1 Maya 2014 Still Life Part 1 Texturing & Lighting Realistic lighting and texturing is the key to photorealism in your 3D renders. Objects and scenes with relatively simple geometry can look amazing with the proper light and texture set up. By incorporating a variety of textures and lights, we can really make our models shine! For this project, we will be working from a fairly straightforward still life scene, much like you would see in an introductory painting or drawing class. A future lesson will focus more on tweaking the render settings to give our renders that extra level of shine and polish. Scene overview Open up the still life scene file and you ll be greeted with this image of the scene: As you can see, I have created a still life scene from a mix of Polygon and NURBS objects on separate layers. Go to the Outliner to check out the group/object structure. Applying basic materials and textures is the same for both types of objects. However, UV unwrapping and mapping is very different, as NURBS have inherent UV coordinates and polygons do not until they are created. You may notice several things about this scene: If you move the perspective camera around and then adjust the time slider at the bottom, the camera snaps back into place. This is because we have created a new virtual camera and keyframed it s Translation and Rotation Values so that we can consistently render from one angle. To do this for yourself: Go to Create/Cameras/Camera. You can create a Camera and Aim or Camera, Aim and Up for additional controllable objects attached to the
2 camera. To switch between our fixed camera and the perspective view, select the appropriate view inside the viewport in Panels/Pespective With the camera selected, you can adjust a variety of attributes in the Channel Box that correspond to real world settings, such as Aperture, Focal Length, F Stop and Shutter Angle. Center of Interest corresponds with where the camera is focusing and comes into play if you use Maya s built in Depth of Field rendering. Select the camera in the Outliner and select the name of all of its Translate and Rotation values. Press S to set a keyframe on the first frame of the animation slider, or right click on the selected attributes and select Key Selected. There is a box with a green border within our viewport with a resolution displayed at the top. This is called a Resolution Gate, which indicates the frame that will be rendered with our current settings. Go to View/Camera Settings to enable or disable it. Now that we understand the elements of our scene, let s start slapping on some basic materials! Intro to the Hypershade Editor The Hypershade Editor allows you to view, edit and apply different Materials and Textures to our models, as well as see complex connections between nodes. Go to Window/Rendering Editors/Hypershade to open it. The different elements of the Hypershade are:
3 Menu Bar: File, Edit, View, Bookmarks, Create, Tabs, Graph, Window, Options, Help Main Toolbar: Contains different display options, including, Show tob, bottom and top+bottom tabs Display Input and Output connections Tab Filter: Type in the tab filter to display nodes that match a search query Sorting Bins: Create bins to organize your materials by type Create Bar: Create new Maya and mental ray materials, lights and other objects selecting from the menu Click on the node types on the left to only display certain types of materials/shaders/etc... Shift Click to highlight multiple categories Top Tabs: Displays all of your scene Materials, Textures, Utilities, etc.. Work Area (Bottom) Tab: Temporary work area which you can use to view and edit connections between objects and materials Let s use the Hypershade to add a material to our tablecloth. Unlock the tablecloth layer and select it in our Camera view. In the Hypershade Menu, go to Graph/Input and Output Connections to view all of the incoming and outgoing nodes connected to that object. These nodes include: Creation, Shape, Shading Group and Layer nodes You can also graph the In and Out connections by clicking on the three corresponding buttons on the top of the Hypershade window.
4 As you can see in our Perspective view, the tablecloth already has a material applied to it. Let s create a new one: Go to Graph/Clear Graph to clear the bottom Work Area. Create a new lambert material by clicking on Lambert from the list of materials in the Create bar. Double click on the new lambert material to open it in the Attribute Editor. We will now define some of its attributes: Change the name to tableclothmat Click on Color and change it to a pure white color
5 With our new material created, there are multiple ways we can apply it to our tablecloth: With the tablecloth selected, right click on the material and select Assign Material to Selection to add it to our tablecloth object. Right click on the selected object(s) and Assign New, Assign Favorite or Assign Existing Material We can also simply Middle Mouse Drag the material from the Work Area on to our selection You can also assign materials to selected polygonal faces while in Component Mode to have multiple materials on the same object. With the tablecloth material applied, select the tablecloth and click on Graph/Input and Output Connections within the Hypershade to see our new material s connection to the tablecloth geometry.
