Photo Render
Transcript of Photo Render
Pro/ENGINEER®
Wildfire®
4.0
Photorealistic Rendering Help Topic Collection
Parametric Technology Corporation
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Table of Contents
Photorealistic Rendering .................................................................................. 1
Using Photorealistic Rendering....................................................................... 1
About Photorealistic Rendering.................................................................... 1
About Render Settings ............................................................................... 1
PhotoRender Setup Output Options ............................................................. 2
To Set a Renderer ..................................................................................... 3
To Customize Options for Photorealistic Rendering......................................... 3
To Set Quality Options ............................................................................... 4
To Change the PhotoRender Setup Options................................................... 5
To Set Advanced PhotoRender Options......................................................... 6
To Set Photolux Options............................................................................. 6
To Set Advanced Photolux Options .............................................................. 7
To Change PhotoRender Setup Output ......................................................... 8
To Change PhotoRender Setup Configuration ................................................ 9
To Change Photolux Setup Configuration...................................................... 9
Configuration Options..................................................................................10
About Configuring Photorealistic Rendering..................................................10
To Set Configuration Options for Photorealistic Rendering..............................11
blended_transparency ..............................................................................11
default_scene_filename ............................................................................11
max_image_dimension .............................................................................11
pro_colormap_path ..................................................................................12
photorender_preview_scale .......................................................................12
photorender_default_width........................................................................12
photorender_default_height ......................................................................12
photorender_memory_usage .....................................................................12
photorender_capability_warnings ...............................................................12
pro_texture_library ..................................................................................13
pro_lwa_library_path................................................................................13
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pro_lwa_license_path ...............................................................................13
room_rotation_lock ..................................................................................14
save_scene_with_file................................................................................14
save_texture_with_model .........................................................................14
spherical_map_size ..................................................................................15
texture_search_path ................................................................................15
window_gamma.......................................................................................15
Realtime Rendering.....................................................................................15
About Realtime Rendering .........................................................................15
Settings for Realtime Rendering .................................................................16
To Set Transparency for a Model ................................................................16
To Set Realtime Rendering ........................................................................17
To Enable the Reflection of the Environment on a Model ................................17
About Shaded Models ...............................................................................18
Appearances ..............................................................................................18
Creating Appearances...............................................................................18
About Material Appearance .....................................................................18
About the Appearance Editor...................................................................19
Appearance Palette .............................................................................19
Assignment Container .........................................................................19
Properties Container ...........................................................................19
About Managing Appearances in the Appearance Editor ..............................20
System Libraries ...................................................................................20
About the Color Editor............................................................................20
To Display Colors ..................................................................................21
Tip: Creating an Appearance...................................................................21
To Create an Appearance Color ...............................................................21
To Modify an Appearance from the Model .................................................22
To Select and Mix Colors ........................................................................23
To Set an Appearance to the Model..........................................................23
Basic Appearance Options ......................................................................23
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Map Appearance Options ........................................................................24
Advanced Appearance Options ................................................................24
To Save a Material File ...........................................................................25
Photolux Appearance Options..................................................................25
To Remove an Appearance from the Model or Palette .................................25
Advanced Appearances ..........................................................................26
About Advanced Appearances...............................................................26
To Create Advanced Appearances .........................................................26
About Setting the Reflectance of Advanced Appearances..........................27
Multilayer Paint Options.......................................................................28
To Map the Checker Transparency Shader..............................................29
To Map the Brick Shader......................................................................29
To Map the Checker Shader .................................................................30
To Map the Dimple Shader...................................................................30
To Map the Dots Shader ......................................................................31
To Map the Grid Shader.......................................................................31
To Map the Grid Transparency Shader ...................................................32
To Map the Knurl Shader .....................................................................33
To Map the Leather Shader ..................................................................33
To Map the Rough Shader....................................................................34
To Map the Solid Casting Shader ..........................................................35
To Map the Solid Checker Shader..........................................................35
To Map the Solid Clouds Shader ...........................................................36
To Map the Solid Dots Shader ..............................................................36
To Map the Solid Eroded Shader ...........................................................37
To Map the Solid Glow Shader ..............................................................37
To Map the Solid Leather Shader ..........................................................38
To Map the Solid Marble Shader ...........................................................39
To Map the Solid Rough Shader ............................................................40
To Map Solid Wood Shaders .................................................................40
To Map the Texture Brick Shader ..........................................................41
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To Map the Treadplate Shader..............................................................42
To Map Wood Floor Shaders .................................................................43
Types of Mapping ...............................................................................44
Positioning the Appearance Shaders Using the Position Container..............44
About Additional Shaders.....................................................................45
Textures .................................................................................................46
About Textures .....................................................................................46
About Loading or Storing Textures...........................................................48
To Create a Textured Appearance............................................................48
About Placing Textures...........................................................................48
To Place Textures ..................................................................................50
To Manipulate Textures ..........................................................................51
To Edit a Placed Texture.........................................................................55
To Edit a Texture Placed in Pro/ENGINEER Wildfire 3.0 or Earlier Releases ....56
To Save Textures ..................................................................................57
To Display Textures ...............................................................................57
To Remove Textures ..............................................................................58
LightWorks Archives .................................................................................58
About the LightWorks Material Archives....................................................58
To Obtain and Set the LWA License..........................................................59
To Create a license.txt File for the Licensed LWA Material.........................60
To Edit the LightWorks Material Archives ..................................................60
Lights........................................................................................................61
About Lights ............................................................................................61
To Create Lights ......................................................................................62
About Light Icons .....................................................................................62
About High Dynamic Range Images (HDRI) .................................................65
To Enable Environment Light as Background (HDRI) .....................................66
To Set Environment as Lighting..................................................................66
To Use Environment Light for Model Reflections ...........................................67
About Hard and Soft Shadows....................................................................68
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Light Definition ........................................................................................68
To Modify Lights From the Light Editor ........................................................69
To Modify Lights From the Graphics Area.....................................................71
To Delete Lights.......................................................................................72
To Save a Light File ..................................................................................72
To Open a Light File .................................................................................72
Environment ..............................................................................................73
About the Effects Editor ............................................................................73
To Set Fog Properties ...............................................................................73
To Set Light Scatter Properties...................................................................74
To Set Background Properties ....................................................................75
To Set Depth of Field Properties .................................................................75
To Set Lens Flare Properties ......................................................................76
To Set Lens Flare Effects ...........................................................................77
Room ........................................................................................................78
About the Room.......................................................................................78
To Create a Room ....................................................................................78
Tip: Creating a Room................................................................................79
To Apply a Texture to a Room....................................................................80
To Save a Room File.................................................................................80
To Open a Room File ................................................................................81
Scenes ......................................................................................................81
About the Scene File.................................................................................81
To Create a New Scene.............................................................................82
To Create a New Scene by Copying an Existing Scene ...................................83
To Retrieve and Update an Existing Scene From the Disk...............................83
To Reuse a Scene From Another Model .......................................................84
To Save a Scene With the Model ................................................................84
To Remove a Scene From the Scene Palette ................................................84
Orientating and Viewing the Model ................................................................85
About Orientating and Viewing the Model ....................................................85
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To Change the Perspective View.................................................................85
To Orientate Dynamically ..........................................................................86
To Orientate by Reference.........................................................................87
To Orientate by Preference ........................................................................88
To Render a Model ...................................................................................88
About Render Region ................................................................................89
To Use Render Region...............................................................................89
Images......................................................................................................89
About Importing Images ...........................................................................89
About Saving an Image.............................................................................90
About the Image Editor.............................................................................90
To Save an Image....................................................................................91
To Edit an Image .....................................................................................91
To Use Slideshow.....................................................................................92
Glossary ....................................................................................................93
Glossary for Photorealistic Rendering ..........................................................93
Index...........................................................................................................99
1
Photorealistic Rendering
Using Photorealistic Rendering
About Photorealistic Rendering
Photorealistic Rendering compiles all the elements of a scene such as the model,
materials, room, and lights and creates a rendered image. Rendered images can
show how an environment reflects onto a surface, which reveals design flaws or
confirms design objectives. They can also show how a modeled object would look in
a real-world setting, with realistic lighting, shadowing, and surroundings. Using
Photorealistic Rendering you can assign materials to the model, add rooms, lights,
and environment effects to the model and create rendered images.
Within Photorealistic Rendering, you can:
• Use the Appearance Editor to apply appearances to the model or modify the
existing materials used in the model.
• Use the Room Editor to place the model into rooms and modify the walls,
ceiling, and floor of the room. You can apply appearances to the walls, ceiling,
and floor of the room using the Room Appearance Editor.
• Use the Light Editor to add or modify the lighting effects in the model.
• Use the Effects Editor to add surrounding effects such as fog, light scatter, and
lens flare.
• Use the Orientation dialog box to change the view orientation of the model.
• Use the Scenes dialog box to save the combination of all the effects mentioned
above as a scene file. You can reuse the scenes for different models or modify
existing scenes to suit your current modeled object.
• Use real-time rendering to view the changes in real-time.
• Use the Image Editor to modify and save images of the rendered model or
modify existing images. When you render a model to a new window, the resulting
image is displayed in the Image Editor.
Photorealistic rendering uses two rendering engines, PhotoRender and Photolux. The
Photolux renderer has advanced capabilities and is available with an optional
Photolux license. You can set the required renderer or edit its settings using the
Render Setup dialog box.
About Render Settings
To set up and customize a rendering, you can define configuration options in the
config.pro file. To prepare for rendering, you can apply appearances to your model,
create a rendering room, and define lighting. Setting the config.pro options is not
mandatory.
Photorealistic Rendering - Help Topic Collection
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PhotoRender Setup Output Options
In the Render Setup dialog box, under Output, the available formats are:
• Full Window (Preview)—Quickly renders a low-quality image.
• Full Window—Creates an image in the current window.
• New Window—Creates an image in a new window.
• PTC Image—Creates a .imf file.
• Tiff—Tagged image file format.
• TGA—True Vision image format.
• Shima-Seiki—Shima Seiki image format.
• RGB—Silicon Graphics Inc. image format.
• JPEG—JPEG image format.
• RLA—Wavefront format.
• BMP—Bitmap image format.
• PNG—Portable Network Graphics image format.
• Postscript—Creates a file for printing to a Postscript printer.
Under Image Size, the available sizes for an image are:
• MPEG—Creates a 352 x 240 image that conforms to the standards for MPEG.
• 600 x 450—Creates a 600 x 450 picture with a 1:1 pixel ratio.
• VGA—Creates a 640 x 480 image that conforms to the standards for VGA.
• NTSC—Creates a 720 x 483 image that conforms to the standards for NTSC.
