractions, and shadows possible during
raytracing. The default values listed are for the MEDIUM Global
Quality Level.
Create Preview Image

Creates a postage-stamp-sized preview of the raytraced
image and estimates the rendering time required. The
preview image is named <pixfile>.test in the pix
directory. If you are rendering from the UNIX command
line, the estimate is printed on the standard output stream.
If you are rendering from within StudioTools, the estimate
appears in the .out file. The default setting is OFF.
Note Studio does not create a preview image when

raycasting, even if Create Preview Image is on.
Maximum Reflections
The maximum number of times that a camera ray can be
reflected. The Maximum Reflections value overrides (that is,
limits) all shaders’ Reflect Limit values (see Reflect Limit on
page 92). The valid range is 0 to ∞. The slider range is 0 to
Maximum Refractions
The maximum number of times that a camera ray can be
refracted. The Maximum Refractions value overrides (that is,
limits) all shaders’ Refract Limit values (see Refract Limit on
page 92). The valid range is 0 to ∞. The slider range is 0 to
Max Shadows Levels

The maximum number of times any surface can be
reflected and/or refracted and still receive shadows (in the
reflection/refraction). The Max Shadows Levels value
overrides (that is, limits) all shaders’ Shadow Limit values
(see Shadow Limit on page 93). The valid range is 0 to ∞.
Composite Rendering
Options
424
The Composite Rendering Options control whether objects are

anti-aliased against the background. Composite rendering is
used for image compositing and games design.
Composite Rendering
Renders objects so that they are not anti-aliased against
the background. For example, a pixel on the edge of an
object is not mixed with the background color—only the
subsamples actually striking the object are used to
compute the color of the pixel. The default setting is OFF.
In TIFF terms, Composite Rendering generates unassociated
alpha. The RGB anti-aliased images that result won’t look
too anti-aliased due to the unassociated alpha.
Coverage Threshold
The number of subsamples required for the pixel as a
whole to be considered part of the object and not part of
the background. For example, if the Coverage Threshold
value is 0.5, then at least half of the subsamples must
strike the object or it will be considered as a missed ray,
determined by the mask generated by the renderer. This
lets you control the bleed around the edges of a sprite.
This parameter is only available if Composite Rendering is
ON. The valid/slider range is 0 to 1. The default value is
0.5.
Tip For image compositing, set the Coverage Threshold value to

0.
Memory Options The Memory Options include the Raytracing Memory Options and
the Texture Caching Memory Options.
Raytracing Memory
Options
425
Subdivide Recursion
Limits the number of times spatial subdivision is
recursively applied to the scene. Increasing the Subdivide
Recursion value requires an exponentially greater amount
of memory. In general, keep the Subdivide Recursion value
set to 2 or 3. The valid/slider range is 1 to 4. The default
value is 2.
Note Only experienced users should adjust the Subdivide

Recursion value.
A voxel is a volume element Grid Cache

(cube) that encloses a certain The number of voxels to be allocated before caching voxels
amount of 3D space.
by reusing old voxels begins. By lowering the Grid Cache
value, you can save memory, but you will lose some
speed. The valid slider range is 100 to 10000. The default
value is 4000.
BBox Status
Controls how bounding boxes are stored in memory. The
default setting is FULL.
FULL the bounding box of each triangle is kept in

memory to speed up raytracing
PARTIAL the bounding box is encoded, saving
memory, but sacrificing a small amount of
speed
NONE no bounding box is stored, saving even more
memory, but at a significant loss of speed
Reducing memory usage usually increases rendering time.

However, if the raytracer starts to swap, reducing memory
usage will actually improve performance. See Optimization
on page 521.
Voxel Resolution
Controls how voxel resolution is determined. Changing
voxel resolutions affects the amount of memory needed.
Only experienced users should adjust the Nth Root, X Res,
Y Res, or Z Res values. The default setting is Nth ROOT.
426
AUTOMATIC the resolutions of recursive voxels are

automatically determined
SHOWROOM a more optimal and automatic
determination of voxel resolution for
scenes with a large overall environment
and a small section of space occupied by
very complex geometry (for example, a
showroom)
Nth ROOT the top level resolution, computed with t
** (1/N), where t = # of triangles, and N =
Nth Root (user input). Typical values of N
are 0.25 to 0.33.
SET TOP lets you specify the voxel resolution of

LEVEL the top level in the X, Y, and Z directions
(X Res, Y Res, Z Res)
Texture Caching Memory

Options
The Texture Caching Memory Options control how File textures

are stored in memory. StudioTools does not read every
component of every texture file into memory. The MIPMAPs
are tiled, and only the portions of the texture being used in the
area the renderer is working on are kept in memory. You can
specify a cache size that maintains only what has to be in
memory at any time, and load and unload texture tiles (parts
of a texture) as need. This can dramatically reduce the amount
of memory used.
427
Texture Caching
Controls how File textures are stored in memory. The
OFF all File textures are kept in memory at all

times
ON Creates a cache of texture tiles (parts of
a texture), which is kept on disk,
retrieved as needed, and deleted from
memory as other tiles are needed.
PER TEXTURE Creates a cache of texture tiles only for
File textures which have Cache ON (see
Cache on page 166). All File textures
which have Cache OFF are kept in
memory at all times.
Cache Size
The maximum memory size needed for all texture files if
Texture Caching is turned ON. The default setting is 256K.
Disk Cache Limit (Mbytes)

The maximum amount of disk space that texture caching
can use. The valid/slider range is 30 to 5000. The default
value is 30.
Blur Effects
The Blur Effects parameters let you do post-rendering anti-

aliasing and motion blur during animations.
428
Post Filter
Does more anti-aliasing after rendering is complete, using
a 3 pixel by 3 pixel Bartlet filter for each pixel. This
produces softer edges and improved image quality. If Post
Filter is ON, the Post Center, Post Adjacent, and Post Diagonal
A Bartlet filter blurs each pixel in an image using a 3 pixel

Diagonal Adjacent Diagonal by 3 pixel sample. The filter applies a weight to the color
of the center pixel, the adjacent pixels, and the diagonal
pixels. The ratio between the weighted center pixel color
Adjacent Center Adjacent and the weighted surrounding pixel colors determines
how much the center pixel’s color is blended with the
Diagonal Adjacent Diagonal surrounding pixel colors.
Post Center
The center pixel weight for the 3 pixel by 3 pixel Post Filter
(Bartlet filter). The valid range is 0 to 1000. The slider
Post Adjacent
The edge pixel weights for the 3 pixel by 3 pixel Post Filter
(Bartlet filter). The valid range is 0 to 1000. The slider
Post Diagonal
The corner pixel weights for the 3 pixel by 3 pixel Post
Filter (Bartlet filter). The valid range is 0 to 1000. The slider
Motion Blur
Blurs the motion of objects to produce smoother
animations. Motion blur is only calculated for objects
which have Motion Blurred on (see Motion Blurred on
page 447) and for cameras which have Motion Blur ON (see
Motion Blur on page 380). By default, all objects have
Motion Blurred turned on, and all cameras have Motion Blur
turned off. If Motion Blur is OFF, motion blur is not
calculated regardless of individual object settings. If Motion
Blur is ON, the Shutter Angle parameter becomes available.
Motion blur is only available during raycasting.
429
Shutter Angle
The angle (in degrees) that the camera shutter remains
open. The greater the angle, the greater the motion blur
effect. For example, if the Shutter Angle value is 180,
moving objects are blurred over half of the frame step
time. The Shutter Angle parameter is only available when
Motion Blur is ON. The valid/slider range is 1 to 360. The
Miscellaneous
Geometry Source
The source of the scene or geometry information used by
the renderer. The default setting is MODELER.
SDL FILE an already-existing SDL file

MODELER the geometry loaded in StudioTools
Textures
Determines if textures are rendered. The default setting is
ON.
Skeletons
Determines if skeletons are rendered. The default setting
is OFF.
430
No Transp. in Depth
Controls whether transparent objects appear in the
camera’s depth file (see Depth on page 435). If No Transp. in
Depth is OFF, transparent objects appear in the depth file. If
No Transp. in Depth is ON, the Transparency % parameter
becomes available. The default setting is OFF.
Transparency %
The level of transparency an object needs in order to
appear in the camera’s depth file (see Depth on page 435).
For example, if the Transparency % value is 0.8, objects that
are more than 80 percent transparent do not appear in the
depth file. This parameter is only available if No Transp. in
Depth is ON. The valid/slider range is 0 to 1. The default
value is 1.
Tip This feature is ideal for transparency mapped surfaces used

as collision objects in games.
Keep Non Glowed Image Keep Non Glowed Image

acts the same as the -P Creates a separate file with no glow component (for
option for the command line
renderer. example, from particle, shader or light glow) with the
name <pixfile>.ng. The default setting is OFF.
Spotlight Depth Maps

Saves spot light shadow depth maps to disk for spot
light’s that have Use Depth Map ON (see Use Depth Map on
page 291). The default setting is OFF.
Depth Maps in Memory acts Depth Maps in Memory

the same as the -k option for Keeps spot light shadow depth maps in memory for spot
the command line renderer.
light’s that have Use Depth Map ON (see Use Depth Map on
page 291). The default setting is OFF.
Attenuate Transp. acts the Attenuate Transp. (Attenuate Transparency)

same as the -j option for the This is only relevant for the raytracer/powertracer. If
command line renderer.
toggled OFF, all transparent objects will be attenuated
according to Beere’s law (physically based)—this
attenuation will make totally transparent objects
somewhat opaque as well. If toggled ON, this attenuation
will not occur, and the resultant transparent objects will
match raycaster-like affects (and totally transparent
objects will appear totally transparent). The default setting
is ON.
431
Invis. Obj. Cast Shadows

Lets invisible objects cast shadows (for example, to create
special effects). The default setting is OFF.
Image File Output
Format
The file format that the rendered image will be output and
saved as. The default setting is ALIAS.
ALIAS Alias pix file format (see The Alias Pix File
Format in the File Formats and Data Transfer
online documentation)
SGI Silicon Graphics Image file format
TIFF Tagged Image File Format
TIFF16 Tagged Image File Format with 16 bits per
color component
RLA Wavefront image file format (an indexed
scanline file)
HARRY Quantel Harry image file format (four fixed
resolutions are supported: NTSC frame, NTSC
field, PAL frame and PAL field)
432
Depth Format
The file format that the camera depth file will be output
and saved as (see Depth on page 435). The default setting
is ALIAS.
ALIAS Alias camera depth file format (see Alias

Camera Depth File Format in the File
Formats and Data Transfer online
documentation)
COMPOSER Composer depth file format
Fields
Controls whether rendering produces frames or fields. A
frame consists of two fields, odd and even. The odd field
contains every second line starting at the first line. The
even field contains every second line starting at the second
line. The default setting is OFF.
OFF frames
BOTH both odd and even fields
ODD odd fields only
EVEN even fields only
If Fields is either BOTH, ODD, or EVEN, an additional

parameter becomes available.
This parameter defines the order that the fields are

rendered. The default setting is ODD FIRST.
ODD FIRST odd fields first

EVEN FIRST even fields first
You can use field-rendered Pix Backdrops when rendering

Fields. If you render fields, the renderer will use
pixbackdrop.*e during the even field rendering and
pixbackdrop.*o during the odd field rendering. The
field-rendered Pix Backdrop files will only be used if the
433
frame-rendered files (pixbackdrop.1,

pixbackdrop.2, etc.) do not exist. See Pix File Backdrop
on page 60.
Ignore Film Gate

Does not render the region outside the filmback. The
default setting is OFF (the region outside the filmback is
rendered).
Gamma Correction
A color correction factor applied to the rendered image.
The Gamma Correction value (gamma_value) is applied to
each color channel (RGB), according to the following
formulas:
gamma_value
R
R = 255 x ( if R > 255, then R = 255
255 )
gamma_value
G
G = 255 x ( if G > 255, then G = 255
255 )
gamma_value
B
B = 255 x ( if B > 255, then B = 255
255 )
Camera Toggles
Determines whether a camera produces an image file, a

mask file, and/or a depth file.
If all camera toggles are OFF when you perform a render
(Render > Render) or save an SDL file (File > Export > SDL),
the following confirm box is displayed.
434
Image
The renderer produces an RGB image (see Format on
page 432). The default setting is ON for the perspective
camera, and OFF (no image produced) for the
orthographic cameras.
Mask
The renderer produces an 8-bit mask or matte file for use
with compositing or paint software. If Mask is ON and the
image file output Format is TIFF, TIFF16, RLA, or SGI, the
renderer will not produce a separate mask file, but will
produce a four channel Image file (RGBA). The forth
channel (A) represents the mask information. The default
setting is OFF (no mask file produced) for all cameras.
Depth
The renderer produces a camera depth file (see Depth
Format on page 433). The default setting is OFF for all
cameras.
Image XY Ratio Lock

Maintains the ratio between the X Resolution and Y
Resolution values (that is, if you double one value, the
other value doubles automatically). If Image XY Ratio Lock
is OFF, you can set the X Resolution and Y Resolution values
independently. The default setting is OFF.
X Resolution, Y Resolution
The X and Y resolution of the rendered image. The valid
setting is 645 for X Resolution and 486 for Y Resolution.
If Image XY Ratio Lock is ON, then you cannot set the X
Resolution and Y Resolution values independently. You can
also set image resolution using several predefined values
(see Predefined Resolutions on page 437).
435
Pixel Aspect Ratio

The ratio of each individual pixel’s width to its height for
a display or recording device. Most devices, including the
monitor screen, use square pixels, so the pixel aspect ratio
is 1/1 = 1. Some devices, however, use non-square pixels.
If you are rendering an animation that you plan to display
on or record to one of these devices, you must set the Pixel
Aspect Ratio value to the device’s pixel aspect ratio value.
The rendered animation will then look squashed or
stretched when you view it on the monitor screen, but will
have the proper proportions when you view it from the
device. You can also set the Pixel Aspect Ratio by selecting a
predefined value (see Predefined Resolutions on page 437).
default value is 1.
Pixel
Device Aspect
Ratio
IRIS NTSC 1.0

IRIS PAL 1.0
Raster Tek's Hidef Frame Buffer 1.0
Abekas Internal Frame Buffer 1.33
Raster Tek's NTSC Frame Buffer 1.125
Quantel's Harry Interface 1.33
Full Frame 1K width 1.11
Motion Picture 1K with sound track 1.0
Motion Picture, no sound track 1.0
436
Predefined Resolutions
The Predefined Resolutions section of the Render Globals

window contains a list of common screen resolutions. You can
select a predefined resolution by clicking on it. The
corresponding Image File Output parameters (X Resolution, Y
Resolution, and Pixel Aspect Ratio) are automatically set.
You can change the X Resolution, Y Resolution, or Pixel Aspect

Ratio values of a predefined resolution by double-clicking in
the appropriate field in the Predefined Resolutions list, and
entering a new value. You can also add a predefined
resolution to the list by clicking the Add button, or delete a
predefined resolution from the list by selecting the predefined
resolution and then clicking the Delete button.
If you change a predefined resolution, the change is

automatically written to your misc_data directory in a file
called resolutions. The predefined file is located within the
437
active project. If no file exists, the system creates the

StudioTools default.
Add
Adds a new (blank) predefined resolution to the list which
you can then edit.
Delete
Deletes the selected predefined resolution from the list.