6 The Render Window Now that we actually have some materials in our scene, let s do a quick render! Press the Render Current Frame button on the Status Line to render an image from our virtual camera of the objects in our scene. The Render Window will pop up, showing you: The Rendered Image, Resolution, Renderer, Frame Number, Render Time and Selected Camera
7 You may notice that some of the objects look very angular and smooth in our render. This is due to using the default Maya Software render engine. Switch to using mental ray from the pulldown menu at the top of the screen. Re render your scene and notice a dramatic improvement in the image quality. The mental ray rendering engine takes full advantage of Maya s shading, lighting, texturing and other capabilities, so always use it for the best quality renders!
8 To save the rendered image onto your computer, go to File/Save Image from within the Render Window and save inside your images folder. For better quality, switch from.jpg to an uncompressed format like.psd or.tif. Targa(.TGA) is also a commonly used image format for 3D renders. We ll talk more about fine tuning your renders in a later lesson. Back to texturing our models! Adding Color & Texture to the Apples Shift Select both of the apples, Right Click and go to Assign New Material. Assign a Blinn texture to the apples by clicking on the corresponding button. As opposed to the default Lambert texture, Blinn has specular highlights which allow you to control the shininess of your object s surface The Attribute Editor will pop up automatically. We have a lot of different settings that we can alter to make our apple look more realistic. The Common Material Attributes are: Color: Pick a nice green color The color of light reflected off your object towards the camera Transparency: 0 (Black)
9 How see through the object is Ambient Color: 0 (Black) Extra color to fill in the shadowed areas of your object. Influenced by ambient lights in your scene. Incandescence: 0 (Black) Similar to Ambient Color, but overrides the ambient light in your scene and adds color uniformly across the surface Diffuse: Determines how much of an object s color is actually reflected Transluscence: 0 Controls how much light is allowed to pass through an object Additional attributes include Transluscence Depth (how far the light penetrates the object) and Transluscence Focus (the directionality of the light passing through the object) Only works if Raytracing is enabled (more on that in a different lesson) You can also adjust the Specular Shading attributes to adjust the specular highlights: Eccentricity: Controls the size of the specular highlight. Specular Roll Off: Gives the surface the ability to reflect its surroundings (the environment, other surfaces) or the Reflected Color, when viewed at oblique angles. Specular Color: Medium grey color The color of specular highlights on the surface. Black is no highlight. Reflectivity: Similar to specular roll off, except produces mirror like reflections. Reflected Color: Black Represents the color of light reflected from the material. When raytracing, Maya multiplies the color with the light color reflected mirror like from the surface. This can be used to tint a reflection. Feel free to mess around with these values until you get a result you like.
10 Let s see a render of what our apples look like: It looks okay, but let s add some texture to give it some extra depth: With your apple selected, open up the Attribute Editor Click on the checkerboard icon next to the Color attribute to add a texture Any attribute with that checkerboard can have a texture applied to it Select the Clouds texture from the popup window Adjust the attributes of the cloud texture to match the image below:
11 Let s see how it looks: Much better! But our lighting is still extremely flat because we haven t added any lights to our scene. Time to add some lights!
12 Creating Three Point Lighting Three point lighting is a very popular technique used in film, photography and animation to add depth and visual interest to a subject. It consists of setting up three lights: Key Light: Main light illuminating your subject. Generally is placed at a 45 degree angle relative to the camera so that it lights the subject at a more oblique angle. Often, the key light will be higher than the camera looking down at your subject. Fill Light: Secondary light used to fill in the shadowy areas created by the key light. A good rule of thumb is to place it on the opposite side of the camera 90 degrees from the Key light. This light will be less bright than the key light, and is typically around 50% the brightness of the Key. Back (or Rim) Light: Generally placed behind the subject and at an angle to provide a bright rim that separates the subject from the foreground. Not entirely necessary, but can add some extra stylization and visual interest. Let s start by adding the Key Light to our scene: Go to Create/Lights/Spot Light to add a Spot Light to our scene. The Spot Light is commonly used as a key light but you could use any type you like. In the Top View, position the light so that it is at roughly a 45 degree angle relative to the camera (as shown in the image below): A useful feature for setting up lighting in Maya is the ability to look through a selected light in the viewport. To do so, select the light and in the Panel Toolbar go to Panels/Look Through Selected. By using the Move and Rotate shortcuts, we can position our light so it points at our subject like this:
13 With the Spot Light selected, go into its Input attributes and bump up the Intensity to 1.2 to increase the amount of light in our scene. With our key light in place, let s see how it looks in a render:
14 It looks so much better already! Let s keep going by adding a fill light: Go to Create/Lights/Area Light. The Area Light actually uses a piece of geometry (by default a flat plane) to generate light, making it similar to the light reflectors commonly used on film and photo shoots. Scale up the Area Light and position it so that it is on the opposite side of the camera and facing the subject, as you did with the fill light: Render time!