• PAL—Creates a 720 x 575 image that conforms to the standards for PAL.
• 1024-square—Creates a 1024 x 1024 image with a 1:1 pixel ratio.
• Workstation—Creates a 1024 x 1240 image.
• HDTV —Creates a picture whose size conforms to the SMPTE 240M HDTV
standards.
• HDTV (Shima Seiki)—Creates a picture whose size conforms to the Shima Seiki
HDTV standards.
• Custom—Allows you to specify a custom image size. If the size of an image is
less than 1024 x 1024, the x dimension must be a multiple of 32 and the y
dimension must be a multiple of 4. Photorealistic Rendering corrects invalid
entries by rounding up to the closest valid size.
Photorealistic Rendering
3
Under Postscript, you can specify PostScript formats for your image. The options
include:
• DPI—The number of dots per inch for the image.
• PaperSize—Allows you to specify a standard or custom paper size.
• Units—Determines the units to compute the paper size.
• Width and Height—The width and height of the paper.
• Left and Top Margin—The top and left margins of the paper.
To Set a Renderer
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
Note: To set a renderer, you must have a license for advanced rendering.
2. To set the type of renderer, select a renderer from the list in the Renderer box.
o PhotoRender—The default renderer.
o Photolux—Select this renderer for advanced rendering. You must have an
optional module or license to select Photolux as a renderer. Photolux is a
renderer that uses ray tracing to create photorealistic images.
To Customize Options for Photorealistic Rendering
1. Click Tools > Customize Screen. The Customize dialog box opens.
2. Click the Commands tab.
3. Under Categories, click View. All the Photorealistic Rendering icons are
displayed under Commands.
4. Select the Photorealistic Rendering icons that you want to customize:
—The Render Setup icon
—The Room Editor icon
—The Scene Palette icon
—The Render Control Toolbar icon
—The Real Time Rendering icon
Photorealistic Rendering - Help Topic Collection
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—The Lights icon
—The Perspective icon
—The Render Current window icon
—The Render Subimage icon
—The Effects icon
—The Appearance Editor icon
5. Drag the icon to a suitable location in the toolbar. The Automatically save to
check box is selected by default. The selected icon is automatically saved in
the config.win file in your working directory.
6. Click OK.
Note: You can add toolbars to the Pro/ENGINEER interface by clicking Tools >
Customize Screen and selecting the required toolbar in the Toolbars tabbed page
of the Customize Screen dialog box.
To Set Quality Options
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. To set the quality of rendering, select one of the following:
o Select Draft for quick rendering and to set your model's orientation, room,
and lights.
o Select High to analyze your model and also to create renderings of
presentation quality.
o Select Maximum for presentations of the highest quality. Increases the
rendering time as quality increases.
3. Under Options tab, the default options for the above types of quality are set:
o Render Resolution
o Highlight Resolution
o Model
o Room
Photorealistic Rendering
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4. Click Close.
To Change the PhotoRender Setup Options
1. Click or click View> Model Setup> Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Click the Options tab to select elements to render and control the overall
rendering quality.
3. Under Render Resolution, select an option to control the surface-rendering
quality in a model. Each improvement in quality increases the time needed to
create the rendered image.
4. Under Highlight Resolution, select one of the following options:
o Normal—Highlights are rendered faster but may look angular.
o High—Smooths the highlights, but increases render time.
5. Under Model, select the required options:
o Transparency—Renders specified surfaces as transparent, for example,
glass. Otherwise, transparent surfaces are rendered as opaque. To set the
degree of transparency, use the Appearance Editor dialog box.
o Appearance Texture—Renders the textures applied to surfaces. This
option is redundant if you do not apply surface textures.
o Self Shadows—Casts shadows from the objects in a scene onto
themselves and other objects but not on the floors and walls of the
environment. A shadow appears only if you have selected the Cast
Shadow option for one or more defined lights in the Light Editor dialog
box.
o Reflect Room—Reflects all the surfaces of the room onto the model. Once
the reflective property is assigned, you can apply a matte or mirror
appearance.
6. Under Room, select the required options:
o Render Room—Renders the model and the wall patterns. When not
selected, only the model is rendered, but wall patterns may still be reflected
on surfaces of the model. Even when the room is not displayed in the
rendering, the reflection of the room can be seen in the image.
o Reflect Model in Floor—Reflects the model onto the floor so that the floor
has a shiny appearance. However, this also increases rendering time. When
not selected, the floor has a matte appearance.
Photorealistic Rendering - Help Topic Collection
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o Shadows on Floor—Turns shadows on or off. Casts shadows only if you
have selected the Cast Shadow option for one or more defined lights in
the Light Editor dialog box.
o Light Room—Renders the walls of the room with the active lights. When
not selected, the wall appearances are rendered with constant lighting. The
Reflect Room options are available only when this option is selected.
o Unlit—Renders the walls of the room with uniform light and reflects them
on the model.
o Lit—Renders the walls of the room with user-defined lights. Only those
parts of the walls that are illuminated by defined lights are reflected on the
model.
To Set Advanced PhotoRender Options
1. Click or click View> Model Setup> Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Click the Adv tab and select one or both options to sharpen textures.
o Sharpen Geometric Textures—Renders geometric wall patterns with
greater clarity. Use this option to create very large floors or walls.
Geometric patterns include stripes and checkerboards.
o Sharpen Textures at Angle—Sharpens the image of blurred wall
patterns, but may cause aliasing (jagged edges). A wall pattern can
become blurred if the angle between the pattern and the eyepoint is too
small.
To Set Photolux Options
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Select Photolux as the renderer.
3. Click the Options tab to select elements and control overall rendering quality.
4. Select Ray Trace if you want to ray trace during rendering. Photolux ray traces
only portions of an image, when required. For example, only areas with
transparent or reflective materials are ray traced. Ray tracing is particularly
effective for models with glass and other transparencies.
Photorealistic Rendering
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5. Specify the number of times that the light bounces before it reaches the
eyepoint.
6. Under Model, select the required options:
o Shadows—Determines whether a model casts shadows on itself during
rendering.
o Reflective—Determines whether the model is reflective. Select one of the
following options:
Environment—Reflects the room onto the model when the Render Room
option under Room is cleared.
Background—Reflects the background onto the model.
Neither—Model shows self-reflections.
7. Under Room, select the required options:
o Render Room—Determines whether or not the room is shown in the
rendering.
o Light Room—Determines whether the walls of the room are affected by
lighting or not.
o Shadows—Determines whether the shadows are cast onto the walls of the
room or not.
o Reflective—Determines whether the walls of the room are reflective or
not. If the room is reflective, the model and other walls of the room are
reflected on the walls specified under Reflective. You can completely
disable reflections for individual walls using the corresponding controls.
To Set Advanced Photolux Options
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Under Quality, select Maximum.
3. Click the Adv tab. The options in the Adv tab have a significant impact on
rendering time.
4. Select Quality or Feature Anti-Aliasing to increase the quality of your image.
These are especially useful for renderings that contain large amounts of detail.
5. Under Quality, specify the number of samples per pixel edge used for rendering
calculations. If n is the quality you specify, the number of samples per pixel edge
used for rendering calculations is n * n times. This considerably increases the
rendering time.
Photorealistic Rendering - Help Topic Collection
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Alternatively,
Under Feature Anti-Aliasing, select Feature Anti-Aliasing. Specify values for
Threshold and Samples.
o Threshold—The relative contrast required to activate Feature-Following
Anti-Aliasing. Feature-Following Anti-Aliasing works by examining pixels of
the initial rendered image and supersampling the image where the contrast
between neighboring pixels is highest. Low values of threshold will lead to
more of the rendered image being supersampled.
o Samples—The maximum number of samples per pixel that the anti-
aliasing feature uses to resolve detail in the image.
6. Under Soft Shadow, you can increase the quality and resolution of the soft
shadows if the shadows in the image are displayed with bands. Specify quality as
a percentage and resolution in pixels. Shadows are calculated using a shadow
map. The size is in pixels. The higher the map size, the higher the resolution of
the shadow.
7. Click Geometry on demand to download only the necessary geometry to the
rendering engine as required. When not selected, all the objects in an assembly
are downloaded for rendering. Setting this option may increase the rendering
time, but reduces the memory usage.
8. Using the values for Resolution under Environment Mapping, set the
resolution of the environment map to be used when the environment is reflected
on the model but the room itself is not visible. Larger resolution values for
environment mapping yield higher quality reflections on the model but the
environment map takes a longer time to generate. The available resolution
values are 128, 256, 512, 1024, and 2048.
To Change PhotoRender Setup Output
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Click the Output tab and select the format of the rendering output. When you
select an image type for example, a PTC image file from the Render To box, a
file name with the appropriate extension appears in the File Name box.
3. ype the required file name in the File Name box.
4. Depending on the format you have selected, select the required image size. For a
custom image size, specify the width and height of the image.
5. If you select the output format as Postscript, specify the required values under
Postscript Options.
1
Photorealistic Rendering
Using Photorealistic Rendering
About Photorealistic Rendering
Photorealistic Rendering compiles all the elements of a scene such as the model,
materials, room, and lights and creates a rendered image. Rendered images can
show how an environment reflects onto a surface, which reveals design flaws or
confirms design objectives. They can also show how a modeled object would look in
a real-world setting, with realistic lighting, shadowing, and surroundings. Using
Photorealistic Rendering you can assign materials to the model, add rooms, lights,
and environment effects to the model and create rendered images.
Within Photorealistic Rendering, you can:
• Use the Appearance Editor to apply appearances to the model or modify the
existing materials used in the model.
• Use the Room Editor to place the model into rooms and modify the walls,
ceiling, and floor of the room. You can apply appearances to the walls, ceiling,
and floor of the room using the Room Appearance Editor.
• Use the Light Editor to add or modify the lighting effects in the model.
• Use the Effects Editor to add surrounding effects such as fog, light scatter, and
lens flare.
• Use the Orientation dialog box to change the view orientation of the model.
• Use the Scenes dialog box to save the combination of all the effects mentioned
above as a scene file. You can reuse the scenes for different models or modify
existing scenes to suit your current modeled object.
• Use real-time rendering to view the changes in real-time.
• Use the Image Editor to modify and save images of the rendered model or
modify existing images. When you render a model to a new window, the resulting
image is displayed in the Image Editor.
Photorealistic rendering uses two rendering engines, PhotoRender and Photolux. The
Photolux renderer has advanced capabilities and is available with an optional
Photolux license. You can set the required renderer or edit its settings using the
Render Setup dialog box.