Parameters
The Hidden Line Rendering Parameters control the appearance of

surfaces during hidden line rendering.
Hidden Line Parms

Determines which set of Hidden Line Rendering Parameters
are used during hidden line rendering. The default setting
is PER OBJECT.
PER OBJECT each object renders based on its shader’s

Hidden Line Rendering Parameters (see
Hidden Line Rendering Parameters on
page 96)
GLOBAL all objects render based on the Hidden Line
Rendering Parameters in the Render Globals
window
Use Fill Color

The renderer colors all surfaces in the scene with the Fill
Color. If Use Fill Color is OFF, all surfaces in the scene are
colored with the background color (as though they were
transparent). The default setting is OFF.
438
Fill Color
The color of filled regions for all surfaces in the scene.
Line Color
The color of lines for all surfaces in the scene.
U Patch Lines, V Patch Lines

The number of lines shown in the U and V directions for
each surface in the scene. The valid range is 0 to ∞. The
slider range is 0 to 8. The default setting is 0 (no lines
drawn on the surface other than edges).
Particle Rendering
Parameters
Show Particles
Determines whether particles are rendered. The default
setting is ON (particles will be rendered).
Simulation substeps
Controls the accuracy of the particle simulation, most
notably when particle collisions are being calculated. If the
Simulation substeps value is small, particles may fail to
detect collisions with moving objects, or appear to bounce
off objects at the wrong time. Increasing the Simulation
substeps value produces more accurate animations, but
also increases rendering times. The valid range is 1 to ∞.
The slider range is 1 to 8. The default setting is 1.
Frames per second

The speed (frames per second) at which the rendered
images will be displayed in the final animation. Because
certain particle parameters are defined in terms of seconds
not frames (for example, Particles/Sec), the Frames per
second value is required to convert these parameter values
in terms of frames.
The Frames per second value also influences the amount of
force (for example, gravity) applied to particles during a
dynamic simulation. The valid range is 1 to ∞. The slider
439
440
Windows > Render Stats Window

Information >
Render stats
The Render Stats (rendering statistics) window contains the

Object Rendering Parameters, which control how individual
objects will render.
To open the Render Stats window:

1 In the modeling windows, select the objects whose
rendering parameters you want to edit.
2 Select Windows > Information > Render stats. The Render

Stats window appears.
Object Names List
The names of all active objects.
To edit or change an object name, double click on its name,

(press the Esc key to delete the entire name), type the new
name and press Enter.
Use the horizontal scroll bar located below the object names
list to view names that are longer than the window view area.
Use the vertical scroll bar located along the left side of the
window to scroll through the list of object names when the list
is too long to be viewed in the window as a complete set.
441
Render Stats Window
Editing Cells
Most cells are dimmed when The spreadsheet consists of several cells for each named
Revert to V9.0 Tessellator is object. Each cell can be edited when not dimmed. Most cells
off in the Render Globals can be toggled ON or OFF by clicking directly in the cell. When
window. Revert to V9.0
Tessellator is off by default. an option is toggled ON, the cell displays a check mark. When
See Revert to V9.0 Tessellator an option is toggled OFF, the cell displays a dash.
on page 420.
Some cells contain a numeric value. To edit a numeric cell,
click directly in the cell and then type a new value. Values
larger than six digits to the left of the decimal point are
displayed in scientific notation. Pressing Enter confirms the
entry. Pressing Esc aborts the edit.
You can perform mathematical computations on numeric cells

using the ‘c’ command. For example, say the current value for
a field is 6. If you click in that field, type c*2 and press Enter,
the value will change to 12. If you type c+7, the value will
change to 13. If you type c-1, the value will change to 5. If you
type c/2, the value will change to 3.
Selecting Rows
A single mouse click on an object name deselects all rows in

the spreadsheet and then selects that particular row.
Holding the Shift key and single-clicking on an object name

selects that row in the spreadsheet without affecting the
current select state of any other row in the spreadsheet.
Holding the mouse down on an unselected name and then

dragging it down the list selects the first row and all rows the
mouse passes over. If one of the rows that the mouse passes
over is currently selected, it remains selected.
If multiple rows are selected, a change made to any one cell in

any row automatically affects the same cell in every other
selected row. This greatly reduces the time involved in making
a change to multiple objects.
442
Render Stats Window
Menus
The Render Stats window menus contain tools to list and select
objects. To display a menu, click and hold the mouse on a
menu button at the bottom of the Render Stats window. The
default active menu item is displayed below each button.
Sort By Menu
The Sort By menu contains tools to control how objects are

listed in the Render Stats window.
nothing
Objects are not sorted.
type
Sorts objects alphabetically by surface type.
name
Sorts objects alphabetically by name.
List Mode Menu
The List Mode menu contains tools to control which objects are
listed in the Render Stats window.
all
Lists all surfaces.
active
Lists only active surfaces.
tgl groups
Displays the hierarchy of groups of surfaces. If Sort By is
nothing, and List Mode is tgl groups, object nodes with
surfaces below in the hierarchy are listed as shown in the
following illustration. A surface icon appears in the cell
row for each group node displayed. Clicking this icon
automatically selects all rows for cells which correspond
to the surfaces below this node.
443
Render Stats Window
surface icon
Select Menu
The Select menu contains tools which let you select objects in
the Render Stats window and in the modeling windows.
select all rows

Selects all objects listed in the Render Stats window.
pick selected rows

Picks objects in the modeling windows that are selected in
the Render Stats window.
Object Rendering The object rendering parameters control how individual

Parameters objects will be rendered.
Double Sided
Determines whether both sides of the surface will render.
If Double Sided is ON, both sides of the surface will render.
If Double Sided is OFF, only one side of the surface will
render; the side that renders is determined by the
direction of the surface normals and the setting of the
Opposite parameter (see Opposite below). The default
setting is ON.
You may not want to render both sides of a closed object,
such as a sphere, (for both performance and memory
reasons) because only one side of the object will be visible
444
Render Stats Window
when it is rendered. The Double Sided setting is ignored

during raytracing (both sides of all surfaces must be
active).
Opposite
Determines which side of the surface will renders when
the Double Sided parameter is OFF. If the wrong side of the
object renders, toggle the Opposite parameter. The default
setting is OFF.
Shadows
Lets the surface cast shadows during raycasting or
raytracing. If Shadows is ON, the surface casts a shadow.
The default setting is ON.
See Subdivision Type on Adaptive Subdiv

page 421. Subdivides surfaces (patches) into triangles based on
surface curvature. (Faces cannot be adaptively
subdivided.) Surfaces with high curvature are divided
into more triangles than flatter surfaces with low
curvature. The Minimum Subdiv and Maximum Subdiv values
determine the subdivision triangulation. Setting Adaptive
Subdiv ON automatically sets Uniform Subdiv OFF, and vice
versa. The default setting is ON.
Note When Revert to V9.0 Tessellator is off in the Render

Globals window, the Adaptive Subdiv values are
dimmed in the Render Stats window.
See Adaptive Minimum, Minimum Subdiv, Maximum Subdiv

Adaptive Maximum on The minimum and maximum number of subdivisions
page 422.
between CVs in both U and V directions. These values are
only applicable if Adaptive Subdivision is ON. Valid values
are 1, 2, 4, 8, 16, 32, 64, or 128. If you enter any other value
between 1 and 128, the next highest valid value is used.
The default value is 2 for Minimum Subdiv and 4 for
Maximum Subdiv.

Globals window, the Minimum Subdiv and Maximum
Subdiv values are dimmed in the Render Stats window.
445
Render Stats Window
See Curve Threshold on Curvature Threshold

page 422. The threshold for subdivision in both the U and V
directions. The higher the Curvature Threshold value, the
greater the number of triangles, and the more accurate the
curvature. The valid range is 0 to 1. The default value is
0.96.

Globals window, the Curvature Threshold values are
See Subdivision Type on Uniform Subdiv

page 421. Subdivides surfaces into uniformly sized triangles (that is,
without taking surface curvature into account). Trimmed
surfaces must be adaptively subdivided. The Uniform U
and Uniform V values determine the number of
subdivisions. Only the Uniform U value determines the
number of subdivisions for faces. Setting Uniform Subdiv
ON automatically sets Adaptive Subdiv OFF, and vice versa.

Globals window, the Uniform Subdiv values are dimmed
in the Render Stats window.
See U Divisions, V Divisions Uniform U, Uniform V

on page 422. The number of subdivisions the surface will have between
CVs in both the U and V directions, regardless of surface
curvature. These values are only applicable if Uniform
Subdiv is ON. The valid range is 1 to 256. The default value
is 4.

Globals window, the Uniform U and Uniform V values are
Smooth Shading
Gives polysets a smooth appearance during rendering. If
Smooth Shading is OFF, one normal of each triangular facet
is used as a representation of the triangle, giving surfaces
a faceted appearance. The default setting is ON.
446
Render Stats Window
Motion Blurred
Blurs the motion of the surface to produce smoother
animations. To use this option, Motion Blur must be ON (see
Motion Blur on page 429). The MB Texture Samples and MB
Shading Samples values control the smoothness of the
motion blur effect (see MB Texture Samples and MB Shading
Samples below). The default setting is ON.
Reflect Only
Determines whether the surface will be reflection
raytraced only. If Reflect Only is ON, the object is
highlighted and will only appear in reflections or
refractions during raytracing, but will be invisible
otherwise. The default setting is OFF.
MB Texture Samples
The number of texture samples taken over the motion blur
period (for motion blurred surfaces only). The valid range
If the texture on a motion blurred surface appears
“jittery”, or not smoothly blurred, increase the MB Texture
Samples value by 1, test render, and repeat until the
texture is anti-aliased to your satisfaction. The actual
number of samples taken increases exponentially with the
MB Texture Samples value. Increasing this value also
increases rendering time, so keep it as low as possible.
MB Shading Samples
The number of shading samples taken over the motion
blur period in a pixel sample (for motion blurred surfaces
only). The valid range is 1 to 5. The default value is 1.
Generally, one sample is enough to represent the shade of
a surface in each pixel sample. Thin specular highlights,
bump maps, and displacement maps, however, can alias
incorrectly with only one shading sample. When you use a
bump or displacement map, MB Shading Samples will
automatically increase to 2 (if it is set to 1). If a sample
value of 2 is not sufficient to anti-alias your geometry,
increase the MB Shading Samples value. Increasing this
value can dramatically increase rendering time, so
increase it with caution, and only for those surfaces that
display aliasing with the default settings.
447
Render Stats Window
448
Render Stats Window
Rendering
In This Section: Render Overview 450

Using Render 452
Rendering Options 455
SDL Files 459
Command Line Rendering 462
449
Render Overview
There are three single processor types of renderer (raycast,

raytrace, and hidden line) and two multi-processor types of
renderer (powercast and powertrace). You can render a scene
using any of these renderers either interactively within
StudioTools, or from a UNIX command line. You can also test
render a scene at a lower resolution.
When you render a scene, the renderer first generates an SDL

(Scene Description Language) file. It then uses this SDL file to
create an image file. A summary of the rendering process is
saved in an out file. If you are raytracing a scene, and Create
Preview Image is ON (in the Render Globals window), the
renderer also creates a preview image file.
Raycasting
Raycasting produces smooth shaded renderings that include

shadows. Raycasting is faster than raytracing, but does not
produce reflections or refraction. (You can simulate reflections
using reflection maps and simulate refraction using linear
transparency.) Raycasting is often required for long
animations to keep the total rendering time within a
reasonable limit.
Raytracing
Raytracing produces smooth shaded renderings that include

reflections, refraction, and shadows.
Hidden line rendering produces outline renderings of objects

that are filled with flat, unshaded color. Silhouettes of surfaces
include the effect of any bump or displacement maps. Hidden
line rendering is useful for creating cartoon animations.
The appearance of objects that are hidden line rendered is

determined by the Hidden Line Rendering Parameters in the
450
Render Overview
Render Globals window and in each shader’s Control Window. If

Hidden Line Parms (in the Render Globals window) is PER
OBJECT, then the hidden line renderer uses the Hidden Line
Rendering Parameters in each object’s shader (see Hidden Line
Rendering Parameters on page 96). If Hidden Line Parms is
GLOBAL, then the hidden line renderer uses the Hidden Line
Rendering Parameters in the Render Globals window for all
surfaces (see Hidden Line Rendering Parameters on page 438).
Hidden line rendering does not represent colors, textures,

transparency, reflections, or shadows. The exact Anti-aliasing
Levels Minimum and Maximum values (in the Render Globals
window) are not relevant during hidden line rendering. Any
value above 0 turns on hidden line anti-aliasing. You should
set the Post Filter parameter ON (in the Blur section of the Render
Globals window) when using hidden line rendering (see “Post
Filter” in Blur Effects on page 428).
Powercasting and Powertracing
The PowerCaster and PowerTracer are multi-processor

versions of the RayCaster and RayTracer. By using the
PowerCaster or PowerTracer you can render a scene using a
select number of processors of a multi-processor computer.
451
Render Overview
Render > Render Using Render
To render a scene using the current Rendering Options

settings:
1 Select Render > Render. The File Requestor appears.
2 Type the full path and file name for the rendered image in
the File Requestor, or click Show List and select the file using
the File Lister. If you select a file using the File Lister, the
renderer will overwrite the file with the rendered image
file.
3 Click Save SDL. The renderer creates the following files:

◆ <pixfile> in the sdl directory (the SDL file)
◆ out.<pixfile> in the sdl directory (the out file)
◆ <pixfile> in the pix directory (the image file)
See Create Preview Image on The renderer may also create the file <pixfile>.test in
page 424. the pix directory (the preview image) if you are
raytracing and Create Preview Image is ON in the Render
Globals window.
Any errors that occur and cause the renderer to quit, are
summarized in the errlog file, which you can view by
selecting File > Show > Errlog.
You can render more than You can only render one file interactively within
one file at a time from a StudioTools. If you start a second render before the first
UNIX command line. render is completed, the following message appears.
See Command Line Rendering
on page 462.
To open the Rendering Options window:
● Select Render > Render ❏.
452
Using Render
To view a rendered image at actual size (either during

rendering or after rendering is complete):
● Select Render > Show render. A window appears with the
partially or fully rendered image in it. If the render is not
yet complete, the image continuously updates as the
render progresses.
If the Image File Output Format is TIFF or TIFF16, Show render
cannot display the rendered image until the render is
complete (see Format on page 432).
To view a rendered image at reduced or enlarged size

(either during rendering or after rendering is complete):
1 Select Render > Show render ❏ to open the Show Render
Options window.
2 To view the rendered image so that it fills the screen, select