15 Great, our lighting setup is really starting to come together. However, you will notice a bit of graininess on our render. With the Fill Light selected, Go into the Attribute Editor: Turn on Ray Trace Shadows. These are more processor intensive than Depth Map Shadows, but produce more accurate results for things like soft shadows and Area Lights. Turn up the Shadow Rays to 30 and Ray Depth Limit to 7. Turning up these two attributes increases our render times dramatically but gives us much smoother, blended shadows without the graininess from before. Turn the Intensity down to Now check out our render: So much better! Now let s add our Back Light to finish up our lighting setup: Go to Create/Lights/Directional Light. The Directional Light ignores position entirely and simply sends light from one direction throughout the entire scene. You can also use it to simulate natural lighting from the sun. Position the Back Light behind our still life but at an angle, like this:
16 In the Panel Toolbar: Under the Lighting menu, enable Use All Lights Under the Renderer, switch to Viewport 2.0 With these two features turned on, we can actually see our scene lighting and textures within our viewport! Feel free to adjust the Back Light angle until it looks good. Time for another render!
17 Notice how the Back Light provides a little extra light around the edge of the banana, bowl and wine glass to make them stand out from the background. Very nice! With a sweet lighting setup, let s add some more textures to these objects! Adding Some More Maya Materials Now that we know the basics of applying materials, let s go through each object and add some texture to it. There are a ton of different materials with different settings that we don t have time to cover, so if you need to know more about a specific setting, consult the Maya Help Guide. The Fork: Apply a Phong material to the Fork. Phong is a material that represents glassy or glossy surfaces (such as car moldings, telephones, bathroom fittings) with a hard specular highlight. Adjust the Cosine Power to control the size of the shiny highlights on the surface Turn up the Reflectivity to 1 for a completely reflective, mirror like metal surface. Rendered result:
18 The Glass: Apply a mia_material_x_passes material to the glass: mia_material_x_passes is probably my favorite material in Maya. It is a mental ray material that can also be used with Render Passes to render our individual parts of your scene on separate layers. There are a LOT of settings to adjust to recreate a large number of materials, so check it out! In the Attribute Editor, click on the Presets button and select GlassPhysical/Replace to replace the current materials settings with the preset material. Another reason to love mia_material_x_passes are these presets. They can save you a lot of time trying to adjust tons of different settings by filling them all in automatically.