About Render Settings
To set up and customize a rendering, you can define configuration options in the
config.pro file. To prepare for rendering, you can apply appearances to your model,
create a rendering room, and define lighting. Setting the config.pro options is not
mandatory.
Photorealistic Rendering - Help Topic Collection
2
PhotoRender Setup Output Options
In the Render Setup dialog box, under Output, the available formats are:
• Full Window (Preview)—Quickly renders a low-quality image.
• Full Window—Creates an image in the current window.
• New Window—Creates an image in a new window.
• PTC Image—Creates a .imf file.
• Tiff—Tagged image file format.
• TGA—True Vision image format.
• Shima-Seiki—Shima Seiki image format.
• RGB—Silicon Graphics Inc. image format.
• JPEG—JPEG image format.
• RLA—Wavefront format.
• BMP—Bitmap image format.
• PNG—Portable Network Graphics image format.
• Postscript—Creates a file for printing to a Postscript printer.
Under Image Size, the available sizes for an image are:
• MPEG—Creates a 352 x 240 image that conforms to the standards for MPEG.
• 600 x 450—Creates a 600 x 450 picture with a 1:1 pixel ratio.
• VGA—Creates a 640 x 480 image that conforms to the standards for VGA.
• NTSC—Creates a 720 x 483 image that conforms to the standards for NTSC.
• PAL—Creates a 720 x 575 image that conforms to the standards for PAL.
• 1024-square—Creates a 1024 x 1024 image with a 1:1 pixel ratio.
• Workstation—Creates a 1024 x 1240 image.
• HDTV —Creates a picture whose size conforms to the SMPTE 240M HDTV
standards.
• HDTV (Shima Seiki)—Creates a picture whose size conforms to the Shima Seiki
HDTV standards.
• Custom—Allows you to specify a custom image size. If the size of an image is
less than 1024 x 1024, the x dimension must be a multiple of 32 and the y
dimension must be a multiple of 4. Photorealistic Rendering corrects invalid
entries by rounding up to the closest valid size.
Photorealistic Rendering
3
Under Postscript, you can specify PostScript formats for your image. The options
include:
• DPI—The number of dots per inch for the image.
• PaperSize—Allows you to specify a standard or custom paper size.
• Units—Determines the units to compute the paper size.
• Width and Height—The width and height of the paper.
• Left and Top Margin—The top and left margins of the paper.
To Set a Renderer
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
Note: To set a renderer, you must have a license for advanced rendering.
2. To set the type of renderer, select a renderer from the list in the Renderer box.
o PhotoRender—The default renderer.
o Photolux—Select this renderer for advanced rendering. You must have an
optional module or license to select Photolux as a renderer. Photolux is a
renderer that uses ray tracing to create photorealistic images.
To Customize Options for Photorealistic Rendering
1. Click Tools > Customize Screen. The Customize dialog box opens.
2. Click the Commands tab.
3. Under Categories, click View. All the Photorealistic Rendering icons are
displayed under Commands.
4. Select the Photorealistic Rendering icons that you want to customize:
—The Render Setup icon
—The Room Editor icon
—The Scene Palette icon
—The Render Control Toolbar icon
—The Real Time Rendering icon
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—The Lights icon
—The Perspective icon
—The Render Current window icon
—The Render Subimage icon
—The Effects icon
—The Appearance Editor icon
5. Drag the icon to a suitable location in the toolbar. The Automatically save to
check box is selected by default. The selected icon is automatically saved in
the config.win file in your working directory.
6. Click OK.
Note: You can add toolbars to the Pro/ENGINEER interface by clicking Tools >
Customize Screen and selecting the required toolbar in the Toolbars tabbed page
of the Customize Screen dialog box.
To Set Quality Options
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. To set the quality of rendering, select one of the following:
o Select Draft for quick rendering and to set your model's orientation, room,
and lights.
o Select High to analyze your model and also to create renderings of
presentation quality.
o Select Maximum for presentations of the highest quality. Increases the
rendering time as quality increases.
3. Under Options tab, the default options for the above types of quality are set:
o Render Resolution
o Highlight Resolution
o Model
o Room
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4. Click Close.
To Change the PhotoRender Setup Options
1. Click or click View> Model Setup> Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Click the Options tab to select elements to render and control the overall
rendering quality.
3. Under Render Resolution, select an option to control the surface-rendering
quality in a model. Each improvement in quality increases the time needed to
create the rendered image.
4. Under Highlight Resolution, select one of the following options:
o Normal—Highlights are rendered faster but may look angular.
o High—Smooths the highlights, but increases render time.
5. Under Model, select the required options:
o Transparency—Renders specified surfaces as transparent, for example,
glass. Otherwise, transparent surfaces are rendered as opaque. To set the
degree of transparency, use the Appearance Editor dialog box.
o Appearance Texture—Renders the textures applied to surfaces. This
option is redundant if you do not apply surface textures.
o Self Shadows—Casts shadows from the objects in a scene onto
themselves and other objects but not on the floors and walls of the
environment. A shadow appears only if you have selected the Cast
Shadow option for one or more defined lights in the Light Editor dialog
box.
o Reflect Room—Reflects all the surfaces of the room onto the model. Once
the reflective property is assigned, you can apply a matte or mirror
appearance.
6. Under Room, select the required options:
o Render Room—Renders the model and the wall patterns. When not
selected, only the model is rendered, but wall patterns may still be reflected
on surfaces of the model. Even when the room is not displayed in the
rendering, the reflection of the room can be seen in the image.
o Reflect Model in Floor—Reflects the model onto the floor so that the floor
has a shiny appearance. However, this also increases rendering time. When
not selected, the floor has a matte appearance.
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o Shadows on Floor—Turns shadows on or off. Casts shadows only if you
have selected the Cast Shadow option for one or more defined lights in
the Light Editor dialog box.
o Light Room—Renders the walls of the room with the active lights. When
not selected, the wall appearances are rendered with constant lighting. The
Reflect Room options are available only when this option is selected.
o Unlit—Renders the walls of the room with uniform light and reflects them
on the model.
o Lit—Renders the walls of the room with user-defined lights. Only those
parts of the walls that are illuminated by defined lights are reflected on the
model.
To Set Advanced PhotoRender Options
1. Click or click View> Model Setup> Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Click the Adv tab and select one or both options to sharpen textures.
o Sharpen Geometric Textures—Renders geometric wall patterns with
greater clarity. Use this option to create very large floors or walls.
Geometric patterns include stripes and checkerboards.
o Sharpen Textures at Angle—Sharpens the image of blurred wall
patterns, but may cause aliasing (jagged edges). A wall pattern can
become blurred if the angle between the pattern and the eyepoint is too
small.
To Set Photolux Options
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Select Photolux as the renderer.
3. Click the Options tab to select elements and control overall rendering quality.
4. Select Ray Trace if you want to ray trace during rendering. Photolux ray traces
only portions of an image, when required. For example, only areas with
transparent or reflective materials are ray traced. Ray tracing is particularly
effective for models with glass and other transparencies.
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5. Specify the number of times that the light bounces before it reaches the
eyepoint.
6. Under Model, select the required options:
o Shadows—Determines whether a model casts shadows on itself during
rendering.
o Reflective—Determines whether the model is reflective. Select one of the
following options:
Environment—Reflects the room onto the model when the Render Room
option under Room is cleared.
Background—Reflects the background onto the model.
Neither—Model shows self-reflections.
7. Under Room, select the required options:
o Render Room—Determines whether or not the room is shown in the
rendering.
o Light Room—Determines whether the walls of the room are affected by
lighting or not.
o Shadows—Determines whether the shadows are cast onto the walls of the
room or not.
o Reflective—Determines whether the walls of the room are reflective or
not. If the room is reflective, the model and other walls of the room are
reflected on the walls specified under Reflective. You can completely
disable reflections for individual walls using the corresponding controls.
To Set Advanced Photolux Options
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Under Quality, select Maximum.
3. Click the Adv tab. The options in the Adv tab have a significant impact on
rendering time.
4. Select Quality or Feature Anti-Aliasing to increase the quality of your image.
These are especially useful for renderings that contain large amounts of detail.
5. Under Quality, specify the number of samples per pixel edge used for rendering
calculations. If n is the quality you specify, the number of samples per pixel edge
used for rendering calculations is n * n times. This considerably increases the
rendering time.
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Alternatively,
Under Feature Anti-Aliasing, select Feature Anti-Aliasing. Specify values for
Threshold and Samples.
o Threshold—The relative contrast required to activate Feature-Following
Anti-Aliasing. Feature-Following Anti-Aliasing works by examining pixels of
the initial rendered image and supersampling the image where the contrast
between neighboring pixels is highest. Low values of threshold will lead to
more of the rendered image being supersampled.
o Samples—The maximum number of samples per pixel that the anti-
aliasing feature uses to resolve detail in the image.
6. Under Soft Shadow, you can increase the quality and resolution of the soft
shadows if the shadows in the image are displayed with bands. Specify quality as
a percentage and resolution in pixels. Shadows are calculated using a shadow
map. The size is in pixels. The higher the map size, the higher the resolution of
the shadow.
7. Click Geometry on demand to download only the necessary geometry to the
rendering engine as required. When not selected, all the objects in an assembly
are downloaded for rendering. Setting this option may increase the rendering
time, but reduces the memory usage.
8. Using the values for Resolution under Environment Mapping, set the
resolution of the environment map to be used when the environment is reflected
on the model but the room itself is not visible. Larger resolution values for
environment mapping yield higher quality reflections on the model but the
environment map takes a longer time to generate. The available resolution
values are 128, 256, 512, 1024, and 2048.
To Change PhotoRender Setup Output
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Click the Output tab and select the format of the rendering output. When you
select an image type for example, a PTC image file from the Render To box, a
file name with the appropriate extension appears in the File Name box.
3. ype the required file name in the File Name box.
4. Depending on the format you have selected, select the required image size. For a
custom image size, specify the width and height of the image.
5. If you select the output format as Postscript, specify the required values under
Postscript Options.
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6. Click Close to implement the changes.
To Change PhotoRender Setup Configuration
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Select PhotoRender as the renderer.
3. Click the Config tab to select advanced rendering options that determine how
much memory is used during rendering.
4. Select Compute tile size if you want Photorealistic Rendering to compute the
tile size. This computation is based on the model size and the value you specify
for available memory. The recommended memory setting is the amount of
memory in the computer where Photorealistic Rendering is running.
Alternatively, select Override tile size and specify the tile width or height per
pass. This determines how much of an image is rendered for each pass. The
larger the number, the more memory required, but the faster the rendering.
5. Under Output, specify a value for the preview scale. The scale of the preview
image is set to a percentage of the actual image size. Lower values give faster
rendering time, but the image is more blurred. The larger the value, the sharper
the image, but the slower the rendering.