Fill Screen.
To view the rendered image at a size smaller than actual
size, set the Zoom Factor value between 0 and 1.
To view the rendered image at a size larger than actual
size, set the Zoom Factor value between 1 and 20.
3 Click Go. A window appears with the partially or fully

rendered image in it. If the render is not yet complete, the
image continuously updates as the render progresses.
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Using Render
To view a rendered animation (either during rendering or

after rendering is complete):
See Previewing a Rendered 1 Select Animation > Flipbook. The File Requestor appears.
Animation with FlipBook
(UNIX only) in the Animating 2 Use the File Requestor to select the first pix file of the
book. animation you want to view, and click Show.
The Flipbook window appears and automatically displays
the rendered animation.
To abort a render in progress:

1 If StudioTools is saving the SDL file, press Esc.
If StudioTools is rendering the SDL file, select
Render > Abort render. The following confirm box appears.
2 Click YES to abort the render, or NO to continue rendering.
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Using Render
Rendering Options
Renderer Type
The type of renderer used: Raycaster, Raytracer, Hidden Line,
Powercaster, or Powertracer. The icon in the Rendering
Options window changes if you change Renderer Type. If
Renderer Type is Powercaster or Powertracer, the Processors
parameter becomes available. The default setting is
Raycaster.
455
Rendering Options
Processors
Determines whether the renderer uses all available
processors (All), or only a certain number of the available
processors (User Defined). This parameter is only available
when Renderer Type is Powercaster or Powertracer. If
Processors is User Defined, the Num Processors parameter
becomes available. The default setting is All.
Num Processors
The number or processors the renderer uses. This
parameter is only available if Renderer Type is Powercaster
or Powertracer, and Processors is User Defined. The valid/
slider range is 1 to 32. The default setting is 8.
Host
Determines whether rendering occurs on the local
computer (Local) or on a remote computer (Remote). If Host
is Remote, the Hostname and Location parameters become
available. The default setting is Local.
Hostname
The name of the computer where rendering occurs. This
parameter is only available if Host is Remote. You must
have a user account on the remote computer, and the
remote computer must have a StudioTools renderer
installed. The default setting is local.
456
Rendering Options
Location
The path on the host computer (Hostname) where
rendering occurs. This parameter is only available if Host
is Remote. The default setting is the current project
directory.
The remote location must include any pix files used by
shaders, or the remote computer must be NFS (Network
File System) mounted to your local computer and your
ALIAS_PIX_SEARCHPATH environment variable set
accordingly. See NFS Overview in the Release and
Installation Notes, and ALIAS_PIX_SEARCHPATH
(Rendering) in the Release and Installation Notes.
Test Render
Automatically names the rendered image file
_username_computername_v95_test_render. If Test
Render is ON, the Image Creation and Test Resolution
Because the renderer does not prompt you for an SDL file
name, it creates a temporary SDL file and then
automatically removes it once the render is complete.
Image Creation
Determines whether the test rendered image file is saved
or overwritten by subsequent test renders. If Image
Creation is Overwrite, the test rendered image file has the
same name as the previous test rendered image file. If
Image Creation is Save, the test rendered image file is given
a unique name by adding a number suffix to (or
incrementing the number suffix of) the previous test
rendered image file name (for example,
_username_computername_v95_test_render3).
The default setting is Overwrite.
See X Resolution, Y Resolution Test Resolution

on page 435. A scaling factor applied to the X Resolution and Y Resolution
values in the Render Globals window. The slider range is 0
to 1. The default setting is 1.
457
Rendering Options
Write SDL per frame

Allows you to animate construction history or curve
networks. If Write SDL per frame is ON, the renderer writes
an SDL file with no animation in it, renders the SDL file,
then advances the animation one frame and repeats this
process until all frames have been rendered. If Write SDL
per frame is ON, the Host and Test Render parameters
become unavailable. The default setting is OFF.
Note the following when using Write SDL per frame:
See Animation on page 418. ◆ Animation (in the Render Globals window) must be ON.
If Animation is OFF, a warning message appears and the
render continues as if Write SDL per frame was OFF.
◆ Make sure you are at the first frame of your animation
before rendering.
◆ You must save the wire file before rendering it. The
renderer uses this saved wire file to create the SDL
files and image files.
◆ If DisplayTgls > Render Toggles > Render status is on, the
progress bar indicates the percentage complete of the
entire animation (rather than just one image file as in
normal renders).
◆ Motion blur, Show Pix, Test Render, and Remote
rendering do not work when Write SDL per frame is ON.
Rendering Options Window Buttons
Reset
Resets all Rendering Options to their default settings.
Save
Saves the current Rendering Options settings for use by all
subsequent renders.
Exit
Closes the Rendering Options window. The scene is not
rendered, and any changes you have made to the
Rendering Options are not saved.
Go
Renders the scene using the current Rendering Options
settings.
458
Rendering Options
iFile > Export > SDL, SDL Files

File > Edit SDL
SDL is the Scene Description Language used by StudioTools.

An SDL file is an ASCII text file that contains all the
information necessary to render a scene, including models,
shaders, lights, and animation. Because they are simple text
files, you can edit, or even create, an SDL file “by hand”. That
is, you can create or edit a scene using a text editor and SDL
commands. Usually, however, you will not need to directly
edit SDL files. Instead, the interactive modeling program will
automatically generate the SDL file for a scene and output it to
the renderer.
There are, however, some cases where you may want to edit
an SDL file:
● for absolute, mathematical control over scene elements
such as models, animation paths, and shaders
● to modify a generated SDL file manually, or with another
program
● to create new procedural effects using the general
programming features of SDL.
By applying basic programming constructs to scene

descriptions you can create useful and spectacular effects that
would be tedious or impossible to create with the interactive
modeler alone. You can also augment the dynamics and
particle systems of the interactive modeler with the flexibility
of the SDL programming language.
Once you have an SDL file describing a scene, you can then
render it either within the interactive modeler, or using one of
the stand-alone renderers (see Command Line Rendering on
page 462). See the Alias Scene Description Language online
documentation for more information.
459
SDL Files
To export an SDL file:

1 Select File > Export > SDL. The File Requestor appears.
2 Type the full path and file name for the SDL file in the File
Requestor, or click Show List and select the file using the File
Lister. If you select a file using the File Lister, the SDL file
will overwrite that file.
3 Click Save SDL.

To cancel the process, press Esc.
Note the following when exporting an SDL file:

● Delete all non-referenced shaders before exporting an SDL
file, because all shaders, whether they are actually
assigned to surfaces or not, are written out to the SDL file.
● When you export an SDL file, each perspective window
will generate an image (or series of images) when the SDL
file is rendered, because each perspective window has an
associated camera.
The file name you use for the SDL file is also used within
the SDL file to specify the output image file name. For
example, if the SDL file is named Planet, then the camera
section of the SDL file will contain:
pix = “pix/Planet”,
If there is a second perspective camera named camera2,
the SDL file will also contain:
pix =”pix/Planet_camera2”,
If you have more than one perspective window, but only
want to render an image (or series of images) from one of
them, either edit the SDL file, or pick all objects, lights,
and only one camera, and then select File > Export > Active
as, and use that file to export an SDL file from.
To edit an SDL file:

1 Select File > Edit SDL. The File Requestor appears.
2 Type the full path and file name for the SDL file in the File
Requestor, or click Show List and select the file using the File
Lister.
3 Click Edit Text. The text editor opens with the SDL file
displayed inside.
460
SDL Files
The default text editor is jot. You can change the default
editor by setting the ASCII Editor parameter in the Alias
Preferences window (see ASCII Editor in the Studio Interface
section of the Basic Tools book). For more information on
using jot, select the Help menu in the top right corner of the
jot window.
If you entered a non-existent file name in the File

Requestor, the editor starts a new empty file. If you attempt
to edit a non-SDL file, the following message appears:
File type must be SDL.
461
SDL Files
Command Line Rendering
You can render an existing SDL file from a UNIX command

line by using one of the stand-alone render programs:
renderer, raytracer, powercaster, and powertracer.
By rendering from a command line you can render a batch of
several SDL files at the same time; the only limitation is the
amount of swap space available. (For this reason the stand-
alone renderers are also referred to as batch renderers.) You
can also specify options during command line rendering
which will override internal variables in the SDL file. This lets
you change the behavior of the renderer without having to
actually edit the SDL file.
Using the Stand-alone The usage statement for renderer, raytracer,

Renderers powercaster, and powertracer is:
renderer or raytracer or powercaster or powertracer
[-a#] [-b#] [-B#] [-c <quantized_output_file>] [-C
<color_map_filename>] [-d <filename>] [-e#] [-E#]
[-f <script>] [-h#] [-H] [-J] [-k] [-K#] [-m
<filename>] [-p <filename>] [-P] [-q#] [-Q#] [-r#]
[-R#] [-s#] [-S#] [-t#] [-T#] [-v] [-V] [-w#] [-W#]
[-x#] [-y#] [-Y#] [<filename>]
where:
-a# sets the anti-aliasing level (aalevel) to the integer #. aalevel is the
maximum anti-aliasing level per pixel.
-b# sets the by frame number for animation sequences to the floating point
number #.
-B# sets the by extension for animation sequences to the integer #.
-c <quantized_ outputs the quantized image to the file <quantized_output_file>
output_file> after each frame.
-C color_map_ uses the SGI image format file <color_map_filename> as the color map
filename to refer to for quantizing after each frame.*
462
-d <filename> uses <filename> as the depth file name.

-e# sets the ending frame number for animation sequences to the floating point
number #.
-E# sets the size extension for animation sequences to the integer # where #
indicates the number of 0 padding before the extension number. For
example, -E 4 produces file extensions such as <file>.0001 indicating
frame 1.
-f <script> invokes the program <script> after each frame.
-h# sets the image height for the partial image to be rendered to the integer #
without changing the view port. However, this sub-region to be rendered
always originates from the lower left hand corner of the image. The integer
# moves the origin of this window around the view port.
-H displays the on-line help.
-J creates a depth file called ‘timing’ representing time per pixel.
-k keeps depth maps in memory after reading them once.**
-K# turns depth maps on disk usage to #. 0 is OFF. Any number other than zero
is ON. ***
-m <filename> produces a matte file and uses <filename> as the file name.
-n# sets, to the integer #, the number of processors to render on. This option is
only available with powertracer and powercaster.
-p <filename> uses <filename> as the pix file name.
-P preserves the non-glowed image unless DOF or Quantize are on. This option
allows you to save both a glowed and non-glowed image on disk. The non-
glowed image will have the same name as the glowed image, but will have
the suffix .ng.
-q# sets the quiet flag to #. # can be 0 or 1.
-Q# sets the resolution in the X direction and the view port to the integer #. This
option is useful for overriding the resolution specified in a given SDL file.
For example, it is useful for switching between rendering NTSC and 1/4
NTSC for a quick preview render.
-r# sets the aspect ratio to the floating point number #.
-R# sets the resolution in the Y direction and the view port to the integer #. This
option is useful for overriding the resolution specified in a given SDL file.
For example, it is useful for switching between rendering NTSC and 1/4
NTSC for a quick preview render.
463
-s# sets the starting frame number for animation sequences to the floating
point number #.
-S# sets the start extension for animation sequences to the integer #.
-t# sets the aathreshold to the integer #. aathreshold is the anti-aliasing
threshold value that adaptively super-samples pixels based on color
difference. The higher the value, the more sensitive the super-sampling is
to color difference.
-T# sets the number of Y pixels in a tile to the integer #. A tile is a row of pixels
to be rendered together. The main reason to use this option is to reduce the
amount of memory used by lowering the Y value. This controls the tile size
the image is broken up into for rendering and has no effect on the final
image or its resolution.
The more tiles, the better the load balancing, but the process may be slow.
The default tile size is 15 scanlines. You may want to increase the tile size
for images with over 1K of vertical (Y) resolution, to a value between 40
and 60. For images with less than 500 pixels vertical (Y) resolution,
decrease the tile size to a value between 10 and 25
-v render normally outside of viewport region
-V render image with hidden lines
-w# sets the image width for the partial image to be rendered to the integer #
without changing the view port. However, this sub-region to be rendered
always originates from the lower left hand corner of the image. The integer
# moves the origin of this window around the view port.
-W# sets the ylow for backgrounds to #. The ylow and yhigh define the region
of the rendering, specified in pixels, where the background should appear.
-x# sets the xleft to the integer #. xleft is the left corner of the partial image to
be rendered.
-y# sets the ylow to the integer #. ylow is the left corner of the partial image to
be rendered.
-Y# sets the yhigh for backgrounds to #. The ylow and yhigh define the region
of the rendering, specified in pixels, where the background should appear.
filename sets the SDL file name to a specific file name. If no file name is specified,
standard input is used.
*If required, the renderer quantizes images after rendering

them. The option -C allows a previously generated color table
to be used for quantizing images. However, aquant quantizes
images much more quickly.
464
**Generally, when a depth_input file is specified for a

shadowing spotlight, it is read every frame. -k forces the
renderer to read the shadow map only once during the first
frame of rendering.
***Rather than editing your SDL files to add depth_input or

depth_output commands to shadowing spotlights, this
command line option may be used. When set to a non-zero
value (for example -K 1), the renderer automatically creates
depth output files named after the spotlights in your current
directory, or if these files already exist, they are used.
Using any of the above options overrides any equivalent SDL

keyword settings in the SDL file.
See renderer/raytracer in the Utilities online documentation for

more information on the stand-alone renderers.
To render a scene from the UNIX command line:

1 Export the scene as an SDL file (see SDL Files on page 459)
by selecting File > Export > SDL and entering a file name in
the File Requestor. For example, type:
/usr/u/kozyniak/user_data/demo/sdl/
filename
2 Open a UNIX shell (for example, by selecting

Utilities > UNIX shell) and change the directory to that of the
current project (that is, one directory above the SDL file).
For example, type:
cd /usr/u/kozyniak/user_data/demo
You must be in the project directory (that is, one directory
above the SDL file) when using the stand-alone renderers.
3 To raycast the scene, type:

renderer sdl/filename
To raytrace the scene, type:
raytracer sdl/filename
To powercast the scene, type:
powercaster sdl/filename
To powertrace the scene, type:
powertracer sdl/filename
465
There are several options that you can use with the stand-
alone renderers (see Using the Stand-alone Renderers on
page 462).
The renderer displays information on the elapsed time for
each frame and for the total render. For example:
Alias Renderer, Version 8.5.1 (/usr/alias/bin/
renderer.i6.4k)
Elapsed time for the parse (hh:mm:ss): 00:00:00
Completed pix/Nebula file
Memory(kb): 3099
Elapsed time for the Raycast (hh:mm:ss): 00:00:15
Elapsed time for the Frame Render (hh:mm:ss):
00:00:15
Elapsed time for the Total Render (hh:mm:ss):
00:00:15
466
Distributed Rendering
In This Section: Distributed Render Overview 468