19 Under Advanced Refraction, change the Color at Max Distance to a light grey color to remove the blue tint to the glass. Rendered result: The Bowl: Apply a mi_metallic_paint_x_passes to the bowl: As with mia_material_x_passes, this is a mental ray material that takes advantage of the passes system. As the name implies, it simulates a metallic paint which is often applied to cars, guitars and other objects. Feel free to change the Diffuse, Specular and Flake parameters to customize the look of your bowl. Rendered result:
20 The Banana: Apply a Blinn material and click on the checkerboard icon to the right of the Color attribute. This icon allows us to apply a procedural texture, image, ramp or gradient to that attribute. Select Solid Fractal under 3D Textures to apply that 3D texture to the banana Adjust the Threshold, Amplitude, Ratio, Frequency Ratio and Ripples
21 attributes to give the appearance of a soft banana texture. Under Color Balance, you can edit the following attributes: Default Color: The underlying default material color. Color Gain: Scaling factor applied to the texture s outcolor channel. For example, you can color correct a texture that appears too green by setting the Color Gain to a shade of blue. The default color is white (no effect). Color Offset: Offset factor applied to the texture s outcolor channel. For example, you can brighten a texture that appears too dark by setting the Color Offset to a shade of gray. The default color is black (no effect). Alpha Gain: Only has an effect if the texture is used as a bump or displacement. Scaling factor applied to the texture s outalpha channel. The default value is 1 (no effect). Alpha Offset: Only has an effect if the texture is used as a bump or displacement. Offset factor applied to the texture s outalpha channel. For example, if the Alpha Gain value is 1 and the Alpha Offset value is 1, the outalpha channel is inverted. The default value is 0 (no effect). Alpha Is Luminance: The alpha (mask) output depends on the luminance of the color channels. Bright areas of the texture are more opaque when compositing, and dark areas are more transparent. Rendered result: The Plate: Apply a Blinn material to the plate. Set the following attributes: Color: White
22 Eccentricity: Specular Roll Off: Specular Color: Medium Grey Reflectivity: Reflected Color: Black Rendered result: The Peas: Apply a Blinn material: Set the following attributes:
23 Color: Pea Green (naturally) Eccentricity: Specular Roll Off: 0.7 Specular Color: Medium Grey Reflectivity: 0.5 Reflected Color: Black Rendered result: Wow, look at how our still life really came to life with the addition of those materials! As the last part of this tutorial, let s change the tablecloth from that boring white material to something with texture! The Tablecloth: Select the tablecloth and open up the Attribute Editor.
24 Click on the checkerboard icon next to Color and select the Checker texture to apply it to our tablecloth. The Checker texture is a default way to check how an object will look with a texture applied to it. This is especially useful when dealing with UV mapping, which we will cover more in Part 2. Rendered result: We can also now see how the glass material refracts the colors of the tablecloth. The Checker is fine for testing, but let s use a much more visually appealing texture on our tablecloth. To remove the Checker texture, right click on the name of the Color attribute and select Break Connection. It will revert back to not having a texture. Click on the checkerboard icon again and select File to apply a file as a texture to the color attribute. Under the file tab, Click on the folder icon next to Image Name, navigate to the sourceimages folder and select the tablecloth texture. Previewing the texture in our viewport, it looks pretty good but could probably be scaled down a bit to decrease the size of the fibers.
25 Under the place2d tab, there are a variety of attributes we can adjust to change the placement of our texture: Coverage: Specifies what ratio of the surface the texture map covers. The valid range is 0 to + infinity for NURBS surfaces. A value of 1 (the default) covers the entire surface in either the U or V direction. For example, to cover half the surface, set the value at 0.5 in both the U and V directions. Translate Frame: position the texture map on the surface and move the coverage area across the surface. The range is from infinity to + infinity. Rotate Frame: Rotates the texture map on the surface. This attribute is represented in degrees. Mirror U/V: Only works when U Repeat or V Repeat attributes are greater than 1. Mirror in the U and V direction separately. When on, the repeat areas are mirrored rows of images display as mirrored images of themselves. This helps to disguise the effect of seams between repeat areas. Stagger: Maya offsets repeats of maps making alternate rows of repeats offset exactly by half (like brick walls). When off, the repeats line up horizontally and vertically. Wrap U/V: control whether a map is repeated in U or V directions, or both U and V. Both the Wrap attributes are on by default. Turn these 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 use Translation and Coverage attributes to limit the mapping to a very specific surface area. Repeat U/V: Specifies how many copies of the texture map are mapped within the coverage area along either the U or V directions (depending on the texture). By default, Maya maps one copy of the texture. Values greater than 1 result in more copies of the map displayed in the same coverage area. Values less than 1 result in only a portion of the map displayed. Offset: Offsets the pattern of the texture map. This can be particularly useful when fine tuning the placement of a pattern on a surface. U Offset offsets the texture pattern along the U direction and V Offset along the V direction. Each value ranges from infinity to + infinity. Rotate U/V: Since you cannot use the interactive tool to rotate surface placement, use this attribute. Rotate UV is calculated in degrees. The valid range is 0 to 360 degrees. Noise U/V: 2D noise for U and V. Displaces the colors of the texture map.