6. Select Render Alpha if you want to write the alpha channel to the image. You
can use the alpha channel to composite the image with a background.
7. Click Close.
To Change Photolux Setup Configuration
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Select Photolux as the renderer.
3. Select Draft for intermediate quality, High for full quality, or Maximum for full
ray trace, for a renderer of the type Photolux.
4. Click the Config tab to select the preview scale or alpha channel to be used
during rendering.
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5. Under Config, specify a value for the preview scale. The scale of the preview
image is set to a percentage of the actual image size. Lower values mean faster
rendering time, but more blurred images. The larger the value, the sharper the
image, but slower the rendering.
6. Select Render Alpha to write the alpha channel to the image. You can use the
alpha channel to composite the image with a background.
7. Click Enable Text watermark to insert a text watermark in the model. Specify
the following definitions for text watermark:
Text—Allows you to enter the text for the watermark. The default watermark
text is Pro/ENGINEER Wildfire - Advanced Rendering.
Font—Determines the font of the watermark text. The default font is Shannon.
You can set the pro_font_dir configuration option to add fonts to the list of
available fonts.
Color—Assigns a color to the watermark text. The default color is White.
Size—Determines the size of the watermark text. The default size is 0.4.
Alignment—Aligns or positions the watermark text with respect to the model.
The default alignment is set to Bottom Left.
Alpha—Determines the percentage of transparency for the watermark text. The
default alpha is set to 50%. Alpha set to 0% renders the watermark as
transparent. Alpha set to 100% renders the watermark as opaque.
8. Click Enable Image watermark to insert an image as a watermark in the
model. Specify the following definitions for an image watermark:
Image—Allows you to browse to and select the image for the watermark.
Alignment—Aligns or positions the watermark image with respect to the model.
The default alignment is set to Bottom Right
9. Click Close.
Configuration Options
About Configuring Photorealistic Rendering
You can customize Photorealistic Rendering by specifying config.pro configuration
file options and their values in the Options dialog box (Tools > Options). For
example, you can modify memory usage, preview window size, and specify a
different graphics library for Photorealistic Rendering.
Photorealistic Rendering Help provides a list of configuration options arranged in
alphabetical order. Each option contains the following information:
• Configuration option name.
• Default and available variables or values. Default values are in italic.
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• Brief description and notes describing the configuration option.
To Set Configuration Options for Photorealistic Rendering
1. Click Tools > Options. The Options dialog box opens.
2. Select Show only options loaded from file to see currently loaded
configuration options or clear this option to see all configuration options.
3. Select the configuration option from the list or type the configuration option
name in the Option box.
4. In the Value box, type or select a value.
Note: The default value is followed by an asterisk (*).
5. Click Add/Change. The configuration option and its value appear in the list. The
appearance of in the status column confirms the change.
6. Click Apply or OK to finish configuring Photorealistic Rendering.
Note: Setting the config.pro options is not mandatory
blended_transparency
yes, no
yes—Transparent colors appear using alpha blending when the model is shaded only
if supported by the graphics configuration (graphics card and Pro/ENGINEER graphics
setting).
default_scene_filename
<path to scene file>
Specifies the complete path to the default scene file. It allows the user to preset
settings for lights, rooms and effects when modeling. These user-defined settings are
saved in the scene file to which this configuration option points.
max_image_dimension
4096, 1024, 2048, 8192, 16348
Sets the maximum size of images imported into Pro/ENGINEER. For example, if the
value is set to the default of 4096, then images larger than this value are rescaled to
the size of 4096 when they are imported. Pro/ENGINEER maintains the aspect ratio
of the image during rescaling.
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pro_colormap_path
Valid path
Specifies the path for appearance.dmt files or color.map files to be loaded from the
disk. By default, the appearance.dmt files specified in the pro_colormap_path are
loaded in preference to the color.map files.
Note: The color.map files are used for appearance files in releases prior to the
Pro/ENGINEER Wildfire release.
photorender_preview_scale
0.5
Allows a user-defined size ratio at which Photorealistic Rendering renders using the
Render To > Full Window (Preview) setting in the Render Setup dialog box.
Increasing the value creates higher quality rendering with slower performance.
Reducing the value produces reverse results. The preview scale ranges from 0.25 to
0.75
After you set the value, this option takes immediate effect in the current session of
Pro/ENGINEER.
photorender_default_width
1280
Sets the default width (in pixels) for the custom output size.
photorender_default_height
1024
Sets the default height (in pixels) for the custom output size.
photorender_memory_usage
256
Sets the amount of memory that Photorealistic Rendering allows for model
processing. The unit of measurement is megabytes (MB). This option is valid only if
you do not override the default tiling size.
photorender_capability_warnings
yes, no
yes—When using the PhotoRender renderer, enables warnings that appear if you
select options related to the Photolux renderer.
no—When using the PhotoRender renderer, disables warnings that appear if you
select options related to the Photolux renderer.
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pro_texture_library
Valid path
Allows you to specify a different location for the graphic-library directory. This
directory contains the system libraries for different editors and is available, by
default, in the <loadpoint> directory. To change the location of this library, set
pro_texture_library to the required directory. For example, if the graphic-library directory is available in C:\ptc\graphiclib\graphic-library, set
pro_texture_library to C:\ptc\graphiclib.
The graphic-library directory must contain the following subdirectories:
• textures for Appearance Placement Editor system libraries with image files
• materials for Appearance Editor system libraries with appearance files (.dmt)
• room for Room Editor system libraries with room files (.drm)
• adv_material for Photolux system libraries with appearance files (.dmt)
• lights for Light Editor system libraries with light files (.dlg)
• HDRI directory with HDRI files (.hdr) and (.exr)
• scenes for the Scene default palette (.scn)
pro_lwa_library_path
<Path to the LWA materials directory>
Allows you to specify a location to search for LWA materials in addition to the
materials in the graphics library and append these materials to the Photolux
System Library list on the File menu in the Appearance Editor. The default path
for the LWA materials is <loadpoint>/graphic-library/smdata/archives.
You cannot load LWA materials that contain a large number of appearances into the
Appearance Editor. If you try to do this directly, Pro/ENGINEER displays a warning
message and prompts you to use the pro_lwa_library_path configuration option.
You can use this configuration option to append the required LWA material to the
Photolux System Library list and then load one appearance at a time into the
Appearance Editor.
pro_lwa_license_path
<current working directory>
Allows you to specify a location to search for the LWA license.txt file other than
the current working directory. You can change the default path and point it to your
local drive by clicking Tools > Options and specifying the required path.
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room_rotation_lock
studio, model
Allows you to set the default option for room and model rotation at the start of a
Pro/ENGINEER session.
studio—Only the model rotates.
model—The room rotates along with the model.
Note: This configuration option is valid only for models with no scene. The options
stored in a scene override the settings of the room_rotation_lock configuration
option.
save_scene_with_file
yes, no
yes—Updates the model with all the modifications made to the active scene, every
time the model is saved.
no—Does not update the model with the modifications made to the scene whenever
the model is saved.
Note: When you set the save_scene_with_file configuration option to yes, the
Save scene with model option in the Scenes dialog box remains selected for the
session. Clear this option if you do not want to save the scene with the model.
save_texture_with_model
yes,no
yes—Saves the texture images applied to the model or to the walls of the room with
the model and the scene. You can delete the texture file after saving the model or
the scene.
no—Does not save the texture images applied to the model or to the walls of the
room, when you save the model or the scene.
Note:
• When you set the save_texture_with_model configuration option to no, only the
name of the texture is saved with the model. In this case, on reloading the model
or the scene, the textures are visible with the model only if the texture file exists
in the directory set by the texture_search_path configuration option.
• Setting the save_texture_with_model configuration option to yes causes a
significant increase in the file size of the models or scenes in which the textures
are saved. Moreover, changes that you make to the independent texture files are
not reflected in the respective textures that are saved with the models or scenes.
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spherical_map_size
256x256, 512x512, 1024x1024
Selects the image resolution of the environment map to be used for realtime
rendering. Increasing the image resolution affects performance but improves quality.
Note: This option is valid only in the OpenGL graphics mode and for graphics cards
that do not support cubic environment mapping.
texture_search_path
Valid path
Appends a directory to the search path for textures. You can specify more than one
directory.
window_gamma
<float>
Controls the brightness of the rendered image. Values less than 1 darkens the
image. Values more the 1 brighten the image. The default value is 1.0.
Realtime Rendering
About Realtime Rendering
Realtime rendering allows you to view changes in real time if you have defined the
settings for reflection and shadows cast on the walls. You can enable realtime
rendering by clicking View > Realtime Rendering.
You can modify:
• Room settings using the Room Editor dialog box
• Wall surfaces using the Room Appearance Editor dialog box
• Light settings using the Light Editor dialog box, and
• Appearance settings using the Appearance Editor dialog box
All rendering changes take effect as soon as you apply them. The speed with which
these changes take effect is limited only by the capabilities of the graphics card of
your system.
For a cylindrical room, realtime rendering is performed only for the floor and ceiling
which are planar surfaces. The realtime renderer supports shadows and reflections
only on planar wall surfaces and not on curved surfaces. The model in the room is
used for casting shadows or reflections. You can cast shadows only by shaded
surfaces. Self shadows is not supported in realtime rendering. Room reflections on a
model are also supported.
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Settings for Realtime Rendering
All options in the Room Editor dialog box are supported by realtime rendering.
The Light Editor dialog box options that are supported by realtime rendering are:
o All options under the Basic tab.
o All options under the Position tab.
o Cast Shadows under the Advanced tab. The lightbulb, spot, and distant
types of light support realtime rendering, except the default ambient light.
The direction of the shadow cast by a lightbulb, skylight or Environment
type of light is from the position of the light towards the center of the room.
The shadows cast are based on the calculation for the distant type of light
for any defined light.
The Room Appearance Editor dialog box options supported by realtime rendering
are:
o Appearance creation, color definition, and assignment options under the
Basic tab.
o Color Texture under the Map tab.
o Reflection under the Advanced tab.
The Appearance Editor dialog box options supported by realtime rendering are:
o Appearance creation, color definition, and assignment under the Basic tab.
o All options under the Map tab.
o Transparency and Reflection under the Advanced tab.
Note: Options under the Photolux tab are not supported by realtime
rendering.
Note: In the Style module, if you have enabled multiple views, then the view in the
right top corner supports realtime rendering.
To Set Transparency for a Model
1. Click View > Display Settings > Model Display. The Model Display dialog
box opens.