Using Distributed Render 470
Rendering Control Window 475
Rendering Control Parameters 476
Rendering Control Menus 487
467
Distributed Render Overview
Distributed rendering refers to rendering that is distributed

over several computers. Using distributed rendering you can
render one or several SDL files on a network of computers. For
example, you can divide an animation into sequences and
render each sequence on a different computer. You can also
control when, and on which computer, rendering takes place.
For large render farm environments, however, you should use
Dispatcher instead of Distributed render (see Dispatcher Online
Help).
Distributed rendering uses the Rendering Control window to

control the rendering of one or several SDL files on a network
of computers. This window is a stand-alone application that
you can access either within StudioTools or from a UNIX shell.
See the appendix on NFS in The Rendering Control window uses the NFS (Network File
Release Notes and Installation. System) to communicate with computers connected via a
network. NFS must be installed on all computers on the
network in order to use Rendering Control.
In addition, all paths and file names used within the Rendering
Control window must be NFS accessible from all computers.
For example, the following path is NFS accessible from all
computers:
/nfs/machine/usr/people/awdemo/user_data/demo/sdl
However, the following path is not NFS accessible from all

computers:
/usr/people/awdemo/user_data/demo/sdl
All paths and file names used within the Rendering Control
window must also be readable and writable from all
computers. You can make a file or directory of files readable
and writable from all computers using the UNIX command
chmod. For example, to make a directory of files readable and
writable from all computers you would type the following in a
UNIX shell:
chmod a+rwx /usr/people/awdemo/user_data/demo/sdl
468
Pix files created by the Rendering Control window are readable

and writable by all computers. In addition, the Rendering
Control window does not protect its job queues from
unauthorized modification.
The Rendering Control window requires a control directory

(control_location_path) in which to store its control
files. This directory can be located anywhere; however, it must
be NFS accessible, and readable and writable, from any
computer on which you want to render.
The default control directory is located at:

/usr/aw/alias9.5/render_control
However, you must specify this directory so that it is NFS

accessible, for example:
/nfs/machine/usr/aw/alias9.5/render_control
469
Render > Distributed Using Distributed Render

render
Opening the Rendering You can open the Rendering Control window either within
Control Window StudioTools or from a UNIX shell.
● If you open the Rendering Control window within
StudioTools, make sure that the Control Location in the Alias
Preferences window is NFS accessible, and readable and
writable, from all computers. If you change the Control
Location, you must exit and re-start StudioTools for the
change to take effect. See Distributed Render Control Options
in the Studio Interface section of the Basic Tools book.
● If you open the Rendering Control window from a UNIX
shell, you must specify the path to the control location
when you enter the rndctl command.
To open the Rendering Control window from within

StudioTools:
● Select Render > Distributed render.
To open the Rendering Control window from a UNIX shell:
See rndctl in the Utilities ● Type rndctl -l <control_location_path>.

online documentation.
Creating a Job Once you have opened the Rendering Control window, you
must create a job. A job is an SDL file that you want to render.
You can create one or several jobs.
470
Using Distributed Render
To create a job:
See Add on page 487. 1 Select Job Maint > Add to open the File Requestor.
2 Use the File Requestor to select the SDL file you want to
render, and click SDL filename. The job appears in the Jobs
section of the Rendering Control window.
See Jobs on page 476. Edit the parameters in the Jobs section of the Rendering
Control window to change the job’s name, its rendering
priority, its SDL file name, or the number of frames to
render. Make sure the path to the SDL file is NFS
accessible from all computers that you want to render on.
See Output Paths on Edit the parameters in the Output Paths section of the
page 478. Rendering Control window to change where and how the
job’s pix files are saved. Make sure the Output Paths are
NFS accessible, and readable and writable by all
computers you want to render on.
See Input Paths on page 480. Edit the parameters in the Input Paths section of the
Rendering Control window to change where the job’s source
image files can be found. Make sure that the Input Paths are
NFS accessible from all computers that you want to render
on.
See Job Scheduling on Edit the parameters in the Job Scheduling section of the
page 481. Rendering Control window to change the times when you
want the job to render.
Assigning a Resource to You must assign at least one resource to each job. A resource
a Job represents a computer that a job can render on. (Different
resources can represent different processors on the same
computer.) By default, there is only one available resource that
uses the local computer. You can assign a single resource to
several jobs. You can also add additional resources to the
Rendering Control window, and then assign one or several
resources to each job.
To add a resource:
See Add on page 487. ● Select Resource Maint > Add. A new resource appears in the
Available Resources section of the Rendering Control window.
By default, the resource is named new_resource_#.
471
See Current Resource on Edit the parameters in the Current Resource section of the
page 484. Rendering Control window to change the resource’s name,
its host name, the maximum number of frames that can be
rendered on the resource, and the times when the resource
is available to render jobs.
To assign a resource to a job:

1 In the Jobs section of the Rendering Control window, select
the job you want to assign a resource to.
2 In the Available Resources section of the Rendering Control

window, select the resource you want to assign to the job.
See Add a Resource on 3 In the Resource List section of the Rendering Control
page 483. window, select Add a Resource. The resource appears in the
Resource List section of the Rendering Control window.
To assign another resource to the job, select the resource in
the Available Resources section of the Rendering Control
window, and then select Add a Resource.
To remove a resource from a job:

the job you want to remove a resource from.
See Remove a Resource on 2 In the Resource List section of the Rendering Control
page 483. window, select the resource you want to remove from the
job, and select Remove a Resource. The resource disappears
from the Resource List section of the Rendering Control
window.
Rendering a Job Once you have a job with at least one resource assigned to it,
you can then render that job.
To render a job:
the job you want to render.
See Raycast, Raytrace, 2 Select Render > Raycast in the Rendering Control window (or
Powercast, Powertrace, Raytrace, Powercast, Powertrace, or HiddenLine).
HiddenLine on page 489.
472
The Rendering Control window launches a daemon

rendering program ($ALIAS_LOCATION/bin/
alias_render_demon) on each resource (computer)
assigned to the job. Each daemon program controls the
rendering process on a particular resource, and relays the
status of rendering by writing files to the control location.
The Rendering Control window reads these files, and
displays the status of rendering that is occurring on all
resources.
See Pause Job on page 481 Daemon programs are only launched if the job is available
and Availability on page 484. to render (Pause Job in the Job Scheduling section of the
Rendering Control window) and the resource is available for
rendering (Availability in the Current Resource section of the
Rendering Control window).
You can render several jobs simultaneously by repeating
steps 1 and 2 above. The order that jobs are rendered is
based on their Priority setting (in the Jobs section of the
Rendering Control window).
Once you have begun rendering a job (or a series of jobs),
you can exit the Rendering Control window, and restart it at
any time, without affecting the jobs currently rendering.
To abort a job that is currently rendering:

the job you want to abort.
See Abort on page 487. 2 Select Job Maint > Abort in the Rendering Control window.
Monitoring Rendering
See Job Status on page 476, Once you have begun rendering a job (or a series of jobs), you
Rendering Log on page 482, can use the Rendering Control window to monitor the progress
and Image Grid on page 487. of each job. During rendering, the Job Status (in the Jobs
section of the Rendering Control window) updates: first to
pending, then to the percentage completed, and finally to
finished. The Rendering Log also updates to display information
on each frame as it renders. For a graphical representation of
the status of each frame of the job, open the Image Grid by
selecting Job Maint > Image Grid.
473
Viewing a Rendered Job You can view either the frame currently rendering, or the
rendered animation (all frames rendered so far).
To view the frame currently rendering:
See Wrl Active on page 489. ● Select Render > Wrl Active.
To view the rendered animation:
See Flipbook on page 489. ● Select Render > Flipbook.
474
Rendering Control Window
The Rendering Control window lets you control the rendering of

one or several jobs on a network of computers.
To open the Rendering Control window:
You can also open the ● Select Render > Distributed render.
Rendering Control window
by typing rndctl -l
<control_location_pat
h> in a UNIX shell. See rndctl
in the Utilities online
documentation.
475
Rendering Control Window
Rendering Control Parameters
Jobs
A job is an SDL file that you The Jobs section of the Rendering Control window contains a job
want to render. list and several job parameters. The job list lists the current
status of each job. The job parameters are those of the selected
(highlighted) job in the job list. To select a job and display and
edit its parameters, click on the job in the job list.
See Add on page 487 and To add a job to the job list, select Job Maint > Add in the
Delete on page 487. Rendering Control window. To delete a job, click on the job in
the job list and select Job Maint > Delete.
Job Name
The name of the rendering job. You can change the Job
Name at any time without affecting the status of the job.
Job Status
The current status of the selected (highlighted) job in the
job list: aborted, finished, stopped, failed, pending, or
percentage completed. You cannot edit this parameter.
A running job is divided into tasks. A task consists of a
number of frames of a job. The size, or the number of
frames of the task is determined by the Max Frames value
under Current Resource (see Max Frames on page 484).
476
When a running task fails, it is subdivided into two tasks.

Completed frames are put in one task, which is marked as
finished. The remaining frames are put in a second task,
which is reset to pending. Failed tasks are set to pending
three times before they are left as failed.
Invoking User Login

The login name of the user who starts the selected
(highlighted) job in the job list (that is, when the user
selects a renderer from the Rendering Control window’s
Render menu). You cannot edit this parameter.
Priority
The priority of the selected (highlighted) job in the job list:
immediate, 1 to 10. Jobs with immediate Priority are rendered
before jobs with Priority 1; jobs with Priority 1 are rendered
before jobs with Priority 2, and so on. Multiple jobs that
have identical Priority are rendered concurrently on a
machine.
Frames Total/Done
The total number of frames and the number of rendered
frames in the selected (highlighted) job in the job list. You
cannot edit these parameters.
Do not edit these Start/End/By

parameters for a job that is The first frame (Start), last frame (End), and frame
currently rendering.
increment (By) to render of the selected (highlighted) job
in the job list. These parameters have no effect if the job’s
SDL file does not have animation on. The default setting is
0.
See Rendering Options on Job Options

page 455. Render command options for the selected (highlighted)
job in the job list. A list of render command options are in
the Rendering Options window (Render > Render ❏). You can
add render command options by entering them in this
field.
See SDL Files on page 459. Sdl Filename

The file name (the upper field) and path (the lower field)
of the SDL file for the selected (highlighted) job in the job
list. You can enter the file name and path by typing in the
477
fields, or you can click the arrow on the right side of the
file name field to open the File Requestor, and select the
SDL file using the File Requestor.
Output Paths
The Output Paths parameters describe pix and matte file names
and their extensions for the selected (highlighted) job in the
job list.
Output Mattes
Causes the renderer to produce a mask file (in addition to
the pix file). If Output Mattes is OFF, the renderer does not
produce a mask file unless the SDL file itself contains a
matte = <filename> statement in the Definition
section or a mask = <filename> statement in the
Camera section. The default setting is OFF.
If there is a matte = <filename> or mask =
<filename> statement in the SDL file, and these
statements were created by StudioTools (for example,
during File > Export > SDL), the <filename> is relative to
the current project directory. Because the distributed
render daemon requires an absolute path, the renderer
will not be able to write the mask file to the correct
directory.
User Defined Output Paths

Lets you specify the output file names and paths for pix
and mask files using the Pix Filename and Matte Filename
parameters. If User Defined Output Paths is OFF, the pix and
mask files are saved relative to the SDL Filename path (not
in the paths specified in the SDL file, because these paths
478
are relative to the current project and the distributed

render daemon requires absolute paths). For example, if
the SDL file is located in /usr/tmp/sdl, the pix file will
be saved in /usr/tmp/pix and the mask file (if Output
Mattes is ON) will be saved in /usr/tmp/mask. If User
Defined Output Paths is ON, the Pix Filename and Matte
Filename parameters become available. The default setting
is OFF.
Pix Filename, Matte Filename

The file name (the upper field) and path (the lower field)
for the output pix file and mask file. These parameters are
only available if User Defined Output Paths is ON.
Define Extensions
Lets you set the starting number (Start) and the amount by
which the extension is incremented (By) for the rendered
pix files’ extensions. If Define Extensions is OFF, the
extensions are defined by the settings in the SDL file. If
Define Extensions is ON, the Start/By and Extension Size
Extension Size
the frame number is less than the Extension Size value,
then leading zeros are added to the extension. For
example, if the frame number is 25 and the Extension Size
value is 4, the pix file name would be <filename>.0025.
The slider range is 0 to 100. The default setting is that in
the SDL file.
Save OUT Files

Saves the out files (out.<filename>) that are generated
during rendering. The default setting is OFF.
479
Input Paths
The Input Paths section contains an editable list of search paths

that the renderer uses to find pix files it needs for input. When
you create a job (by selecting Job Maint > Add), this list defaults
to the paths defined in the environment variable
ALIAS_PIX_SEARCHPATH (see ALIAS_PIX_SEARCHPATH
(Rendering) in the Release Notes and Installation book).
To edit a path, click or double click it, type in the new path and
press Enter. Because the Input Paths list is moved into an
environment variable for use by the renderer, the length of a
path cannot exceed the maximum length of an environment
variable. Remove any paths from the list that you know will
not be needed during rendering.
Add a Path
Adds a blank line to the Input Paths list.
Remove a Path
Deletes the selected (highlighted) path in the Input Paths
list.
Job Scheduling
480
The Job Scheduling section lets you specify if and when a job
can be rendered.
Pause Job
Determines if a job is available for rendering. The default
setting is AVAILABLE.
PAUSE the job is not available to run

AVAILABLE the job is available to run
USE SCHEDULE the job is available to run during days
and times indicated in the Job
Scheduling Chart
If you set Pause Job to PAUSE for a job that is still

rendering, the currently active task will complete
normally. The next task, if any, will run either when you
set Pause Job to AVAILABLE, or when you set Pause Job to
USE SCHEDULE and an available time (as indicated in the
Job Scheduling Chart) occurs.
Job Scheduling Chart

The Job Scheduling Chart lets you specify exactly when a
job can be rendered. The chart lists the five days of the
week along the left and the 24 hours of each day along the
top (the sun represents 12:00 o’clock noon).
The grid formed by these two axes represents the 24 hours
of each day of the week in half-hour increments. By
clicking or click-dragging within this grid, you can toggle
the days and times when a job is available for rendering
(indicated by green blocks). In order for a job to use the
Job Scheduling Chart, you must set Pause Job to USE
SCHEDULE.
481
Rendering Log
last pix file name extension
associated resource
status
number of attempts
first pix file name extension

last frame number
first frame number
task number
The Rendering Log maintains a record of errors encountered in

the render job, and a record of all the tasks that a render job
produced. This record is only listed if a job is running or
completed. You cannot edit this information.
Resource List
A resource represents a The Resource List lists the resources (computers) that a job can
computer (and number of render on. The list contains the Resource Name, the Host Name,
processors) that a job can and if the job is running, the current frame of the task on this
potentially render on.
Several resources can use the resource. You can add or remove resources from this list using
same computer. You can also the Add a Resource and Remove a Resource buttons. When you
control the maximum start a job and its status becomes pending, resources from the
number of frames that can Resource List are used as they become available.
render on resource.
When you start a job (by selecting an option from the Render
menu in the Rendering Control window), daemons are launched
for that job on all resources listed in the Resource List (if they
are not already running). If a job is already running when you
add a resource to that job’s Resource List, a daemon is not
launched for that resource. To launch a daemon for the new
resource, start the job again (by re-selecting the option from
the Render menu); this launches the daemon on the new
resource without affecting the running job.
482
Add a Resource
Adds the resource that is selected (highlighted) in the
Available Resources list to the Resource List.
Remove a Resource
Deletes the resource that is selected (highlighted) in the
Resource List.
Available Resources
A resource represents a The Available Resources list lists those resources that are
computer (and number of potentially available for use by any job. The list contains the
processors) that a job can Resource Name and Host Name for each available resource.
potentially render on.
Several resources can use the
same computer. You can also If a resource is selected by someone else running Rendering
control the maximum Control, that user’s login name appears to the right of the
number of frames that can resource’s Host Name.
render on resource.
If a resource has its Availability set to LOCKED, or set to USE
SCHEDULE and the Resource Schedule Chart does not allow
rendering at the present time, a lock icon appears to the left of
the Resource Name.
A number may appear to the right of the Host Name, indicating

the number of jobs that contain that resource in their Resource
List. A red number indicates that the resource is currently
rendering a job. A blue number indicates that the resource is
not currently rendering a job.
483
Current Resource
The Current Resource section describes the resource that is

currently selected (highlighted) in the Available Resources list.
Resource Name
The name you want to use to describe the resource.
Host Name
The machine name of the resource. This is the name
returned by the UNIX hostname command.
Max Frames
The maximum number of frames per task for this
resource. Adjust the Max Frames value to control the load
balance on the network. The slider range is 0 to 10.
Num Processors
The maximum number of processors that the resource will
allocate to a job. The slider range is 1 to 8. The default
value is 1.
Auto add Resource