26 Fast: When on, Fast checks if the placement is the default and all shading time evaluations perform less computations. Turn Fast on to slightly improve rendering speed. Fast is off by default. Set the Repeat UV to 3 to scale down the size of our texture. Rendered result: Wow, that looks great! Adding the tablecloth really pulls it all together. This concludes Part 1 of the tutorial on texturing and lighting. Be sure to check out Part 2 for more attention to UV Texturing and Rendering!
So, you want to make a photo-realistic rendering of the Earth from orbit, eh? And you want it to look just like what astronauts see from the shuttle or ISS (International Space Station). No problem. Just
Course: 3D Design Title: My Materials Blender: Version 2.6X Level: Beginning Author; Neal Hirsig (email@example.com) (May 2012) My Materials In this tutorial, we ll examine the material settings for some
IT 386: 3D Modeling and Animation Review Sheet Sources: Notes from Professor Nersesian s IT 386: 3D Modeling and Animation course Notes from CannedMushrooms on YouTube Notes from Digital Tutors tutorial
Step-by-Step Adding Animation With Cinema 4D XL This Step-by-Step Card covers the basics of using the animation features of Cinema 4D XL. Note: Before you start this Step-by-Step Card, you need to have
Appendix appendix E The Lighting Effects Filter The Lighting Effects filter is like a little program in itself. With this filter, you can create a wealth of different lighting effects, from making a particular
14 Creating Your Own 3D Models DAZ 3D has an extensive growing library of 3D models, but there are times that you may not find what you want or you may just want to create your own model. In either case
Maya 2014 Basic Animation & The Graph Editor When you set a Keyframe (or Key), you assign a value to an object s attribute (for example, translate, rotate, scale, color) at a specific time. Most animation
Graphic Design Active Layer- When you create multi layers for your images the active layer, or the only one that will be affected by your actions, is the one with a blue background in your layers palette.
SkillsUSA Contest Projects 3-D Visualization and Animation Click the Print this Section button above to automatically print the specifications for this contest. Make sure your printer is turned on before
Compositing a 3D character over video footage in Maya Jean-Marc Gauthier, Spring 2008 Video footage before compositing And after compositing with an animated character This tutorial is organized as small
Using Mixamo Fuse, Mixamo, and 3ds Max, you can create animated characters for use with FlexSim. Character Creation You can customize a character s look using Mixamo Fuse: After creating the character,
Intro to 3D Animation Using Blender Class Instructor: Anthony Weathersby Class Objectives A primer in the areas of 3D modeling and materials An introduction to Blender and Blender s toolset Course Introduction
Float a Beachball in Psuanmi How to composite objects into Psunamiʼs water surface [ from: Digital Anarchy ] f/x tools for revolutionaries Float a beachball in Psunamiʼs waves In this tutorial, we will
Autodesk Fusion 360 Badge Guide: Design an F1 in Schools Trophy Abstract: Gain basic understanding of creating 3D models in Fusion 360 by designing an F1 in Schools trophy. This badge may be claimed by
BCC Multi Stripe Wipe The BCC Multi Stripe Wipe is a similar to a Horizontal or Vertical Blind wipe. It offers extensive controls to randomize the stripes parameters. The following example shows a Multi
Reference Images Always line- up in PhotoShop and make the image Square (this avoids distortions) Create and/or Find reference images that distill the planes of volume (image credit: Animal Anatomy for
Photo Studio Site Map Preface What`s New? Getting Started Basic Tasks Advanced Tasks Workbench Description Customizing Glossary Index Dassault Systèmes 1994-2001. All rights reserved. Preface Welcome to
Getting Started with iray in 3ds Max 2014 Iray is an intuitive, interactive, physically based, progressive, path tracing 3D renderer Iray balances ease of use and interactivity with high quality photorealistic
UNIVERSITY OF PUNE Certificate Courses in Animation 1) Certificate Course in Animation using Flash 2) Certificate Course in Animation Using Photoshop 3) Certificate Course of Animation using Maya (To be
Using HDR Panoramas Dr Ryan Southall - School of Architecture & Design, University of Brighton. Introduction The LightLab project attempts to improve the integration of technology into design education