2. Click the Shade tab.
3. Under Enable, select Transparency to enable transparency for a model in the
current window and activate the transparency settings. The transparency types
are enabled and available for selection.
4. Select one of the following transparency types.
o Stippled—Offers low quality imaging with better performance in complex
models.
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o Blended—Offers high quality imaging with compromised performance in
complex models, by default.
5. Click OK to apply the changes and close the dialog box.
To Set Realtime Rendering
1. Click View > Display Settings > Model Display. The Model Display dialog
box opens.
2. Click the Shade tab.
3. Under Enable, select Realtime rendering to activate realtime rendering to
create a reflection.
Alternatively, you can also enable realtime rendering by clicking View >
Realtime Rendering.
4. Under Realtime Rendering, select Reflect Model to switch on the reflection of
the model.
Note: Reflection on the walls is dependent on the appearance set for the wall.
5. Select Shadows if you want the model to cast shadows on the wall surfaces. A
shadow appears only if you have selected Cast Shadows in the Light Editor
dialog box. The point, spot, or distant type of light can cast shadows. Ambient
light does not cast shadows. Shadows and reflections are displayed on all planar
room surfaces.
Note: To display reflections and shadows, click Room > Rectangular in the
Room Editor dialog box.
6. Select the required wall surface from the Walls list to apply reflection and
shadow properties to be cast on the surfaces of the render room.
7. Click Apply to apply the changes or OK to apply the changes and close the dialog
box.
To Enable the Reflection of the Environment on a Model
1. Click View > Display Settings > Model Display. The Model Display dialog
box opens.
2. Click the Shade tab.
3. Under Enable, select Realtime rendering. Environment Mapping and Hide
Environment become available.
4. Select Environment Mapping and click Apply to enable the reflection of the
environment on the model.
5. Select Hide Environment and click Apply to hide the environment, if required.
The reflection of the environment on the model remains visible.
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Note: The reflection of the environment on the model is updated in realtime only
when you make changes to the model or the view and not when you change the
render room geometry. Click on the Pro/ENGINEER toolbar or close the Render
Room dialog box to update the reflection of the environment on the model if you
change the render room geometry.
About Shaded Models
You can create a shaded image that can be moved in real time. Shaded images are
limited and always have a matte appearance because they do not reflect the
environment on the surface.
Textures are supported only on hardware platforms with a graphics card that
supports hardware textures. If the graphics card does not support hardware
textures, performance might be slow.
Shaded images are created by View > Shade. The current working model appears
shaded with either default or user-defined colors.
Appearances
Creating Appearances
About Material Appearance
The appearance of a material is based on information such as:
• Color
• Highlights
• Maps
• Reflection
• Transparency
The appearance can be defined by color alone, texture alone, or a combination of
both color and texture. For example, you can define an appearance with a color that
is covered by a decal, with a part of the decal being transparent so that the color is
seen underneath it.
You can specify a color for any part or assembly. If you do not modify the
appearance, Pro/ENGINEER assigns a default color. A color can be defined through
levels of HSV (hue, saturation, and value) or RGB (red, green, and blue. You cannot
modify the default color.
Appearances are saved with the model, but when the model is loaded, the
appearances are not loaded into the palette. To load an appearance file, you can:
• Load a saved appearance file
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• Add model appearances to the appearance palette using Material > Select from
Model from the Appearance Editor dialog box, or
• Specify an appearance file as the value for the pro_colormap_path configuration
option in the config.pro file to load the appearance file for each Pro/ENGINEER
session
About the Appearance Editor
The Appearance Editor dialog box allows you to create and assign textures to your
model. It consists of the following elements:
• Appearance palette
• Assignment container
• Properties container
Appearance Palette
The Appearance palette displays a list of user-defined colors that are used in the
model. The list shows a thumbnail color swatch and the name of the predefined
appearances. By default, only the default appearance is displayed in the palette. Use
File > System Library to access predefined appearances available in the system
library.
Assignment Container
The Assignment container has the following elements:
• A list that allows you to select a model part or surface to which you assign an
appearance.
• Clear—Clears the selection of the currently-selected part or surface in the model.
• Apply—Applies an appearance to a selected part or surface in the model.
• From Model—Allows you to select an appearance from the model.
Properties Container
The Properties container consists of the following elements:
• The appearance sphere that displays the current material properties.
• The appearance Class, which lists the different classes of the appearances. The
Generic class contains properties applicable to all rendering modes, interactive
graphics, PhotoRender and Photolux. All other appearance classes are tailored for
Photolux. The class determines the shader types that are available in the
Photolux tab of the Appearance Editor.
• Four types of appearance properties:
o Basic—Allows you to define the color properties of the appearance.
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o Map—Allows you to define and assign the material map.
o Advanced—Allows you to define advanced properties such as Reflection,
Transparency, and Refraction.
o Photolux—Allows you to edit the properties of Photolux materials. This tab
becomes active when the current rendering engine is set to Photolux and
the appearance Class to a type other than Generic.
Note: The sphere in the Properties container displays the changes as you apply the
properties. However, some appearance options are evident only when displayed in a
rendered image.
About Managing Appearances in the Appearance Editor
You can use Appearance Chooser in the Appearance Editor to control the display
of appearances that are present in the appearance editor palette.
You can access Appearance Chooser by clicking Material > Hide/Unhide in the
Appearance Editor dialog box.
The Appearance Chooser dialog box has two tabs, Available Appearances and
Visible Appearances. All the appearances listed in the Visible Appearances tab
are displayed in the appearance editor palette. You can hide the appearances
displayed in the appearance editor palette by moving them from the Visible
Appearances tab to the Available Appearances tab and clicking Apply. Similarly,
you can select an appearance from the Available Appearances tab and move it to
the Visible Appearances tab, and click Apply to make it available in the
appearance editor palette.
You can filter the list of appearances displayed in the Available Appearances tab
by specifying the name in the Apply Filter box and clicking Apply Filter. To display
all the appearance back in the Available Appearances tab, leave Apply Filter
blank and click Apply Filter.
The customized display of the appearances in the Appearance Editor is applicable
only to the current session of Pro/ENGINEER. You cannot save this display setting in
a DMT file.
System Libraries
Two system libraries are available in Pro/ENGINEER. These libraries must be installed
along with the Pro/ENGINEER software in order to access them. The system libraries
work with all available renderers and are visible in the Photorealistic Rendering
graphics window. The Photolux System Library provides a set of advanced material
libraries applicable only to the selected renderer. You can access the system libraries
from the File menu in the Appearance Editor dialog box.
About the Color Editor
Colors are used to define material and light properties. Use the Color Editor dialog
box to create and modify colors and to customize the display of geometric items such
as curves and surfaces and interface items such as fonts and background. You can
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access the Color Editor dialog box by clicking a color swatch on the Appearance
Editor or the Light Editor dialog box.
The Color Editor dialog box contains the following elements:
• Current Color—The color displayed above the Color Wheel.
• Color Wheel—Used to select a color and its brightness level.
• Blending Palette—Used to make a continuous blend of up to four colors.
• RGB—Defines colors along two axes as you move the cursor up and down or
back and forth across the box. Click the Red-Green, Red-Blue, or Green-Blue
planes. The RGB values range from 0 to 100. Set all three RGB values to 0 to
produce black, and set them to 100 to define white color.
• HSV—Uses the hue, saturation, and brightness values to select colors. Hue
defines the dominant spectral color, while saturation determines the color
concentration. Brightness controls the lightness and darkness of the color. The
hue values range from 0 and 360, while saturation and brightness values range
from 0 to 100 percent.
To Display Colors
1. Click Tools > Environment. The Environment dialog box opens.
2. Select Colors and click Apply to display colors used for the model.
or
1. Click View > Display Settings > Model Display. The Model Display dialog
box opens.
2. Click the General tab.
3. Under Display, select Colors to display colors used for the model.
Tip: Creating an Appearance
One of the most common mistakes in defining an appearance is to make the
appearance too shiny. Use bold colors in a rendering, but make sure that they are
not too shiny. A model that is too shiny may look artificial or like a cartoon. If your
image appears artificial, use the Appearance Editor dialog box to tone down the
appearance. Reduce the shininess and intensity of the highlight in the Basic tab and
reduce the reflection toward the matte end of the scale in the Advanced tab. You
can also use texture maps in the Map tab to increase the realism of your model. If
your model has Photolux appearances applied to it, you can edit these appearances
using the Photolux tab.
To Create an Appearance Color
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
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2. Click Material > New or click on the editor to create a new appearance.
Note: You cannot modify default appearances. However, you can make a copy of
the default appearances. When you click Material > New or click a copy of
the appearance is made. The Appearance Editor allows you to change the
name and properties of the copy.
3. If required, specify a name for the copy of the appearance.
4. Open the Properties container and click the Basic tab.
5. Click the color swatch. The Color Editor dialog box opens.
6. Use the Color Editor to define a color.
7. Click Close to return to the Appearance Editor.
8. Adjust the options in the Appearance Editor dialog box to fully define the
appearance.
9. Click Close to add the new appearance to the Appearance Palette.
Note: You can load an existing color.map file from the pre Wildfire Pro/ENGINEER
release using the Appearance Editor dialog box or by specifying the color.map file
as a value for the pro_colormap_path environment variable in the config.pro file.
To Modify an Appearance from the Model
If you load a model that has appearances set to it but you do not have the
appearances used in the model, in the Appearance Palette, you can retrieve the
appearance definition from the model and add it to the Appearance Palette of the
Appearance Editor dialog box.
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Open the Assignment container and click From Model.
3. Select the appearance from the model.
4. If required, modify the material properties using the Properties container.
5. If required, specify a name for the appearance.
6. Press ENTER to add the new appearance to the Appearance Palette. The color
name is displayed as you move the cursor over the appearance in the
Appearance Palette.
If the selected appearance already exists in the Appearance Palette, you are
prompted to replace or overwrite the appearance.
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To Select and Mix Colors
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. In the Appearance Palette, click the required appearance.
3. Click the Basic tab in the Properties container.
4. Click the color swatch. The Color Editor dialog box opens.
5. Select a new color using the color wheel for hue, saturation, and brightness
(HSV) values or the color box for red, green, and blue (RGB) values. If you select
both the RGB and HSV sliders, you can mix colors using both color models.
6. If you use the Color Wheel to define a color, click in the wheel to choose a hue
and then click the brightness bar below it to fully define the color.
7. If you use the Blending Palette, click a corner of the palette and then choose a
color from the color wheel to use for blending. Click the black bar between two
corners to change both colors at the same time. This allows you to define one-
dimensional linear color ramps.
8. Click Close when you have finished defining the color.
To Set an Appearance to the Model
1. After you have fully defined and saved an appearance using the Appearance
Editor dialog box, select the required appearance in the Appearance Palette.