Automatically adds this resource to the Resource List of
any jobs added to the Jobs list. The default setting is OFF.
Availability
Determines if the resource is available for use. The default
setting is USE SCHEDULE.
484
LOCKED the resource is not available for use

AVAILABLE the resource is available for use
USE SCHEDULE the resource is available for use during
days and times indicated in the
Resource Scheduling Chart
Resource Scheduling Chart

The Resource Scheduling Chart lets you specify exactly
when a resource can be used. The chart lists the five days
of the week along the left and the 24 hours of each day
along the top (the sun represents 12:00 o’clock noon). The
grid formed by these two axes represents the 24 hours of
each day of the week in half-hour increments. By clicking
or click-dragging within this grid, you can toggle the days
and times when a resource is not available for use
(indicated by red blocks).
In order for a resource to use the Resource Scheduling Chart,
you must set Availability to USE SCHEDULE.
If a daemon is running on a machine and that machine
becomes locked, the daemon kills all running tasks on that
machine. These tasks are added to the pool of pending
tasks and run on another machine if one is available.
If a machine is not scheduled for use, none of the resources
having this machine as its Host Name are available for
rendering.
Associated Jobs
The Associate Jobs list lists any jobs that are pending to use the
current resource. The job status is indicated on the right side of
the list.
485
Control Options
The Control Options control the overall operation of the

distributed Rendering Control window.
Control Location
The control_location_path. You cannot edit this
field.
Update Time mm:ss

The number of minutes (mm) and seconds (ss) between job
status updates. The default setting is 0:0.
Editor Update Time

The interval time between the GUI editors’ updates, to
reflect the current state of the control files. The default
setting is 0 and 10.
486
Rendering Control Menus
The Rendering Control menus contain tools to activate, manage,

and monitor the distributed rendering process.
Job Maint Menu

Add
Opens the File Requestor and lets you select an SDL file to
add to the Jobs list and render.
Delete
Deletes the job that is currently selected (highlighted) in
the Jobs list. A confirm box is displayed before the job is
actually deleted.
Abort
Stops the rendering of the job that is currently selected
(highlighted) in the Jobs list. A confirm box is displayed
before the job is actually aborted.
Reset
Restarts the job that is currently selected (highlighted) in
the Jobs list. Use Reset to restart a daemon that has died
and left tasks in an undetermined state. A confirm box is
displayed before the job is actually reset.
Clone
Creates a new job based on the job that is currently
selected (highlighted) in the Jobs list. All job parameters
for the new job are the same as the original job except for
Job Name and Sdl Filename which have .clone appended as
a reminder that you should edit these fields. A confirm
box is displayed before the job is actually cloned.
Image Grid
Displays the Image Grid.
487
The Image Grid represents the job that was selected

(highlighted) in the Jobs list when you selected Job
Maint > Image Grid. Each cell of the grid represents an
output image file (that is, a frame of the animation), and
the cell color represents the current status of that file.
Cell Color Description
dark grey the file cannot be found

blue the file is incomplete; the shade of blue
represents the stage of completion (for
example, dark blue means the file is
almost complete)
medium grey the file is not present
Because the Image Grid has to read and decode each entire
file to determine if it is present and/or complete, the
window can be slow to load and/or update. To load the
Image Grid as fast as possible, open it on the machine
where the image files reside. To change the job that the
Image Grid displays, you must re-select Job Maint > Image
Grid from the Rendering Control window.
update
Updates the display in the Image Grid.
tasks
Outputs a list of tasks that remain to be completed to
standard out. You can then use this list as a reference for
creating new jobs to complete the animation.
488
Render Menu
Raycast, Raytrace, Powercast, Powertrace, HiddenLine
Raycasts, raytraces, powercasts, powertraces, or hidden
line renders the job currently selected (highlighted) in the
Jobs list (see Renderer Type on page 455).
See Previewing a Rendered Flipbook

Animation with FlipBook Opens the Flipbook for the job currently selected
(UNIX only) in the Animating
book. (highlighted) in the Jobs list.
See wrl in the Utilities online Wrl Active

documentation. Displays the image file that is currently being rendered for
the job selected (highlighted) in the Jobs list. Wrl Active
uses the UNIX wrl command to display the image file.
See Distributed Render Alias Prefs

Control Options in the Studio Opens the Alias Preferences window and lets you set the
Interface section of the Basic
Tools book. Distributed Render Control Options (for example, Control
Location).
Resource Maint Menu

Add
Adds a new resource to the Available Resources list. The
new resource’s default Resource Name is new_resource_#.
Delete
Deletes the resource that is selected (highlighted) in the
Available Resources list.
Clear Auto add

Sets Auto add Resource OFF for all resources listed in the
Available Resource list.
489
490
F ilters
Filters
In This Section: Filters Overview 494

Quantize Filter 495
OMFI Filter 501
Convert Filter 505
Gamma Filter 509
Resize Filter 512
4:2:2 Filter 515
493
Filters Overview
Filters are used to alter an image file or a series of image files,

or convert an image or series of images to another format.
You can access the Filter menu by selecting Render > Filter.
494
Filters Overview
Quantize Filter
The Quantize filter converts any format image file to Quantize

format, or vice versa. The Quantize filter reduces the number
of colors used in an image for display on reduced palette
displays (for example, video game machines). Quantize can
either create a reduced color colormap or use an existing
colormap.
You can also use the To use the Quantize filter:

standalone quantizer
aquant (see aquant in the 1 Select Render > Filter > Quantize. The File Requestor appears
Utilities online and prompts you to enter the source file name.
documentation).
2 Type the name of the source file in the File Requestor, or
click Show List and select the source file using the File Lister,
and then click Pix file.
The source file is converted and saved as
<sourcefilename>_quant.
To open the Quantize Options window:
● Select Render > Filter > Quantize ❏.
495
Quantize Filter
Quantize Options
Frame Options
Application
Determines whether a single frame is converted (SINGLE),
or an entire animation is converted (SEQUENCE). If
Application is SEQUENCE, then the Start, End, By, and
Extension size parameters become available. The default
setting is SINGLE.
If Application is SEQUENCE and a colormap is being
generated (for example, if the Input field of the Colormap
options is empty), the quantizer reads in all images of the
animation before creating the colormap. This allows a
colormap to be generated for a sequence of frames whose
dominant colors may change over time.
Quantize is very memory-intensive. If a colormap is being
generated, then specifying too many files when file names
are requested may cause the quantizer to run out of
memory
496
Quantize Filter
Start, End, By
The first frame (Start), last frame (End), and frame
increment (By) of the animation to be converted. The
frame number is appended to each file name. These
parameters are only available if Application is SEQUENCE.
For example, if the Start value is 1, the End value is 20, the
By value is 1, and the output file name is pixfile, then
the actual output file names will be pixfile.1,
pixfile.2, ..., pixfile.20. The default value is 1.
Tip The By value is usually 1, unless you want to convert a

sample of the animation (for example, to create a colormap
that represents the entire animation).
Extension size
the frame number is less than the Extension size value, then
leading zeros are added to the extension. For example, if
the Extension size value is 3, and the file name is pixfile,
the actual file names will be pixfile.001,
pixfile.002, and so on. If Extension size is 1, the actual
file names will be pixfile.1, pixfile.2, and so on.
This parameter is only available if Application is
SEQUENCE. The slider range is 1 to 6. The default value is
1.
Quantization Options
Dither
Dithers the quantized image. Dithering examines the
difference (error) between the real color and the quantized
color, then distributes the difference to the surrounding
pixels, which have not yet been quantized. The default
setting is None.
497
Quantize Filter
Floyd/Steinberg the standard Floyd/Steinberg dither

distributes 3/8ths of the error to the
pixel on the right and the pixel below,
and 2/8ths to the pixel on the bottom
right
Modified F/S the modified Floyd/Steinberg dither
distributes 7/16ths of the error to the
right pixel, 5/16ths to the pixel below,
3/16ths to the pixel on the bottom left,
and 1/16th to the pixel on the bottom
right.
None no dithering
Average Deviation
Uses the average deviation of pixels in a certain color range
to split colors when creating the color lookup table. If
Average Deviation is OFF, quantization uses the number of
pixels in a certain color range to split colors when creating
the color lookup table (the median cut method). If Average
Deviation is OFF and quantization does not produce
acceptable results, set Average Deviation ON. The default
setting is OFF.
Bit depth
Determines the number of colors to be used in the
quantized image. The slider range is 1 (2 colors) to 16
(65536 colors). The default setting is 8 (256 colors).
Colormap Options
The Colormap Options let you use an existing colormap, or save

the colormap generated by Quantize. A colormap file contains
n+1 lines of plain text, where n is the number of colors in the
colormap. The first line of the file is cmap colors n. All
other lines consist of three integer values (between 0 and 255)
representing the RGB values of a color that is in the colormap.
For example, a 4 color colormap would look like this:
cmap colors 4
498
Quantize Filter
231 233 238

96 94 108
1 29 128
2 2 6
You can produce an example of a colormap file by entering an

Output file name, quantizing an image, and then editing the
Output file.
Input
The file name of the colormap to be used for all input files.
If you do not specify the colormap (that is, if Input is
blank), Quantize automatically generates a colormap
based on all input image files.
Output
The file name that the colormap generated by Quantize
will be saved as. If you do not specify an output colormap
file name, the colormap will not be saved.
Other Options
Store TIFF
Outputs the image file(s) in TIFF colormap image format.
Only 8 bits/pixel TIFF files can be generated. The default
setting is OFF.
Black elimination
Determines whether black pixels are considered when
creating the colormap, and whether black pixels are
quantized to (0,0,1) when outputting the image.
Off black pixels (0,0,0) are considered when

creating the colormap, and unchanged when
outputting the image
Input black pixels (0,0,0) are ignored when creating
the colormap, and unchanged when
499
Quantize Filter
Output black pixels (0,0,0) are considered when

creating the colormap, and quantized to
(0,0,1) when outputting the image
Input and black pixels are ignored when creating the
Output colormap, and quantized to (0,0,1) when
Verbose
Provides feedback on the quantization by writing
diagnostic information in the errlog. The default setting is
OFF (no diagnostics).
500
Quantize Filter
OMFI Filter
The OMFI filter converts any format image file to an OMFI

(AVID Open Media Framework Interchange) format file, or
vice versa.
To use the OMFI filter:

1 Select Render > Filter > OMFI. The File Requestor appears
and prompts you to enter the source file name.

and then click OMFI input pix file.
The source file is converted to OMFI format and the
extension .omf appended to the file name. (You can
change the extension by setting File Extension in the OMFI
Options window.)
To open the OMFI Options window:
● Select Render > Filter > OMFI ❏.
501
OMFI Filter
OMFI Options
Mode
The direction of the conversion. The default setting is
Image to OMFI.
Image to OMFI converts any format image file to an

OMFI format file
OMFI to Image converts an OMFI format file to any
format image file
502
OMFI Filter
Input Image
Determines whether a single frame is converted (Single
Frame), or an entire animation is converted (Sequence). If
Input Image is Sequence, then From Frame, To Frame, and By
Frame parameters become available. The default setting is
Single Frame.
Image Compression
Specifies whether the output OMFI file will contain JPEG
compressed images (Avid) or not (None). Compression uses
the JPEG compression tables specified in the ISO JPEG
standard. This significantly reduces the size of the OMFI
file, but can also result in significant loss of detail. The
default setting is None.
Video Mode
Resets the edit rate that is set in the OMFI file to NTSC
(29.27), PAL (25), or user defined value (USER). If Video
Mode is USER, the User Edit Rate parameter becomes
available. The default value is NTSC.
User Edit Rate
Resets the edit rate that is set in the OMFI file to a user-
defined value. The slider range is 1 to 100. The default
value is 29.97.
Alias file type

The type of Alias pix file used to create the OMFI file:
Frame, Both fields, Odd field only, or Even field only (see Fields
on page 433). The default setting is Frame.
From Frame, To Frame, By Frame
The first frame (From Frame), last frame (To Frame), and
frame increment (By Frame) of the animation to be
converted. The frame number is appended to each file
name. These parameters are only available if Input Image is
Sequence. For example, if the From Frame value is 1, the To
Frame value is 20, the By Frame value is 1, and the output
503
OMFI Filter
file name is pixfile, then the actual output file names

will be pixfile.1, pixfile.2, ..., pixfile.20. The
slider range is 0 to 100 for From Frame, and 1 to 100 for To
Frame and By Frame. The default value is 1.

sample of the animation.
Layout
Click to choose an item from the menu to create a custom
OMF formatted file. The default setting is Full Frame.
Avid Composer Formats

Click to choose an item from the menu to create a standard
Avid Media Composer OMF file. The default setting is No
Avid Format.
OMFI Sliders
The following sliders are used to create a custom OMF

formatted file.
Leading Lines
The number of black lines at the beginning of each OMF
image. The slider range is 0 to 100. The default value is 0.
Trailing Lines
The number of black lines at the end of each OMF image.
Q Value
The Q parameter used for the computation of the JPEG
compression coefficients. The slider range is 0 to 100. The
default value is 0.
JPEG id
The JPEG identifier number stored in the OMF file. The
File Extension
The extension used for the OMFI file. The default setting is
omf.
504
OMFI Filter
Convert Filter
The Convert filter converts any format image file into any
other image file format.
To use the Convert filter:

1 Select Render > Filter > Convert. The File Requestor appears

and then click Input Convert.
The File Requestor appears again and prompts you to enter
the destination file name.
3 Type the name of the destination file in the File Requestor,

or click Show List and select the destination file using the
File Lister, and then click Output Convert.
The source file is converted.
To open the Convert Options window:
● Select Render > Filter > Convert ❏.
505
Convert Filter
Convert Options
Convert Mode
The type of alteration made to the image during
conversion. The default setting is Gry. Lightness.
Luminance Converts each pixel to grey scale value

based on its RGB value (grey = 0.3 R +
0.59 G + 0.11 B).
Saturation Converts each pixel to a grey scale value
based on its color saturation.
506
Convert Filter
Col. Lightness If Output Format is Alpha, outputs the

maximum value of each pixel’s RGB
color channels (unlike Gry. Lightness
which outputs each pixel’s maximum
RGB color channel).
If Output Format is RGB or RGB + Alpha,
the input image is unchanged. This is a
convenient way to convert between
image file formats without changing the
image.
Minimize Converts all pixels to black.
Two Tone Converts all black pixels to black, and
all non-black pixels to white.
Hue Converts each pixel’s color saturation to
1; each pixel’s hue and value are
unchanged.
Gry. Lightness Converts each pixel to a grey scale value
based on its maximum RGB color
channel.
Maximize Converts all pixels to white.
Complement Converts each pixel’s RGB values to
(255 - R, 255 - G, 255 - B). If the source
file is black and white, Complement
produces a negative/positive switch.
The input images must be Input Images

either 24 or 32 bit deep Determines whether a single frame is converted (Single
images. You cannot input 8
bit Alias matte files. Frame), or an entire animation is converted (Sequence). If
Input Images is Sequence, then the From Frame, To Frame,
and By Frame parameters become available. The default
setting is Single Frame.
Extract
Specifies which channels of the input image file to convert:
R, G, B, and/or Alpha. The default setting is R, G, and B.
Output Type
Specifies the bit-depth of the output image file: RGB (24
bit), Alpha (8 bit), RGB + Alpha (32 bit). The default setting is
RGB.
507
Convert Filter
Certain file formats are implicitly 32 bits deep (for

example, RLA or TIFF files). In these cases, if you set
Output Type to RGB or Alpha (that is, less than 32 bits), the
non-specified channel will be given a zero value.
Output Format
The format of the output (that is, converted) image file
(see Format on page 432). The default setting is Alias.
name. These parameters are only available if Input Images
is Sequence. For example, if the From Frame value is 1, the
To Frame value is 20, the By Frame value is 1, and the
output file name is pixfile, then the actual output file
names will be pixfile.1, pixfile.2, ..., pixfile.20.
The slider range is 0 to 100 for From Frame, and 1 to 100 for
To Frame and By Frame. The default value is 1.