Light setup In this tutorial we will learn how to setup lights inside Thea Studio and how to create mesh lights and optimize them for faster rendering with less noise. Let us have a look at the different
Blender Notes Introduction to Digital Modelling and Animation in Design Blender Tutorial - week 9 The Game Engine The Blender Game Engine This week we will have an introduction to the Game Engine build
Adobe After Effects CS6 Project 6 guide How to rotoscope in Adobe After Effects Rotoscoping is an animation technique in which you draw, paint, or add other visual effects in a layer over live-action film
Artec 3D scanner Instructions for Medium Handheld (MH) Scanner Scanning Conditions: Objects/surfaces that don t scan well: Black or shiny objects and objects with sharp edges or points, hair, glass, transparent
Materials in NX Render Overview Where materials are stored in NX Render Internal material definition and the NX interface Material types and their characteristics Material components Colour Pattern Reflectance
You are viewing sample pages from our textbook: MicroStation V8i Training Manual 3D Level 3 The sample subject matter includes pages from Modules 15 and 17, and range from material assignments and attachment,
AR-media TUTORIALS OCCLUDERS (May, 2011) Copyright Copyright 2008/2011 Inglobe Technologies S.r.l. All rights reserved. No part of this publication may be reproduced, transmitted, transcribed, stored in
Course: 3D Design Title: Castle Modeling Blender: Version 2.6X Level: Beginning Author; Neal Hirsig (firstname.lastname@example.org) May, 2012 This tutorial assumes that you already know how to: Display orthographic
The main imovie window is divided into six major parts. 1. Project Drag clips to the project area to create a timeline 2. Preview Window Displays a preview of your video 3. Toolbar Contains a variety of
1 YEAR 3D ANIMATION Illusion is the first of all pleasures Oscar Wilde Our One-Year 3D Animation Program is a comprehensive training in 3D using Alias Oscar Winning software, Maya, the industry standard
Producing a realistic drawing with CorelDRAW Hugo Hansen In this tutorial, I show you some of the tools I used to create the many effects in the drawing of my son resting on a motorcycle. The idea to make
Poser Lighting Tips Part 2: IBL / HDR Lights Introduction This is the second in a series of tutorials on Poser lighting. The first, which uses just a single spotlight and covers soft shadows and volumetric
MASKS & CHANNELS WORKING WITH MASKS AND CHANNELS Masks let you isolate and protect parts of an image. When you create a mask from a selection, the area not selected is masked or protected from editing.
SketchUp Instructions Every architect needs to know how to use SketchUp! SketchUp is free from Google just Google it and download to your computer. You can do just about anything with it, but it is especially
ONYX Preflight Training Navigation Workflow Issues Preflight Tabs Preflight Module Tool Bar Tabs Tab Options Preview Area Information Open in Preflight Recommended Workflow Highlight Printer File > Open
The Car Tutorial Part 1 Creating a Racing Game for Unity Introduction 3 We will show 3 Prerequisites 3 We will not show 4 Part 1: Assembling the Car 5 Adding Collision 6 Shadow settings for the car model
Adobe Training Services Exam Guide ACE: After Effects CS6 Adobe Training Services provides this exam guide to help prepare partners, customers, and consultants who are actively seeking accreditation as
Cloud function tutorial By Martin Huisman Table of Contents Cloud function tutorial...1 Introduction...2 Part 1: Understanding the cloud shader node...3 The relation between cloud altitude and depth...3
2013 Getting Started Guide The contents of this guide and accompanying exercises were originally created by Nemetschek Vectorworks, Inc. Vectorworks Fundamentals Getting Started Guide Created using: Vectorworks
Quick Start Tutorial Metric version 1996-2009 Cadsoft Corporation. No part of this guide or the accompanying software may be reproduced or transmitted, electronically or mechanically, without written permission
Lezione 4: Grafica 3D*(II) Informatica Multimediale Docente: Umberto Castellani *I lucidi sono tratti da una lezione di Maura Melotti (email@example.com) RENDERING Rendering What is rendering? Rendering