2. From the Assignment list, choose whether to apply the appearance to the entire
part, individual surfaces, quilts, or datum curves.
3. Select the desired portion of the model to which you want to apply the
appearance. Photorealistic Rendering applies the appearance to the model. Use
CTRL to select multiple entities.
4. Click Apply in the Assignment container.
Note: In the Assembly mode, you can set an appearance that does not include
texture to an assembly, component, part, quilt, or surface. If you have assigned a
texture as part of the appearance, you can assign the appearance to a part, quilt, or
surface. Textures are ignored for assemblies and components.
Basic Appearance Options
Use the Basic tab in the Properties container of the Appearance Editor dialog box
to define or modify a color.
The Color properties are:
• Color – Controls the color of the surface. Click the color swatch and use the
Color Editor dialog box that opens to define a color.
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• Intensity—Controls the reflection from lights.
• Ambient—Controls the amount of ambient light reflected by the surface.
The Highlight properties are:
• Color—Controls the color of the surface highlight. For example, for a metal, the
highlight color is the color of the metal; for plastic the highlight color is the color
of the light source.
• Shine—Controls the shine of the surface. The shinier the surface, the smaller the
highlight.
• Intensity—Controls the brightness of the highlight and is directly related to
shininess. A highly polished surface has a small bright highlight, but an etched
plastic has a large dim highlight.
Use the slider to adjust the color and highlight from Dim to Bright. You can also
modify the color by typing a value next to the slider.
Map Appearance Options
Use the Map tab in the Properties container of the Appearance Editor dialog box
to use a texture to define an appearance. The texture can be one of Bump, Color
Texture, and Decal.
• Bump—A type of texture that creates the illusion of surface roughness. When
you apply a bump, you can also specify a bump height that defines the height or
depression of the applied bump values.
• Color Texture—An image which when applied to the surface or part, replaces
the base color overlapping the area affected by the image.
• Decal—Replaces the base color overlapping the areas affected by the image. The
decal lies on top of any color texture just like a sticker or logo. The decal may
also include transparent areas that, although within the image, still allow the
base color or color texture to show through.
Select the check box and the image next to the option. In the Appearance
Placement dialog box that opens, specify values for Positioning and Mapping of
the selected surface.
Advanced Appearance Options
Use the Advanced tab in the Properties container of the Appearance Editor
dialog box to set the following advanced appearance properties:
• Reflection—Controls how much the part reflects the room or scene. A dull
appearance reflects less of the room than a shiny appearance. For example,
fabric reflects less than a metal.
• Transparency—Controls the degree to which you can see through a surface.
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• Refraction—Determines how much light bends as it passes through a surface.
You can model the effects of refraction on a thin, transparent object, such as a
windowpane or an automobile windshield. This effect is seen in the final rendered
image with the Photolux renderer only.
To Save a Material File
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Create the required appearances.
3. Click File > Save and type a name for the file. By default, the file is saved in the
.dmt format.
Note: You can load a saved color.map file from the pre Wildfire Pro/ENGINEER
versions using the Appearance Editor dialog box.
Photolux Appearance Options
Use the Photolux tab in the Properties container of the Appearance Editor dialog
box to create an advanced appearance. In the Class list of the Appearance Editor
dialog box, each appearance class has the following options under the Photolux tab.
Each of these options contains a list of relevant shaders.
Reflectance—Defines the reflectance properties of the material.
Color—Defines the base color for the material.
Bump—Optionally allows for a displacement or bump effects to give the material a
rough texture.
Transparency—Optionally allows for transparency effects to be applied to the whole
or part of a surface.
When applied to a surface, the shaders are combined and each of the options above
contributes to the overall appearance of the surface. For convenience and ease of
use, each material class contains a number of shader types relevant for that material
class.
To Remove an Appearance from the Model or Palette
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Select the appearance that you want to remove from the Appearance Palette in
the Appearance Editor dialog box.
3. In the Assignment container, select All Objects or other available items of the
model from the list and click Clear.
4. Click Yes when prompted for confirmation.
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5. To delete an appearance from the Appearances Palette, select the appearance
and click or click Material > Delete.
Note: This will not remove instances of the color already applied to models in the
Pro/ENGINEER session.
Advanced Appearances
About Advanced Appearances
Appearances simulate the look and feel of the model and how it reacts to light.
Appearance properties include color, ambience, shine, intensity, reflectivity,
transparency, and appearance maps.
All appearance properties are specified using the Appearance Editor. Advanced
appearances are grouped into classes.
Appearance Classes
When you choose the class of an appearance, you are specifying the single most
important factor in the material definition. This factor determines how realistic the
applied material appears.
Each class is tailored to a different rendering type. The Generic class contains
properties applicable to all rendering modes, interactive graphics, PhotoRender, and
Photolux. All other appearance classes are tailored for Photolux. The appearance
class determines the shader types that are available in the Photolux tab of the
Appearance Editor.
The classes available for Photolux are:
• Plain and Plastic—Reflectance is the most influential property for these classes.
• Wood, Stone, and Pattern—Color is the most influential property for these
classes.
• Metal, Glass, Multilayer Paint, and Fabric—Reflectance is the most influential
property for these classes.
Note: In the appearances palette of the Appearance Editor, advanced appearances
are displayed with a blue triangle ( ) in the lower right corner of the appearance
thumbnail, to distinguish advanced appearances from general appearances.
To Create Advanced Appearances
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Click on the Appearance Editor dialog box to add a new appearance to the
palette.
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3. In the Properties container, select the required class of the appearance from the
Class panel. The default is Generic.
Note: For the Class panel to be available, the current renderer must be set to
Photolux. Set the class to a type other than Generic to select the shader types in
Photolux tab.
4. In the Photolux tab, set the Reflectance, Color, Bump, and Transparency
shader types as required.
5. Click Edit to change the selected shader's parameters as required.
6. To render the sample sphere as you make the changes, click Option >
Renderer.
About Setting the Reflectance of Advanced Appearances
You can define advanced appearances using the Photolux tab in the Properties
container of the Appearance Editor. Set the material reflectance to any of the
following types to define the reflectance properties for each class.
For the Plain, Wood, Stone and Pattern classes the available reflectance types are
the following:
• Matte—This reflectance type does not reflect the environment on the surface of
the model.
• Mirror—This reflectance type reflects the room and lights onto the surface of the
model. You can define this type by changing the mirror factor.
• Plastic—Allows you to define the roughness of the model.
For the Plastic class, the available reflectance types are:
• Translucent Matte
• Translucent Shiny
These reflectance types allow you to set the translucency factor of the material.
You can also edit the roughness of the model to make it appear shiny.
The translucency factor defines how much light passes through the material. The
light picks up the color of the material as it passes through.
For the Glass class, the available reflectance types are:
• Basic Glass—Approximates glass-like materials using ray tracing, supporting
reflection and refraction.
• Dielectric—Accurately simulates glass-like materials using ray tracing,
supporting reflection, refraction and Fresnel filtering.
You can edit the refraction and the transmission factors of these reflectance
types.
o Refraction—Determines how much light bends as it passes through a
surface.
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o Transmission Factor—Defines how much light passes through the glass.
The light picks up the color of the glass as it passes through.
For the Metal class, the available reflectance types are:
• Basic Metal
• Brushed—Defines the depth and spacing of the wire scratches.
• Chrome 2D—Defines a chrome-like reflectance using a two-dimensional chrome
map.
• Circular Brushed—Defines the width and height to control the size of the
circular patches and the depth and spacing of the wire scratches.
• Conductor—Defines a fresnel filtering effect. Fresnel filtering creates light
interaction on surfaces. Choose a metal type and, if necessary, modify the
refraction and absorption coefficients.
For the Multilayer Paint class, the reflectance type is:
Basic Paint—Defines the lacquer, paint, and the metallic flakes within the paint.
For the Fabric class, the reflectance type is:
Basic Fabric—Defines the woven properties of the material, controlling the
relative contribution of the warp and weft (horizontal and vertical threads).
For the Custom class, the available reflectance types are:
• Phong—A reflectance model conforming with the popular Phong model in which
reflections are greatest in the mirror direction of a surface opposite the viewing
direction with respect to the surface normal.
• Constant—A reflectance model providing a constant color. This model ignores
the effect of all light sources and gives the same result as an environment
containing a single, white, ambient source.
Multilayer Paint Options
Choose a metallic flake from the Metallic flakes list and define the following
properties:
• Lacquer specular factor—Defines the specular factor of the lacquer.
• Lacquer transmission factor—Defines how much light passes through the
material. The light picks up the color of the lacquer as it passes through.
• Lacquer mirror factor—Determines how much light is reflected by the material.
• Lacquer roughness—Determines the shininess of the lacquer.
• Lacquer refraction—Determines how much light bends as it passes through a
surface.
• Metallic layer factor—Determines the amount of paint and metallic flake on a
surface.
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• Metallic roughness—Determines the shininess of the metallic layer.
• Metallic scale—Determines the relative size of the flakes.
• Metallic amplitude—Determines the size of the flakes.
• Metallic detail—Determines the amount of detail in the metallic layer.
• Metallic sharpness—Determines the sharpness of each flake.
To Map the Checker Transparency Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the Class to a type other then Generic.
3. Select Checker for the Transparency channel in the Photolux tab.
4. Click Edit. The Checker shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all other options in
the editor.
6. Edit the other attributes of the shader, if required.
o Odd Coverage—Determines the transparency of the odd squares in the
shader.
o Even Coverage—Determines the transparency of the even squares in the
shader.
o Fuzz—Determines the sharpness of the edges of the squares.
7. If required, position the shader using the Position container.
8. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Brick Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Stone.
3. Click Photolux tab and select Brick for the Color channel.
4. Click Edit. The Brick shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all other options in
the editor.
6. Modify the colors of the shader, if required. You can change the color of the brick
or the mortar.
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7. Edit the other attributes of the shader, if required.
o Brick Width—Determines the width of each brick.
o Brick Height—Determines the height of each brick.
o Mortar Size—Determines the thickness of mortar between the bricks.
o Fuzz—Determines the sharpness of the edge of the bricks.
8. If required, you can position the shader using the Position container.
9. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Checker Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Pattern.
3. Click Photolux tab and select Checker for the Color channel.
4. Click Edit. The Checker shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Modify the colors of the shader, if required. You can modify the color of the odd
and even squares.
7. Edit Fuzz of the shader, if required. Fuzz determines the sharpness of the edges
of the squares.
8. If required, you can position the shader using the Position container.
9. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Dimple Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Dimple for the Bump channel.