508
Convert Filter
Gamma Filter
The Gamma filter changes the RGB intensities of an image file

or a sequence of image files.
To use the Gamma filter:

1 Select Render > Filter > Gamma. The File Requestor appears

and then click Input Gamma.

File Lister, and then click Output Gamma.
To open the Gamma Options window:
● Select Render > Filter > Gamma ❏.
509
Gamma Filter
Gamma Options
Input Image
Input Images is Sequence, then the From, To, and By
parameters become available. The default setting is Single
Frame.
Multipliers
Scaling factors applied to the RGB intensities of the image.
The slider range is 0 to 100. The default value is 1 (no
intensity change).
From, To, By
The first frame (From), last frame (To), and frame increment
(By) of the animation to be converted. The frame number
is appended to each file name. These parameters are only
available if Input Image is Sequence. For example, if the
From value is 1, the To value is 20, the By value is 1, and the
510
Gamma Filter

511
Gamma Filter
Resize Filter
The Resize filter change the dimensions of an image file (or a

series of image files).
To use the Resize filter:

1 Select Render > Filter > Resize. The File Requestor appears

and then click Resize Input.

File Lister, and then click Resize Output.
To open the Image File Resize Parameters window:
● Select Render > Filter > Resize ❏.
512
Resize Filter
Image File Resize

Parameters
Input Image
Input Image is Sequence, then the From, To, and By
Frame.
Input Image Type

The format of the source image file: Mask, Image, or Image
and Mask. The default setting is Image.
Output Image Size

The size of the output image file. You can specify the
Output Image Size using either Standard Sizes or a custom
size (Size - X, Y).
513
Resize Filter
Standard Sizes
Lets you specify the size of the output image file by
selecting one of eight predefined formats: NTSC, Pal, 4:2:2,
Slide, Academy, Full Cine, Abekas NTSC, or Abekas Pal. The
default setting is NTSC.
Size - X, Y
Lets you specify the size of the output image file by
entering X and Y values (see Predefined Resolutions on
page 437 for a list of common image resolutions). The
slider range is 1 to 100. The default value is 645 for X and
486 for Y (NTSC resolution).
name. These parameters are only available if Input Image is
Sequence. For example, if the From Frame value is 1, the To
Frame value is 20, the By Frame value is 1, and the output
file name is pixfile, then the actual output file names
will be pixfile.1, pixfile.2, ..., pixfile.20. The
slider range is 0 to 100 for From Frame, and 1 to 100 for To
Frame and By Frame. The default value is 1.
Tip The By Frame value is usually 1, unless you want to convert

a sample of the animation.
514
Resize Filter
4:2:2 Filter
The 4:2:2 filter converts any format image file to a 4:2:2 format
image file, or vice-versa.
Both NTSC and PAL video standards are supported. The valid
resolutions are as follows: NTSC (720 x 486), PAL (720 x 576).
The preset NTSC resolution, which is 645 x 486 on the Iris 4D

series, is designed to fill the maximum displayable image area
when the Iris frame buffer is in secondary display mode. This
is only important when the image is going to be recorded to
video via the Iris frame buffer.
The 4:2:2 standard however, is not tied to any particular frame

buffer. The horizontal resolution (for both NTSC and PAL
video) is 720 pixels across.
The active vertical resolution for NTSC video is 486 lines, and
for PAL, it is 576 lines. All other resolutions are considered
invalid. Specific NTSC or PAL image attributes are determined
from file characteristics.
To use the 4:2:2 filter:

1 Select Render > Filter > 4:2:2. The File Requestor appears and
prompts you to enter the source file name.

and then click Input 4:2:2. The source file must be 720 pixels
wide.

File Lister, and then click Output 4:2:2.
The source file is converted either to or from the 4:2:2
format.
515
4:2:2 Filter
To open the 4:2:2 Options window:
● Select Render > Filter > 4:2:2 ❏.
4:2:2 Options
Mode
The direction of the conversion. The default setting is
Image to 4.2.2.
Image to 4.2.2 converts any format image file to a 4:2:2

format file
4.2.2 to Image converts a 4:2:2 format file to any format
image file
Input Images
Input Images is Sequence, then the From, To, and By
Frame.
516
4:2:2 Filter
From, To, By
The first frame (From), last frame (To), and frame increment
(By) of the animation to be converted. The frame number
is appended to each file name. These parameters are only
available if Input Images is Sequence. For example, if the
From value is 1, the To value is 20, the By value is 1, and the

517
4:2:2 Filter
518
4:2:2 Filter
Op timization a n d
Trou b lesho o ting
Optimization
In This Section: Optimization Overview 522

Raycaster/Raytracer Optimization 523
General Optimization 524
521
Optimization Overview
Rendering a scene often takes a long time. There are, however,

many methods you can use to help reduce rendering times.
522
Optimization Overview
Raycaster/Raytracer Optimization
Raycaster Optimization
See Double Sided on Wherever possible make surfaces single-sided.
page 444.
Raytracer Optimization Avoid raytracing everything in your scene. For example, do

not raytrace transparent objects which do not require
refraction.
See Shadows on page 265. Avoid using area and linear lights that cast shadows.
See Raytrace Parameters on Minimize the number of levels of reflection, refraction and
page 91 and Raytracing shadows either globally (Maximum Reflections, Maximum
Maximum Limits on Refractions, and Max Shadows Levels in the Render Globals
page 423.
window) or by shader (Reflect Limit, Refract Limit, and Shadow
Limit in the shader’s Control Window). A setting of 1 is usually
sufficient. One bounce of reflection is sufficient for most mirror
effects, and more than 1 level of shadows tends to be wasteful.
Even 2 levels of reflection (combined with refraction) will
substantially increase rendering time.
See Reflection on page 83. Where possible, use reflection maps instead of raytraced
reflections.
Avoid huge floors with complex geometry occupying one

small region. Scale down the floor.
See Subdivide Recursion on If you have enough memory, try increasing the voxel Subdivide
page 426. Recursion value in the Render Globals window to higher values
such as 3 or 4. Memory use, however, may increase
exponentially by doing this.
See Use Depth Map on For spot lights that cast soft shadows, set Use Depth Map ON in
page 291. the light’s Control Window.
523
Raycaster/Raytracer Optimization
General Optimization
Modeling and Shading Model your scene based on the camera’s view, and make every
element as simple as possible for that view. For example, if
your scene contains mountains in the distance, don’t model
them as displacements with lots of triangles and complex
shaders. Instead, use simple planes mapped with photos of
real mountains and with transparency maps for their profiles.
To create a field of asteroids, model some of the near asteroids,
use bump maps for the smaller ones, and use particles for the
smallest ones. For the most distant asteroids, use a few large
planes with transparency, color, and bump maps.
See Transparency on page 85. When building and trimming surfaces, use the minimum
possible number of CVs and isoparms. Use transparency maps
instead of trim surfaces when possible.
See Mask on page 435 and You may want to (or need to) create and render your scene in
Depth on page 435. different layers and then composite multiple renders using
mask and depth files and a compositor (for example, Maya
Composer or Maya Fusion).
Backgrounds
See Color on page 60 and Use If the background does not change during an animation, pre-
Back Color on page 88. render it and use it as a backdrop by assigning the pre-
rendered image to the Environment Color parameter. You can
cast shadows onto such a backdrop using the shader’s Use
Back Color parameter.
Do not use backdrops if you have a compositor (for example,

Maya Composer or Maya Fusion). Instead, composite the
backdrop with the rendered scene. Not only will this decrease
rendering time, but if you make changes to your scene
elements, you won’t have to re-render the background.
524
Textures
See Blurmult on page 111, Adjust the Blurmult value to anti-alias textures rather than
Convert to Pix on page 113, setting the Anti-aliasing Levels values high. Only the File texture
and Convert Solid Tex on and some procedural textures have a Blurmult parameter. For
page 27.
surface textures that do not have a Blurmult parameter, try
using the Convert to Pix button to convert the texture to a pix
file (with or without anti-aliasing); for solid textures that do
not have a Blurmult parameter, try using the Convert Solid Tex
button to convert the texture to a pix file (with or without anti-
aliasing). Apply the pix file as a File texture, and adjust the File
texture’s Blurmult value.
See Rgboffset on page 110. Instead of using a large, high resolution texture, try combining
a large, low resolution texture with a repeating small scale,
high resolution texture for fine detail. You can apply the small
scale texture to the large scale texture as an Rgboffset or an
alpha offset. This can dramatically reduce memory usage.
Avoid using expensive procedural textures on surfaces that

cover a large area of the view. Among the worst offenders are
the Granite, Leather, sFractal, sCloud (with noise), Projection (with
noise), Water (if the Numwaves value is high or Reflect_bound. is
ON), sWood (you will get better results using a Projection
texture with an image of a tree cross-section), and sMarble
textures. The Sky texture can also be expensive, especially if it
uses Fractal or sFractal clouds and ground.
When the blurmult is low and the level_max is high fractal

noise can be very slow (although you get nice detail). Try to
convert expensive procedural textures into small wrapping
file textures where possible. Solid textures can use convert
solid texture in some cases. However, often it may be
preferable to render a square swatch of the solid texture (by
putting the texture on the environment shader color), and then
using this swatch as a projection map. Triplaner mapping
sometimes works well.
You can convert the sky texture into a faster rendering ball
texture by simply rendering a square image of a sphere with
the sky reflection map (specularity 1, reflectivity 1, color
black). Make sure the sphere just touches the edges of the
view. This same trick can be used to pre-render raytrace
reflections.
525
Avoid using procedural textures as bump maps, displacement

maps, or per pixel warps. These effects use five texture
evaluations per sample (as opposed to one for a color map).
Even worse are cases where you have layer upon layer of
transparent surfaces with textures, such as a field of particles
with an sFractal blob map.
See Convert to Pix on If you have several textures “chained” together (that is,
page 113 and Convert Solid textures mapped onto textures), collapse them into a single File
Tex on page 27. texture using either Convert to Pix (for surface textures) or
Convert Solid Tex (for solid textures).
If a solid texture takes too long to compute and you can afford
the memory, use Convert Solid Tex and apply the pix file as a File
texture. This also gives you better control over texture
filtering.
See Texture Caching on Make all File textures as small as possible. If you must use
page 428. (“bot” textures) large texture maps, use Texture Caching (under Render Globals).
Glow
See Quality on page 64. If your scene contains shader glow, and you increase the
resolution of your render, lower the ShaderGlow Quality value
proportionally.
Lights Minimize the number of lights in your scene. Do not use lights
if you can use shader effects or textures instead. For example,
to create highlights on a face’s cheeks, do not create a linked
point light above each cheek; instead, use shader parameters
like translucence and texturing to create the effect. To create a
marque of lights, don’t actually create 100 lights; use a
textured shader instead. You can get the marque highlights by
using an environment map with a lot of bright glow spots.
Also ask if your effect should use a texture on a single light
rather then many lights.
See Volume Light on If you must use many lights in your scene, make them volume
page 301. lights. Volume lights do not calculate illumination for objects
outside their volume, and will render faster than other light
types.
See Shadows on page 265. Don’t make every light cast shadows; be selective.
526
See Depth Maps in Memory on If shadows don’t change during an animation, reuse the
page 431 and Use Depth Map shadow depth map by setting Depth Maps in Memory ON (under
on page 291. Render Globals) or by using the -k or -K1 option with the
command line renderer. You can also reuse shadow depth
maps for individual spot lights by setting Use Depth Map ON
(under Shadow Casting).
Warps
See Warp Objects on Use triangle resolution instead of pixel resolution when you
page 353. don’t need the detail.
Animation
See Jitter on page 423. Set Jitter ON (under Render Globals) for animations. This
reduces the resolution of individual frames, but increases the
apparent resolution of the animation, just as a single grainy
film image looks smoother and sharper when seen in a
sequence.
Particles When possible, use shader effects instead of particles. For

example, use large transparency mapped planes for effects like
snow or rain. To create swirling fog, use a projection
transparency map on a layered fog colored shader.
Rendering Parameters It is not always necessary to render at your eventual output

resolution. For example, to match the blurriness of NTSC
video you can render at a lower resolution and resize up with
filtering when compositing. Also, if you render soft cloud
particle elements separately, you may be able to use much
smaller renders, perhaps 1/4 your final output resolution with
no anti-aliasing.
See Object Rendering Set the Object Rendering Parameters (Minimum Subdiv, Maximum
Parameters on page 444. Subdiv, Curvature Threshold, Uniform U, Uniform V, MB Texture
Samples, and MB Shading Samples) as low as possible for each
object and for the camera view.
527
See Motion Blur on page 429 Do not use motion blur for objects which do not move, or
and Motion Blurred on barely move, during an animation. You can turn off motion
page 447. blur either globally (under Render Globals) or by object (under
Render Stats).
See Shadows on page 445. Avoid shadow casting surfaces. The fewer shadow casting
surfaces there are, the faster the shadow map generation/
shadow casting will be. The smaller the volume bound by all
shadow casting surfaces, the higher the density of the shadow
maps (and the better the shadow quality).
See Anti-aliasing Levels on Keep the Anti-aliasing Levels as low as possible. They have a
page 422. very strong influence on rendering times. Use the following
suggested values:
Quality Minimum Maximum
Low 0 0
Medium 0 4
High 3 12
Preview Rendering
See Animation on page 418. Make sure Animation is OFF (under Render Globals). Parsing
animation curves can be very expensive.
See Render on page 417. If possible, set Render to ACTIVE (under Render Globals) so only
active objects are rendered.
Rendering Do not run any other major process on your machine during
rendering. If possible, do not even run any other minor
process (for example, wrl) during rendering.
Watch memory usage closely and avoid going into swap at all
costs (see Reducing Memory Usage on page 529).
Memory Usage If after optimizing your scene using the above techniques,
rendering may still use all of your available memory and some
swap.
528
When rendering a huge and complex scene, it is possible to

run out of pointer space, even if you have enough memory. A 32
bit processor cannot address memory larger than 232-1, or
about 2 gigabytes. But after you take away the overhead of
stack and heap, you’re left with about 1.8 gigabytes as the
maximum size of a 32 bit application.
Reducing Memory Usage
Make sure your system limits are set up to use all of the
memory available to you - “hinv” indicates RAM and “/etc/
swap -ln” indicates swap sizes. To make sure that all the RAM
is made available to your process, type “limit” and see if the
RAM information matches. The mismatch usually occurs
when you have more than 256 megs of RAM on your machine.
Reduce the subdivision of insignificant surfaces