How to Cheat in M n Of course, a demo reel is all about the animation. But that being equal between animators, which do you think will get the extra point in the end? 282 Lighting Rendering.indd 1 11/23/2009
The patch tool and content-aware filling 1 Patch tool The patch tool uses the same algorithm as the healing brush to carry out its blend calculations, except the patch tool uses selection-defined areas
S-T IMAGING Pictorial User s Guide Copyright 2008 ST Imaging, Inc. a division of Digital Check Corp. All Rights Reserved. Table of Contents Getting Started... 1 Adjust for Viewing...1 Loading Microfilm...2
A Short Introduction to Computer Graphics Frédo Durand MIT Laboratory for Computer Science 1 Introduction Chapter I: Basics Although computer graphics is a vast field that encompasses almost any graphical
Self-Positioning Handheld 3D Scanner Method Sheet: How to scan in Color and prep for Post Processing ZScan: Version 3.0 Last modified: 03/13/2009 POWERED BY Background theory The ZScanner 700CX was built
Lighting & Rendering in Maya: Lights and Shadows with Jeremy Birn 3dRender.com 1. Introduction: Light and Color 12:09 Keywords: Maya Spot Lights, hardware preview of lights, High Quality Rendering, real-time
INTRODUCTION TO RENDERING TECHNIQUES 22 Mar. 212 Yanir Kleiman What is 3D Graphics? Why 3D? Draw one frame at a time Model only once X 24 frames per second Color / texture only once 15, frames for a feature
Create A Collage Of Warped Photos In this Adobe Photoshop tutorial, we re going to learn how to create a collage of warped photos. Now, don t go letting your imagination run wild here. When I say warped,
Lesson 7 - Creating Animation II A. Motion-Tweened Animation With motion tweening, you can easily create motion effects for the objects in your Flash movies. Kites flying, balls bouncing, rocks rolling
1 de 14 08/01/2013 13:08 Features Download Online Gallery Blog Documentation FAQ User's guide Video tutorial Developer's guides History Reviews Support 3D models Textures Translations Forum Report a bug
Tutorial for Tracker and Supporting Software By David Chandler I use a number of free, open source programs to do video analysis. 1. Avidemux, to exerpt the video clip, read the video properties, and save
Quick Tutorial Overview This chapter presents a very short FX Composer 2.5 tutorial to quickly introduce you to several convenient and powerful new features. We highly recommend this tutorial, particularly
Quick Start Tutorial Imperial version 1996-2006 Cadsoft Corporation. No part of this guide or the accompanying software may be reproduced or transmitted, electronically or mechanically, without written
The Photosynth Photography Guide Creating the best synth starts with the right photos. This guide will help you understand how to take photos that Photosynth can use to best advantage. Reading it could
Workshop 8.2 3D Pipe Junction 14.5 Release Introduction to ANSYS ICEM CFD 2012 ANSYS, Inc. April 1, 2013 1 Release 14.5 3D Pipe Junction 3D Pipe Junction This is a simple 4-way pipe intersection with two
Course: 3D Design Title: Deciduous Trees Blender: Version 2.6X Level: Beginning Author; Neal Hirsig (firstname.lastname@example.org) (June 2012) Deciduous Trees In general, modeling trees is a long and somewhat tedious
An introduction to 3D draughting & solid modelling using AutoCAD Faculty of Technology University of Plymouth Drake Circus Plymouth PL4 8AA These notes are to be used in conjunction with the AutoCAD software
Introduction Datum features are non-solid features used during the construction of other features. The most common datum features include planes, axes, coordinate systems, and curves. Datum features do
Basic Key-framing and Auto Key-framing Now that we know how to make stuff and make it look good, it s time to figure out how to move it around in your scene. If you're familiar with older versions of Blender,
3. Computer Graphics Sungmin Kim http://latam.jnu.ac.kr Computer Graphics Definition Introduction Research field related to the activities that includes graphics as input and output Importance Interactive
1. INTRODUCTION Scratch is a new programming language that makes it easy to create interactive stories, games, and animations and share your creations with others on the web. This Reference Guide provides
Instructions for Creating a Poster for Arts and Humanities Research Day Using PowerPoint While it is, of course, possible to create a Research Day poster using a graphics editing programme such as Adobe