4. Click Edit. The Dimple shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Edit the other attributes of the shader, if required.
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o Separation—Determines the distance between the centers of adjacent
dimples.
o Radius—Determines the radius of each dimple.
o Center Depth—Determines the maximum depth of each dimple. The depth
of a dimple cannot be greater than its radius.
o Blend—Determines the amount of blending between the dimple and the
surface.
7. If required, you can position the shader using the Position container.
8. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Dots Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Pattern.
3. Click Photolux tab and select Dots for the Color channel.
4. Click Edit. The Dots shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Modify the colors of the shader, if required. You can specify the color of the
background and the color of the dots.
7. Edit the other attributes of the shader, if required.
o Separation—Determines the distance between the centers of adjacent
dots.
o Radius—Determines the radius of the dots.
o Edge Softness—Determines the softness of the sphere boundaries.
8. If required, you can position the shader using the Position container.
9. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Grid Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Pattern.
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3. Click Photolux tab and and select Grid for the Color channel.
4. Click Edit. The Grid shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Modify the colors of the shader, if required. You can specify the color of the
background and the color of the grid.
7. Edit the other attributes of the texture, if desired.
o Width—Determines the width of each square.
o Height—Determines the height of each square.
o Grid Size—Determines the width of the grid lines.
o Fuzz—Determines the sharpness of the edges of the squares.
8. If required, you can position the shader using the Position container.
9. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Grid Transparency Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Grid for the Transparency channel.
4. Click Edit. The Grid shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Edit the other attributes of the shader, if required.
o Width—Determines the width of each square.
o Height—Determines the height of each square.
o Grid Size—Determines the width of the grid lines.
o Transparency—Determines the transparency of the squares.
o Fuzz—Determines the sharpness of the edges of the squares.
7. If required, you can position the shader using the Position container.
8. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
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To Map the Knurl Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Select Knurl for the Bump channel in the Photolux tab.
4. Click Edit. The Knurl shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Edit the other attributes of the shader, if required.
o Amplitude—Determines the maximum height of each knurl.
o Blend—Determines the amount of blending between the knurl angles.
7. If required, you can position the shader using the Position container.
8. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Leather Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Leather for the Bump channel.
4. Click Edit. The Leather shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. If required, edit the following properties of the leather shader's cells:
o Cell amplitude—Determines the height of each leather cell.
o Irregularity—Determines the overall shape of each leather cell. The shape
can vary from square to irregular convex.
o Smooth min—Determines the smoothness of the edges of the leather cells
by defining the minimum smoothness.
o Smooth max—Determines the smoothness of the edges of the leather cells
by defining the maximum smoothness.
7. Edit the rough properties of the shader. The rough properties specify the high
frequency bumps that occur within cells:
o Rough amplitude—Determines the size of the bumps.
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o Rough frequency—Determines the amount of bumps.
8. Edit the curve properties of the shader. The curve properties specify the shape of
the grooves between cells:
o Curve amplitude—Determines how curved the edges of the cells are.
o Curve frequency—Determines how jagged the edges of the cells are.
9. Edit the fold properties of the shader. The fold properties specify the widespread
undulating pattern used to simulate wrinkles in the leather:
o Fold amplitude—Determines the height of the fold.
o Fold frequency—Determines the amount of folds.
10. Determine the complexity of the Rough, Curve, and Fold properties by editing
the values of the following:
o Rough detail—Determines the detail in the bumps.
o Curve detail—Determines the amount of detail in the curves between
cells. Increase this value to create a more creased appearance.
o Fold detail—Determines the amount of detail in the fold.
11. If required, you can position the shader using the Position container.
12. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Rough Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Rough for the Bump channel.
4. Click Edit. The Rough shader parameters dialog box opens.
5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Edit the other attributes of the shader, if required.
o Amplitude—Determines the extent of the roughness.
o Detail—Determines the complexity of the map.
o Sharpness—Determines the sharpness of the edge of the rough areas.
7. If required, you can position the shader using the Position container.
8. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
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To Map the Solid Casting Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Solid Casting for the Bump channel.
4. Click Edit. The Solid Casting shader parameters dialog box opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
6. If required, edit the other properties of the shader:
o Casting Amplitude—Determines the height of the casting displacements.
o Dented Amplitude—Determines the depth of the indentations in the
casting displacements.
o Dented Scale—Determines a relative scale for dents. Increasing this value
makes the surface dents appear larger.
o Dented Threshold—Determines the relative displacements and
indentations. Increasing this value makes the surface appear more
irregular.
7. If required, define the complexity of the shader by controlling the value of
Detail.
8. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Checker Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Pattern.
3. Click Photolux tab and select Solid Checker for the Color channel.
4. Click Edit. The Solid Checker shader parameter dialog box opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
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6. Modify the colors of the shader, if required. You can change the color of the odd
and even checker squares.
7. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Clouds Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the Class to Stone.
3. Click Photolux tab and select Solid Clouds from the Color channel.
4. Click Edit. The Solid Clouds shader parameters dialog box opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
6. Modify the colors of the shader, if required. You can change the color of the
background and the clouds.
7. Modify the value of Detail, if required. This value determines the level of
complexity of the clouds; higher values make the clouds appear wispier.
8. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Dots Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Pattern.
3. Click Photolux tab and select Solid Dots for the Color channel.
4. Click Edit. The Soild Dots shader parameters dialog box opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
6. Modify the colors of the shader, if required. You can change the color of the
background and dots.
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7. Edit the pattern properties of the shader:
o Separation—Determines the distance between the centers of adjacent
dots.
o Radius—Determines the radius of the dots.
o Sharpness—Determines the sharpness of the sphere boundaries.
8. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Eroded Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Solid Eroded for the Transparency channel. The
Solid Eroded shader provides the illusion of erosion on the surface of a model.
4. Click Edit. The Solid Eroded shader parameters dialog box opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
6. If required, edit the following properties of the shader:
o Coverage—Determines the degree of erosion.
o Fuzz—Determines the sharpness of the edges of erosion.
7. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Glow Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Solid Glow for the Transparency channel.
Note: Use this option to create the illusion of a glow on a surface. A light source
is necessary to see the effect of the glow. Glow is typically applied to spherical
surfaces and the effect depends on the angle between the surface and the
eyepoint.
4. Click Edit. The Solid Glow shader parameters dialog box opens.
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5. If required, edit the coverage properties of the shader. Coverage specifies how
widespread the glow effect is:
o Center Coverage—Determines the opacity of the glow at the center of the
surface. Full center glow and minimum edge glow creates the effect of a
diminishing glow surrounding a light source.
o Edge Coverage—Determines the opacity of the glow at the edges of the
surface. Full edge glow and minimum center glow creates the effect of a
bubble surrounding a light source.
o Zero Angle—Determines the angle from the eyepoint at which the glow
becomes fully transparent.
o Edge Falloff—Determines the rate of falloff of the glow.
6. You can also edit the noise properties of the glow:
Noise Density—Determines the sharpness of the edge of the glow.
7. Edit the other attributes of the shader if required:
o Scale—Enter a value that is approximately the size of the model to begin
with and increase it or decrease it as required. This value affects the other
noise attributes therefore it is important to set it correctly.
o Detail—Determines the amount of detail in the glow.
8. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Leather Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Solid Leather for the Bump channel.
4. Click Edit. The Solid Leather shader parameters dialog box opens.
Note: Leather is defined by a series of cells of unit size that can vary in shape.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
6. If required, edit the following properties of the leather shader's cells:
o Cell amplitude—Determines the height of each leather cell.
o Irregularity—Determines the overall shape of each leather cell. The shape
can vary from square to irregular convex.
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o Smooth min—Determines the smoothness of the edges of the leather cells
by defining the minimum smoothness.
o Smooth max—Determines the smoothness of the edges of the leather cells
by defining the maximum smoothness.
7. If required, edit the rough properties of the shader. The rough properties specify
the high frequency bumps that occur within cells:
o Rough amplitude—Determines the size of the bumps.
o Rough frequency—Determines the amount of bumps.
8. If required, edit the curve properties of the map. The curve properties specify the
shape of the grooves between cells:
o Curve amplitude—Determines how curved the edges of the cells are.
o Curve frequency—Determines how jagged the edges of the cells are.
9. If required, edit the fold properties of the map. The fold properties specify the
widespread undulating pattern used to simulate wrinkles in leather:
o Fold amplitude—Determines the height of the fold.
o Fold frequency—Determines the amount of folds.
10. You can also determine the complexity of the rough, curve and fold properties by
editing the values of the following:
o Rough detail—Determines the detail in the bumps.
o Curve detail—Determines the amount of detail in the curves between
cells. Increase this value to create a more creased appearance.
o Fold detail—Determines the amount of detail in the fold.
11. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Marble Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Stone.
3. Select Solid Marble for the Color channel in the Photolux tab.
4. Click Edit. The Solid Marble shader parameters dialog box opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
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6. Modify the colors of the shader, if required. You can change the ground (base)
color and vein color.
7. You can edit the following properties of the shader, if required:
o Vein Contrast—Varies the contrast of the color bands within the veins.
Increase this value to produce a greater contrast of colors.
o Grain—Determines the amplitude of the marble crystal grain. Increase this
value to accentuate the granularity of the marble.
o Grain Scale—Determines the size of the crystal grain.
8. You can define the level of complexity in the bands of the marble by controlling
the value of Detail.
9. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Solid Rough Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Solid Rough for the Bump channel.
Note: The Solid rough shader provides a cast metal-like finish to a model.
4. Click Edit. The Solid Rough shader parameters dialog box opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
6. If required, edit the properties of the shader:
o Amplitude—Determines the extent of the surface roughness.
o Detail—Determines the complexity of the texture.
o Sharpness—Determines the sharpness of the changes between the highs
and lows of the surface.
7. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map Solid Wood Shaders
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
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2. Set the appearance Class to Wood.
3. Click Photolux tab and select any one from the solid wood shaders available in
the Color channel.
4. Click Edit. The shader parameter dialog box for the respective shader opens.
5. Specify a value for Scale. Enter a value that is approximately the size of the
model to begin with and increase it or decrease it as required.
Note: This value affects all of the other attributes of the solid shader therefore it
is important to set it correctly before modifying any other values of the shader.
6. Modify the colors of the shader, if required. You can change the color of the
wood, the color of the grain within the wood, and the ring color.
7. dit the other attributes of the shader, if required:
o Ring Fuzz In—Determines the sharpness of the inner ring edge, the side
of the ring toward the trunk center.
o Ring Fuzz Out—Determines the sharpness of the outer ring edge, the side
of the ring away from the trunk center.
o Ring Width—Determines how much of the wood is covered by rings.
o Gnarl—Determines the smoothness of the rings inside the trunk. Increasing
this value makes the ring pattern more irregular.