(Windows > Render stats).
Reduce the tile-size (rendering command-line option of -T)—

this will be useful for all renderers except for the raytracer.
Make sure the resolution of your texture maps are of

reasonable size for the importance to the resultant rendering
(for example, don't apply a 4kx4k texture map to an
insignificant object).
Reduce the resolution of your shadow maps (Multi-

lister > Light > Shadows).
Don't use the raytracer/powertracer unless you really have

to—these applications eat up more memory than the raycaster.
Reduce the memory used by file textures
For File textures, set FILTER to OFF. This avoids allocating extra
memory when filtering for the texture map; however, this can
produce aliasing artifacts. See Filter on page 166.
Turn Texture Caching ON under Render Globals, and set Disk

Cache Limit to a size larger than necessary to hold all your
textures. This can dramatically reduce the running size of a
rendering job. The job will use a lot more temporary disk
space, but less memory.
529
Or, you can add the following lines to the DEFINITION section
of the SDL file:
texture_caching = ON;
texture_cache_size = 32;
texture_cache_disk_limit = <maximum space to use
for textures>;
Increase the amount of temporary disk spaced available for

file textures by using the command line renderer with the -l
option. The value specified after -l indicates the amount of
TMPDIR disk space the renderer can use for file textures.
Increasing the TMPDIR disk space frees up some RAM for the
renderer. (TMPDIR is the environment variable that indicates
the location of the temporary disk space.)
Use the command line renderer
Use File > Export SDL to save the SDL file for your scene. Exit
the interactive package, and use the command line renderer to
render the SDL file.
Reducing Memory Usage While Raytracing
Set the grid_cache value in the DEFINITION section of the

SDL file to something smaller than 4000. Try decreasing
grid_cache by 500 between test renders, until grid_cache
is 1000, then try decreasing it by 100 between test renders.
Reduce the Subdivide Recursion limit value in the Raytracing

Maximum Limits section of the Render Globals window (under
Global Quality Parameters)— but realize that a big performance
hit can be the end result if you do this.
530
Troubleshooting
In This Section: Troubleshooting Overview 532

Common Rendering Problems 533
Common Image Problems 535
Common Interface Problems 552
531
Troubleshooting Overview
You may encounter problems either during rendering (for

example, rendering ends prematurely) or after rendering (for
example, image quality is poor).
532
Troubleshooting Overview
Common Rendering Problems
Rendering ends prematurely
Some common causes include:

● Not enough memory.
Do one of the following:
See Optimization on ◆ Reduce memory usage.

page 521.
◆ Increase the amount of swap space on your system
disk (see below). When your system runs out of
memory during rendering, it will use the swap space
on your system disk as virtual memory.
● Multiple instances of the same polyset with linked-lights
and multiple shaders may cause the renderer to crash.
Copy the polysets instead of instancing them.
If either of these do not seem to be the cause of the problem,

then do one or all of the following:
● Render from the command line using the -N option. This
turns on the diagnostic mode and notifies you of
anomalies in the SDL file’s global settings.
● Open the .out file in the sdl directory. The problem may
be as simple as a missing texture file.
● Open the errlog file (File > Show > Errlog) and check for the
message rendering error: exited with error code XXX. The XXX
values are UNIX system error codes (not to be confused
with internal error codes). The numbers come from the
man page for signals (just type “man 5 signal”). Add 128
to the man page’s numbers, and you get our exit code
numbers. Out of memory is SIGUSR1, and the man page
says its number is 16. Thus our exit code numbers read
128+16=144. Segmentation fault is 128+11=139, and so on.
533
To increase the amount of swap space on your system

disk:
You must have root access 1 Create a file such that its file size represents the amount of
to increase the amount of swap space you want on your system disk.
swap space on your system
disk. For example, to create a 200 MB file you would type the
following in a UNIX shell:
mkfile 200m <filename>
2 Using a text editor (for example, jot) open the file:

/etc/fstab
and add the following line to it:
<path+filename> swap swap pri=2 0 0
3 Either restart your computer, or type the following in a

UNIX shell:
swap -a <filename>
Images that don’t exist take a long time to load
The interactive package attempts to locate an image file in all

directories specified by ALIAS_PIX_SEARCHPATH.
Reduce the number of directories in ALIAS_PIX_SEARCHPATH.
Rendering takes a long time
See Optimization on page 521.
534
Common Image Problems
Rendering ends normally, but image has problems. This

section contains the following topics:
● Shadows on page 535
● Aliasing on page 537
● Surfaces on page 537
● Motion Blur on page 539
● Particles on page 541
● Glows on page 544
● Warps on page 547
● Miscellaneous Object Problems on page 548
● Overall Image Problems on page 550
Shadows Shadows produced from shadow casting have jagged

shadow boundaries
Shadow map resolution is low.

● Narrow the spread of the spot light so that it just barely
covers the region you want lit. This provides a higher
accuracy to the shadow map to work from. If you see
banding artifacts, try increasing the Min Depth in the Self
Shadow Correction section of the light’s Control Window for
the light's shadow.
● Increase the resolution of the shadow map as a final resort.
Remember, keeping large shadow maps increases memory
usage.
535
Shadows from light fog may appear incorrect for very thin
objects, or
Light fog shadows shift over an animation
See Fog samples on page 291. Increase the Fog samples for the spot light.
Soft shadows produced by raytracing are noisy or jittery
See Use Shadow Map on ● For spot lights, toggle Use Shadow Map ON so that the
page 272. raycast shadows are used.
See Shadow Samples on ● Increase Shadow Samples.

page 272.
A dark moire pattern on a surface when raycasting, or

Incorrect shadows on a surface when raycasting
See Self Shadow Correction on The renderer incorrectly believes that a surface is behind its
page 291. shadow map.
See Min Depth on page 293. ● Set Min Depth (in the Self Shadow Correction parameters) to a
small positive number (in StudioTools grid units), for
example 0.01, for shadow casting spot lights. This
temporarily moves the surface (by the Min Depth value)
when the renderer is calculating shadows. If Min Depth is
too small, the surface will still be behind the shadow map.
If Min Depth is too large, other surfaces that should be in the
shadow may be moved in front of the shadow map.
Perform a test render, and adjust Min Depth until shadows
appear correct.
See Blend Offset on page 294. ● Instead of using Min Depth (as above), use Blend Offset. This
variable scales the amount it moves each point on the
surface based on the shadow map samples.
Incorrect or jittered shadows for moving objects with

motion blur
Shadows are not motion blurred. The renderer calculates an

object’s shadow map when the camera shutter is at midpoint.
When the object moves, it may move behind its own shadow
map.
536
See Shadows on page 445. ● If the object has a separate face facing the shadow casting
spot light, set Shadows off for that face (under Render
Stats).
The new shadow map ● Use the new shadow map algorithm by including the
algorithm is not enabled by following line in your SDL file for each spot light that casts
default because it has shadows:
problems shadowing
particles and light fog. use_old_shadow_map_algorithm=FALSE
See Self Shadow Correction on If objects are still moving fast enough to cause self-
page 291. shadowing, increase Min Depth or Blend Offset (in the Self
Shadow Correction parameters) for shadow casting spot
lights.
Aliasing Jaggies or roping, noisy or jittered images, shimmer or

moiré-banding over an animation
Not all aliasing artifacts are caused by the same limitations,

nor are they resolved in the same manner. For example,
increasing the Minimum and Maximum Anti-aliasing Levels will
not solve the problem optimally. Types of aliasing include:
geometry, textures, shadows, highlights, and motion blur.
Surfaces Surfaces have jagged edges against the background
Composite Rendering may be ON.
See Composite Rendering on ● Set Composite Rendering OFF (under Render Globals).
page 425.
See Anti-aliasing Levels on ● First increase Threshold under Render Globals. If the jagged
page 422. edges persist, increase Minimum and Maximum Anti-aliasing
Levels.
Surface silhouettes or edges appear faceted
See Mesh Tolerance (cm) on Decrease the Mesh Tolerance value (under Render Globals).
page 420.
537
Cracks appear between surfaces that should be aligned
See Attaching Objects in the ● Attach the surfaces together.

NURBS Modeling book.
See Mesh Tolerance (cm) on ● Decrease the Mesh Tolerance value (under Render Globals).
page 420.
Textures File textures are very noisy and not anti-aliased well, or
File textures appear to shift or shimmer over an animation
First check that the texture’s Blurmult value is non-zero. Next,

change the file texture’s Filter type. The default setting is
BLEND. The best compromise between speed and quality is
QUADRATIC.
Procedural textures are very noisy and not anti-aliased

well, or
Procedural textures appear to shift or shimmer over an
animation
See Blur on page 111. ● Increase the Blurmult and/or Bluroffset values for the
texture.
See Curve Threshold on ● Increase the Anti-aliasing Levels Curve Theshold value under
page 422. Render Globals.
See Convert to Pix on ● Use Convert to Pix to convert the procedural texture to a file
page 113 and Filter on texture, and change the Filter type to QUADRATIC.
page 166.
An in-focus object next to a blurry foreground/background

(Depth of Field ON) shows a jaggy artifact
Render the blurry foreground/background separately, and

composite.
Textures are distorted (stretched and/or squashed)
See Chord Length on The surface may have uneven parameterization. Set Chord
page 161. Length ON under the texture’s Surface Placement parameters.
538
Motion Blur Motion blur noise
Insufficient temporal sampling of shading and/or textures.
See MB Texture Samples on If the texture looks grainy, increase MB Texture Samples (under
page 447. Render Stats) for the object. This will marginally increase
rendering time.
See MB Shading Samples on If the specular looks noisy, increase MB Shading Samples (under
page 447. Render Stats) for the object. This will noticeably increase
rendering time; increase MB Shading Samples only when
absolutely necessary.
Large objects do not motion blur correctly
A large object that stretches way beyond the view is clipped

by the renderer. This clipping is done properly when the object
is not motion blurred, but may clip incorrectly when the object
is motion blurred.
See Object Rendering Increase the object tessellation by increasing either Minimum
Parameters on page 444. Subdiv and Maximum Subdiv (if Adaptive Subdiv is ON), or Uniform
U and Uniform V (if Uniform Subdiv is ON) for the object in the
Render Stats window.
Motion blur does not work
There are two possible causes:

● If you are raytracing, this is a known limitation.
See Motion Blur on page 380. ● If only the camera is animated, and nothing else (that is, a
flyby), make sure that Motion Blur is ON for the camera (in
the Camera Editor).
Rendering with motion blur produces grid-like artifacts, or

Rendering with motion blur causes triangles to disappear
Some large triangles may extend beyond the camera and near
clipping planes. Objects may be too close together, causing
interpenetrating problems for motion blur.
Increase the tessellation subdivision level for problem

surfaces. Move surfaces that may be too close together further
apart.
539
Spot light shadows and light projections do not motion

blur
This is a known limitation.
For shadows, blur the shadow by decreasing the Resolution

(under Shadow Casting parameters). For projector lights, apply
a solid projection texture to the object rather than using the
light projection.
Solid textures do not motion blur correctly
This is a known limitation. Surface textures motion blur

correctly.
See Convert Solid Tex on If the moving object is a patch or a polyset with u,v
page 27. parameterization, use Convert Solid Tex and apply the pix file as
a File texture.
See Project to UV - Apply If the moving object is a polyset without u,v parameterization
Mapping on page 215. (for example, a ViewPoint model), apply the solid texture as a
Projection texture, and perform a Project to UV mapping (under
the texture’s Polyset Surface(U,V) Definition).
Warped objects do not motion blur when warp parameters

are animated
When a warp parameter is animated, the resulting changes in

the shape of the warped object are not motion blurred. An
object moving through a warp will be motion blurred
correctly.
Move the object relative to the warp.
Chatter in motion blurred textures moving behind

transparent surfaces
Motion blurred textures moving behind transparent surfaces

may show chatter in the texture.
See MB Shading Samples on Increase MB Shading Samples for the transparent surface.
page 447.
540
Motion blurred textures appear streaked or jittery
Motion blurred textures may appear streaked or jittery for fast

moving objects.
See MB Texture Samples on ● Increase MB Texture Samples for the textured surface.
page 447.
See MB Shading Samples on ● If the motion blur of specular highlights, bump maps or
page 447. displacement maps is jittery, increase MB Shading Samples
for the textured surface. This will increase rendering time,
so try increasing MB Shading Samples by one for each test
render until the streaks/jitter is eliminated.
Particles Particles do not emit from faces, shells or stitched objects
Particles render inconsistently
Particles may render inconsistently if Animation is OFF.
See Animation on page 418. ● Set Animation ON (under Render Globals) before rendering.
See Use File on page 324 of ● Create a particle file by setting Save Particles ON (under
this book, and Save Particles Run Dynamics), and then set Use File ON (under Particle
in the Animating book. Emission parameters) to use the particle file when
rendering.
Particles emit incorrectly from convex polysets
Rendering blobby surface particles with light fog

produces artifacts
Type setenv ALIAS_LIGHTFOG_BLOBBY from the console

window before launching StudioTools.
541
Rendering particles takes longer than previous versions

of StudioTools.
Previous versions of StudioTools determined the rate of

particle emission based on the amount of machine memory.
This resulted in different renderings on machines with
different memory configurations.
Particles are not generated
Particles are not calculated if the emitter is invisible on the

start frame of rendering.
See Transparency on page 85. ● Animate Transparency (in the shader’s Common Parameters)
instead of Visibility (in the Parameter Control window).
See Use File on page 324 of ● With the object visible, create a particle file by setting Save
this book, and Save Particles Particles ON (under Run Dynamics). Make the object
in the Animating book. invisible, and set Use File ON (under Particle Emission
parameters) to use the particle file when rendering.
Changing Emission or Behavior parameters, or the Parent