Imaris 1 Introduction Why should you read and practice the Imaris? They provide you with the basic information how-to-use Imaris but may also show yet unrecognized new features of the software to the advanced
Objectives Tutorial 8 Raster Data Analysis This tutorial is designed to introduce you to a basic set of raster-based analyses including: 1. Displaying Digital Elevation Model (DEM) 2. Slope calculations
Real Time Rendering Preface What's New Getting Started Basic Tasks Advanced Tasks Workbench Description Index Dassault Systèmes 1994-99. All rights reserved. Preface CATIA Version 5 Real Time Rendering
The Dennis Technique for SketchUp Models in Photoshop The big concept is to put a Black & White drawing over a coloured one and then artistically erase just enough of the top Black and White so that essential
Excel -- Creating Charts The saying goes, A picture is worth a thousand words, and so true. Professional looking charts give visual enhancement to your statistics, fiscal reports or presentation. Excel
Take Pictures on your Android Tablet or Phone Google Camera App Free app you can install from the Play store Take a photo Tap here to take a photo Zoom out: Pinch two fingers together on the screen. Zoom
LEGO Digital Designer 4.3 User Manual The Readme file contains system requirements and the latest information about this software release. Please refer to it first if you encounter any problems. Contents
Introduction to Google SketchUp (Mac Version) This guide is handy to read if you need some basic knowledge to get started using SketchUp. You will see how to download and install Sketchup, and learn how
Exercise 1: Basic visualization of LiDAR Digital Elevation Models using ArcGIS Introduction This exercise covers activities associated with basic visualization of LiDAR Digital Elevation Models using ArcGIS.
1 CHORD LENGTH OR UNIFORM PARAMETERIZATION All of the better high end packages that implement Nurbs Modeling tools will offer the choice of constructing curves using either Uniform or Chord Length parameterization.
Quick Start Tutorial 1-1 Quick Start Tutorial This quick start tutorial will cover some of the basic features of Settle3D. A circular load is applied to a single soil layer and settlements are examined.
Fireworks 3 Animation and Rollovers What is Fireworks Fireworks is Web graphics program designed by Macromedia. It enables users to create any sort of graphics as well as to import GIF, JPEG, PNG photos
ASGVIS By Chia Fu Chiang Damien Alomar Jorge Barrero Fernando Rentas User Manual A rendering plug-in for designers V-Ray for SketchUp Table of Contents Install V-Ray for Rhino... 6 Activating V-Ray for
Introduction to Autodesk Inventor for F1 in Schools F1 in Schools Race Car In this course you will be introduced to Autodesk Inventor, which is the centerpiece of Autodesk s digital prototyping strategy
Chapter 2: House Design Tutorial This House Design Tutorial shows you how to get started on a design project. The tutorials that follow continue with the same plan. When we are finished, we will have created
The How Do Guide to AxioVision Author: Brian Svedberg Image Analysis Specialist Carl Zeiss MicroImaging, Inc. How do I grab a single image? How do I grab a single image? Click on the Camera icon to switch
Tutorial 13: Object Animation In this tutorial we will learn how to: Completion time 40 minutes Establish the number of frames for an object animation Rotate objects into desired positions Set key frames
PRODUCT LIFECYCLE MANAGEMENT COMPETENCY CENTRE RENDERING PLMCC, JSS Academy of Technical Education, Noida Rendering 1 of 16 Table of contents Under construction PLMCC, JSS Academy of Technical Education,
Tutorial for Basic Editing in Adobe Premiere Pro CS5 Interface Overview Highlighting Key Tools - Project Files This is where all the files you import into Premiere are located. This includes movie files,
Digital exposure-based workflow Digital Imaging II classes Columbia College Chicago Photography Department Revised 20100522 Goal The goal of this workflow is to allow you to create master image files of
Excerpted from Adobe Premiere Pro Studio Techniques by Jacob Rosenberg. Using green screen keying techniques, you can make a person appear in different locations or environments. In the Lord of the Rings
Optimizing your image with Pixlr on-line photo editor Nick Dvoracek email@example.com In a web browser, go to http://pixlr.com/editor/ Click Open image from computer That will open a standard file dialogue