Color parameter does not affect particles
Changing any Emission or Behavior parameters, or the Parent

Color parameter, does not affect particles that have already
been emitted, or particles that have already been generated
and saved in a particle file.
In order to see the effect of any change in these parameters,

you must run the simulation again (or invoke a batch render,
which does its own run of the simulation).
Particles that overlap a transparent surface make the

surface partly visible, or
Image planes or transparent objects do not render
correctly when combined with fog and/or particles
This is a known limitation. If you are using particles, the

problem may be caused if there is Blob Noise on the particles,
or if the Render Type is BLOBBY SURFACE.
542
● If you are using particles, and the particles have Blob

Noise, try raycasting instead of raytracing. The
transparency problem will be less noticeable.
● If you are using particles, and the transparent surface is
the particle emitter, create a particle file, and then move
the transparent surface out of view. You may need to
assign the particle file to a non-invisible dummy object for
the particles to appear.
See Setting Keyframes for ● If you are using particles, and the transparent surface is
Isolated Animatable Properties not the particle emitter, then animate its Visibility (in the
in the Animating book. Parameter Control window).
● If you are using fog, try using a few very large particles
instead of the fog effect.
See Attenuate Transp. ● Try turning Attenuate Transp. OFF under Render Globals and
(Attenuate Transparency) on increasing Opacity Depth under the shader’s Special Effects
page 431 and Opacity Depth parameters.
on page 88.
Particles do not recompute over each odd and even field,

only on each frame
This should not produce any clearly visible artifacts.
Particle Transparency has no effect
Particle Transparency may seem to have no effect when the

Render Type is BLOBBY SURFACE, and the particles are either
very large or very small. Because transparency is based on the
depth of the blobby substance in world units, changing
transparency may seem to have no effect, but it actually does.
Set particle Density to 1/particle Size. For example, if particle

Size is 0.1, set particle Density to 10.
Particles with Parent Color ON do not have the correct

parent color
If Parent Color is ON, the particle’s actual color is determined by

multiplying the emitting object’s color by the particle Color
parameter.
543
If you want the particles to have the exact same color as the
emitting object, then make sure that the particle Color
parameter is white.
Particles do not emit correctly from a displacement

mapped surface
If a particle emitting surface is displacement mapped, the

particles are emitted from the surface’s original, non-displaced
position.
Particles originating at the camera origin disappear
Particles may disappear when Surf Shading is set to a non-zero

value and particles originate at the camera origin.
A rendering error occurs when particles collide with a

surface
A rendering error may occur when motion blurred particles

collide with a NURBS surface that has geometry collisions on.
Create a particle file, and then turn collision off for both the
NURBS surface and the particle system before rendering.
Hair grows longer or lags behind when the emitting object

moves
See Simulation substeps on Set Simulation substeps in Render Globals to the same value as
page 439 and Hair Segments Hair Segments in Particle Properties.
on page 335.
Glows Shader glow brightness changes during an animation, or

Shader glow brightness is different at different rendering
resolutions
The shader glow auto exposure is adjusting the overall

brightness of the scene for each frame. When a glowing object
enters or exits the frame, the glow intensity of all objects will
change.
The shader glow auto exposure causes a similar problem

when rendering at different resolutions. For example, shader
544
glow brightness will be different in a high resolution final

render than in a low resolution test render.
See ShaderGlow on page 63. ● Set Auto Exposure OFF (under the environment’s
ShaderGlow parameters), and adjust the environment
shader’s ShaderGlow Glow Intensity and Halo Intensity by
hand until shader glows have the correct brightness.
See ShaderGlow on page 63. ● Render the animation with Auto Exposure ON, and select a
frame in which the shader glow brightness looks correct.
Render that frame only, again with Auto Exposure ON.
Open the out file (out.<name> in the sdl directory), and
find the Glow intensity normalization factor and
the Halo intensity normalization factor. Enter
these two values in the environment shader’s ShaderGlow
Glow Intensity and Halo Intensity parameters, and set Auto
Exposure OFF.
If you are also rendering at different resolutions, you must
also scale these values based on the difference in
resolutions (scale factor).
Glow intensity normalization factor

Glow Intensity =
(scale factor)2
Halo intensity normalization factor

Halo Intensity =
(scale factor)2
For example, if you are doubling the rendering resolution,

the scale factor would be 2.
Alternatively, figure out the factor by which the *number*
of pixels in the image increases, and multiply the glow by
it.
i.e.: (1920 x 1280) / (720 x 486) = 7.023
Multiply your glow intensity by 7.023
Glow is missing from volume lights
Light from a volume light exists only within its volume. If the
camera is not within this volume, then glow is not rendered.

● Make sure that the camera is within the volume light
boundary. Use Display > Tgl camera if necessary.
545
● Create a glow-only point light at the same location as the

volume light.
Linear and area lights shine through objects, or

Light glow shines through objects
Linear and area lights do not attempt to detect if there are

shadowing objects between the light and the eye. All other
light types compute this occlusion factor.
See Hide Source on page 89. Create a shader glow object with the same shape as the light,
and set Hide Source ON.
See Opacity on page 274. Set Opacity to 0 for the light.
The radius of the light may be so large that it is never

completely occluded by the object that should be shadowing
it.
See Light Radius on page 270. Check the Light Radius (under Common Parameters). The default
setting is 1 (that is, two grid units in diameter). If Light Radius is
large in relation to the geometry in the scene, reduce Light
Radius to a value comparable to the size of the geometry.
Glows do not render
There is not enough memory for the renderer to calculate

glows.
See Optimization on ● Reduce memory usage.

page 521.
See Hide Source on page 89. ● Render glows separately. Set Hide Source ON under Glow
parameters, and enter the command setenv
SEPARATE_GLOW_FILES 1 in the render shell. Render
the scene, and composite the two image files.
546
Warps Unable to pick a warped object
The object’s bounding box is unwarped.
Use a larger marquee pick region.
Objects with both warps and displacement maps result in

unexpected behavior
Warped objects do not render properly
Warped objects with degree 1 patches along the patch edges

may not render properly. Degree 1 patches are often generated
from the Surfaces > Set planar-❏ function when Trim Surface is
selected in the option box.
Create a degree 3 plane, project the outline curves onto the

geometry and trim the result.
Warps do not produce smooth surfaces
The warp may have sudden discontinuities in its field, and

these discontinuities overlap the surface. For example, the
twist warp preset (Objects > Warps > Twist) pushes a surface the
most at the edges of the cylinder, however just beyond the
edge of the cylinder, the warp is zero. A surface intersecting
the edge will go from no warp to maximum warp across the
span of a single triangle.
Use the Decay and Dropoff parameters to smooth these

transitions. If this is insufficient to smooth the field, smooth
the gradients by texturing the light's color (which affects the
warp intensity).
Shadows on warped objects are incorrect or polygonal
See Warp Objects on page 353 If Warp Objects is set to PIXEL_RES, change it to
and Object Rendering TRIANGLE_RES and increase the object’s Minimum Subdiv and
Parameters on page 444. Maximum Subdiv (if Adaptive Subdiv is ON) or Uniform U and
Uniform V (if Uniform Subdiv is ON) in the Render stats window.
547
Miscellaneous Object Roping artifacts on highlights

Problems The hard-edged highlights that the standard Phong model
produces (many times magnified by a noisy bump map).
See Shading Model on page 81 Use the Blinn shading model instead. Also try turning the Post
and Post Filter on page 429. Filter option ON in the Blur Effects section of the Render Globals
window.
Transparent objects do not show the background when

raytracing, or
Reflective objects do not reflect the background when
raytracing
You may be using a 2D texture or image plane on the

background. For raytraced images, you must use either a flat
color or an environment map for the background for
reflected/refracted rays to render correctly.
Use a Spherical or Ball environment with your texture or image

applied to it.
Thin highlights have roping artifacts
This may be due to the hard-edged highlights that the

standard Phong model produces (many times magnified by a
noisy bump map).
See Shading Model on ● Use the Blinn shading model.

page 81.
See Post Filter on page 429. ● Set Post Filter ON in Render Globals.
Blended surfaces do not render
If part of a blended surface is visible, and another part is

invisible, the surface will not render. The invisible part of the
surface is not written to the SDL file, so the blend cannot be
regenerated for each frame.
Make all parts of a blended surface visible.
548
Displacement mapping does not work for layered shaders
Only the lowest available layered shader can apply a

displacement map.
Create a single displacement map and apply it to the lowest

layered shader.
Chord Length texture maps do not display correctly in

Shade Wire mode
If a surface with uneven parameterization and a checker

texture map with Chord length ON is Quick rendered, the
texture looks even, as a result of the chord space conversion.
However, if the Quick render window is closed, and the
shaded wire icon in the icon of the texture is clicked on, the
surface is displayed as though Chord spacing is OFF.
Renderer does not recognize BOT (block oriented texture)

files directly applied as texture maps
See Texture Caching on Set Texture Caching ON under Render Globals.

page 428.
Invisible instances of objects are visible
Duplicate the object instead of instancing it.
Bump map using a file texture does not render as

expected
If the file has an alpha channel, then the alpha channel is used
for bump mapping. If the file does not have an alpha channel,
the RGB color channels are converted into a grayscale using a
luminance calculation, and then used for bump mapping.
Remove the alpha channel from the file texture.
Banding appears on low intensity objects
This is due to the 8-bit per color channel limitation.
549
● Set Film Grain to 0.01 in the environment shader.

● Alter the colors of the lights by random, fractional
amounts from pure integer values. For example, change
(255,255,255) to (254.3,255.2,254.9).
Templated objects rendered in an animated sequence

become visible
Overall Image Problems Black borders (letter box) appears in render
The black borders define the film gate.
See Ignore Film Gate on Set Ignore Film Gate ON under Render Globals.
page 434.
The rendered image does not match the view in the

modeling window or camera
There are several possible causes:

● The rendering aspect ratio may be different than the
modeling window aspect ratio.
Set the window resolution to be the same as the rendering
resolution.
● The camera’s film offset may be less than or equal to the
camera’s film back size.
● You may have used Render Active, and the dag items under
the camera were not selected in whole.
● You may be using motion path curves with knot
multiplicity.
See Use result in the Rebuild the curve or select CurveTools > Use result from the
Animating book. Action Window.
Color banding in rendered image
See Film Grain on page 68. Set Film Grain to 0.01 in the environment control window.
550
Overall image is too sharp
See Post Filter on page 429. Set Post Filter ON under Render Globals, and set the Post Center,
Post Adjacent and Post Diagonal parameters to 4,2,1.
551
Common Interface Problems
Interface problems include any problems you encounter with

parts of the StudioTools interface that relate to Rendering (for
example, the Multi-lister) or with specific types of rendering
modes (for example, Quick Render). This section contains the
following topics:
● Quick Render on page 552
● Shade Mode on page 552
● Modeler Wire on page 553
● Powercaster/Powertracer on page 553
● Multi-lister on page 553
● Flipbook on page 554
Quick Render Glows and particles do not Quick render in the

perspective magnify window
Partial Quick Rendering Ignores Glow
If Persistence is toggled on (under Global Quick Rendering

Parameters), and a partial (subregion) Quick render is done,
the partial region ignores shader glow.
Click on the Quick render window to render the entire

window.
Shade Mode Black dots appear on textured objects in toggle shade

mode on an Indigo 2X
If Fast Options is OFF and Display textures is ON (under Toggle

Shade Options), black dots may appear on the texture when the
subdivided triangles are very small.
552
See Object Rendering Reduce the subdivision level for the problem surface by
Parameters on page 444. reducing either Minimum Subdiv and Maximum Subdiv (if Adaptive
Subdiv is ON), or Uniform U and Uniform V (if Uniform Subdiv is
ON).
Textures do not render correctly in Toggle Shade mode
See Quick Render Options on Open the Global Quick Rendering Parameters window, make sure
page 403. Textures is ON, and perform a quick render. Toggle Shade
should now render textures correctly.
Volume lights do not render correctly in Toggle Shade

mode
Volume lights are treated as point lights in Toggle Shade mode.
Modeler Wire Polysets do not render correctly
This is a known limitation. Shaded wire only displays NURBS

surfaces and faces correctly.
Powercaster/Powertracer Multiple renders on the same multi-processor machine

produces the message “/usr/temp/sgi_mp_rt_locks
permission denied”
Use the command setenv ALIAS_PLACE_LOCKS_IN_SWAP.
Multi-lister Super textures (StudioPaint textures) don’t display on

shader swatches in the Multi-lister
The Multi-lister does not display actual super textures. Instead,

it displays super textures with an icon resembling a layering of
a stack of papers.
Numeric fields do not allow lateral, slider-like movement
Press the Alt key and drag the mouse in the numeric field.
553
Low resolution shader swatches are not displayed in the

Multi-lister
Increase the resolution of the shader swatch.
Shader swatch color is not accurate
The shader swatch is only a preview of the final result. Colors

may not be exactly as shown. Always perform test renders.
Flipbook Flipbook does not display mask files
Use the utility fcheck in the common bin/ directory to display

sequences of mask files.
Flipbook does not support negative file extensions
Always use positive integers for file extensions.
554

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Rendering.

book Page 1 Monday, January 17, 2000 3:55 PM

Rendering in StudioTools 9.5.

The following are trademarks of Alias|Wavefront:

Maya is a registered trademark of Silicon Graphics, Inc. exclusively used by Alias|Wavefront.

Not all features described are available in all products.

Alias|Wavefront, 210 King Street East, Toronto, Canada M5A 1J7

● EvalViewer: a stand-alone utility for industrial design. It

The following manuals are provided only online. You can

Summary of the Rendering Interface 4

Opening the Multi-lister 16

Changing the Multi-lister Display 17

Selecting an Environment, Shader, Texture, or Light 18

Creating a Shader or Light 20

Saving and Loading an Environment, Shader, Texture, or

Copying Parameter Settings 41

Animating Parameter Settings 43

Opening the Color Editor 50

Selecting and Editing Colors 51

Customizing the Color Palettes 53

S e t t ing the E nviron- Environment 57

S h a d ing Surfaces Shaders 77

Assigning or Layering a Shader 79

Reflection Mapping a Shader 80

T e x tures Textures 101

Texture Procedures Window 103

Texture Placement Objects 105

Mapping a Texture 109

Texture Parameters 110

Environment Textures 115

Environment Texture Parameters 117

Environment Texture Types 118

Ball Texture 119

Chrome Texture 125

Cube Texture 128

Sky Texture 130

Sphere Texture 137

Surface Textures 139

Using Surface Textures 141

Texture Placement Window 150

Surface Texture Parameters 160

Surface Texture Types 163

File Texture 165

Bulge Texture 169

Checker Texture 170

Cloth Texture 171

Fractal Texture 174

Grid Texture 176

Mountain Texture 178

Noise Texture 181

Ramp Texture 183

Stencil Texture 189

Water Texture 192

Solid Textures 199

Solid Texture Parameters 203

Solid Texture Types 207

Projection Texture 209

Snow Texture 222

sCloud Texture 224

sFractal Texture 228

sMarble Texture 230

sRock Texture 233

Leather Texture 235