8. Edit the grain properties of the shader:
o Grain—Determines the amount of grain, that is, imperfections in the wood.
o Ring Fuzz Grain—Determines the jaggedness of the ring edges.
o Grain Scale—Determines the relative size of the grain.
9. You can position the trunk using the Position container.
o Direction—Determines the axis of the trunk.
o Center—Determines the location of the center of the trunk.
10. If the result is not desirable, edit the properties of the shader until you are
satisfied with the result.
To Map the Texture Brick Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Stone.
3. Click Photolux tab and select Texture Brick for the Color channel.
4. Click Edit. The Texture Brick shader parameters dialog box opens.
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5. Specify a value for Scale. Specifying a value for Scale affects all of the other
options in the editor.
6. Modify the colors of the shader, if required. You can specify two different colors
for the bricks and another color for the mortar.
7. Edit the other attributes of the shader, if required.
o Brick Width—Determines the width of each brick.
o Brick Height—Determines the height of each brick.
o Mortar Size—Determines the thickness of mortar between the bricks.
o Rough Scale—Determines the complexity of the roughness along each
brick.
o Rough Amplitude—Determines the magnitude of the roughness.
o Offset—Determines the alignment of the bricks. When set to 0, all the
bricks in all the rows are aligned one on the top of the other.
o Fuzz—Determines the sharpness of the edges of the bricks.
8. If required, position the shader using the Position container.
9. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
To Map the Treadplate Shader
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to any procedural type other than Generic.
3. Click Photolux tab and select Treadplate for the Bump channel.
4. Click Edit. The Threadplate shader parameters dialog box opens.
5. Enter the Scale. Specifying a value for Scale affects all of the other options in
the editor.
6. Edit the other attributes of the shader, if required.
o Radius—Determines the radius of the protruding areas.
o Amplitude—Determines the extent of the roughness.
o Blend—Determines the amount of blending between the tread and the
surface.
7. If required, use the Position container to position the shader.
8. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
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To Map Wood Floor Shaders
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Set the appearance Class to Wood.
3. Click Photolux tab and select a wood floor shader from the color channel. Wood
floor is a pattern consisting of wooden planks combined according to the selected
floor style.
4. Click Edit. The shader parameter dialog box for the respective shader opens.
5. Select the Replication Type. Replication Type determines the replication
method that will be applied.
6. Modify the colors of the shader, if required. You can change the color of the
wood, the color of the grain within the wood, the ring color, and the color of the
groove.
7. Edit the floor properties of the shader:
o Plank Length—Determines the length of a single plank.
o Plank Width—Determines the width of a single plank.
o Offset—Determines the number of planks in basic rectangle.
o Groove Width—Determines the width of the groove between planks.
o Plank Variation—Determines the variation of brightness between planks.
o Pattern Scale—Determines the relative displacement of odd and even
rows of the pattern and is relative to the plank length.
8. Specify a value for Scale. Scale represents the scale of the wood floor. You might
not want to modify this value until you have rendered a small portion of your
model and seen the results. Specifying a value for Scale affects all of the other
options in the editor.
9. Edit the other attributes of the shader, if required:
o Ring Fuzz In—Determines the sharpness of the inner ring edge, that is the
side of the ring toward the trunk center.
o Ring Fuzz Out—Determines the sharpness of the outer ring edge, that is
the side of the ring away from the trunk center.
10. If required, use the Position container to position the shader.
11. If the result is not desirable, edit the properties or position of the shader until
you are satisfied with the result.
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Types of Mapping
You can select one of the following projections for the selected surface or surfaces
under Mapping in the Position container of the Appearance Editor dialog box:
Planar—To use on a flat, uncomplicated object or surface. The map drops over the
entire applied area. You can use a projection-based method to map a single material
across multiple surfaces. The projection is based on a coordinate system parallel to
the screen. To map surfaces for a specific rendering view, create the required
rendering view and map the view with a planar projection. Render the model to
create the image. You can also select a coordinate system to orient the texture along
the z-axis.
Cylindrical—To use on rounded objects or surfaces. By default, the map is oriented
relative to the screen coordinate system. You can orient the map to a user-defined
coordinate system. For best results, orient the coordinate system such that the y-
axis points along the axis of the cylindrical shape.
Spherical—To use on spherical objects or surfaces. By default, the map is oriented
relative to the screen coordinate system. You can orient the map to a user-defined
coordinate system. For best results, orient the coordinate system such that the y-
axis points along the axis of the spherical shape.
Parametric—To use on surfaces in your model that you can map individually with a
material. This method maps according to the u-v coordinates of a surface. An easy
way to tell if Parametric will work well for a surface is to examine its mesh lines. If
a surface has regular mesh lines, then Parametric may be a good mapping method.
Parametric mapping maps a complete copy of the material map onto each surface.
If you have selected multiple surfaces, each surface is mapped independently with
the complete material map.
Positioning the Appearance Shaders Using the Position Container
You can use the Position container in the Appearance Editor dialog box for the
relevant shader parameter to position the shaders. The following options in the
Position container determine the position of the shader on the selected surface or
surfaces:
• Mapping—Determines the projection type of the shader on the selected surface
or surfaces. You can select from the Planar, Cylindrical, Spherical and
Parametric mapping types from the Type box.
• Copies—Single maps one copy of the shader. Multiple copies completely fill the
surfaces. Use the Repeat thumbwheel to specify how many copies of the shader
are mapped across the surfaces. For the Cylindrical and Spherical mapping
types, a value of 1.000 for Single implies that one copy of the texture covers
180 degrees of the map, while a value of 1.000 for Multiple implies that two
copies of the texture cover 360 degrees of the map.
• Position—Adjusts the orientation of the map in the x- or y-direction.
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• Rotate—Modifies the rotation of the map about the origin. The range is -180 to
180 degrees.
• Flip—Mirrors the map in the horizontal or vertical direction.
Note: You can position only some shaders using the Position container.
About Additional Shaders
The following are some additional shaders available for the Photolux renderer under
the Photolux tab of the Appearance Editor dialog box:
For the Plain class under Reflectance:
Constant—A reflectance model providing a constant color. This model ignores
the effect of all light sources and gives the same result as an environment
containing a single, white, ambient source.
For the Wood class under Color:
Simple Wood—A simple wood pattern with concentric rings of light and dark
wood.
For the Stone class under Color:
• Blue Marble—A solid texture giving the appearance of a blue marble.
• Brick Bonds—A wrapped color source shader in which you can choose from
several brick bonding patterns.
• Roof Tiles—A wrapped color shader that simulates various styles of roof tiles.
For the Pattern class under Color:
• Turbulent—A shader that simulates turbulent medium variations.
• Diagonal—A shader pattern giving a line across the leading diagonal of the
texture space.
For the Metal class under Reflectance:
Chrome 2D—A chrome-like reflectance using a two-dimensional chrome map.
For the Fabric class under Reflectance:
Basic Fabric—A reflectance shader that simulates the directional reflectance
properties of surfaces consisting of woven threads.
For the Custom class under Reflectance:
Phong—A reflectance model conforming to the popular Phong model in which
reflections are greatest in the mirror direction of a surface opposite to the
viewing direction with respect to the surface normal.
For the Custom class under Color:
• Chrome—A color source that provides simple chrome-like reflections.
• Wood
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For the Custom class under Transparency:
• Plain Coverage—A plain, uniform transparency.
• Square—A transparency shader that provides a single square aligned with the
texture space.
You can edit the parameters of these shaders by clicking Edit for the respective
shader in the Photolux tab of the Appearance Editor.
Textures
About Textures
Applying texture involves applying a surface texture to surfaces that cannot be
represented by color alone, such as woodgrain or cloth. A texture map is a
specialized image file. You can create these files from digital images also. You can
apply the following types of texture to surfaces or a part:
• Color textures—These texture files are applied onto an entire surface. Texture
maps represent surface color and are usually scanned images such as woodgrain,
geometric patterns, and pictures. The wood texture in the ceiling fan model
below is an example of a color texture.
• Decals—Decals are specialized texture maps such as company logos or text that
are applied to a surface. A decal is a texture with an alpha or transparency mask.
If the alpha value for a pixel is greater than zero, the pixel color is mapped onto
the surface. If the alpha value is zero, the base texture color of the surface is
visible through the pixels. The process is analogous to laying a stencil on a
surface and painting a texture over the stencil. When you pull off the stencil, you
leave behind a decal on the surface.
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The following watch model has two decals, the face of the watch and the words
PARAMETRIC TECHNOLOGY.
• Bump maps—Bump maps are single-channel texture maps that represent height
fields. Normal vectors are affected by the height values during surface shading.
The resulting shaded surface has a wrinkled or irregular appearance. The effects
of a bump map texture are displayed only when you render a image using
Render Model. In interactive graphics, the bump map is displayed over the base
color or texture to simulate the effect.
In the Appearance Placement dialog box, under Properties, use the Map tab
page to adjust bump height. If you specify a negative value, the bumps become
depressions or indentations on the surface. This model of a tire tread is an
example of how bump maps can be used to simulate surface roughness.
You can view textures in shaded display if you have selected Textures in the Shade
tab of the Model Display dialog box (View > Display Settings > Model Display).
Although it is possible to place a texture on more than one surface at a time, it is
best to place the map on each surface individually to ensure that the maps are
correctly oriented. Depending on the texture, some experimentation may be required
to get satisfactory results.
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About Loading or Storing Textures
A graphics library that contains many textures is available with the Pro/ENGINEER
installation. This library is installed by the system administrator and is available
when you click File > System Library in the Appearance Editor dialog box.
You can use the existing PTC-provided graphics library or create your own texture
files. Ensure that the texture directory and all the texture files within it are available
in a location for which you have appropriate permissions. This directory must be
specified as the value for the texture_search_path environment variable in the
config.pro file. This allows Pro/ENGINEER to find the texture files the next time you
open a part or assembly. Pro/ENGINEER also searches this directory when you
specify a texture filename in the File > Open dialog box.
To Create a Textured Appearance
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Click or Material > New to add new appearance.
3. If required, create a color for this appearance using the Color Editor dialog box.
Usually, a color is required to define an appearance when you are using bump
maps and decals, for which the color is below the texture. Color textures typically
cover an entire surface or part. Therefore, they override any underlying basic
color.
4. Under Properties, click the Map tab and click on the Bump, Color Texture, or
decal swatch to invoke the Bump Placement, Color Placement, or Decal
Placement dialog box.
5. Change the bump height and decal intensity coefficients as needed.
6. If required, type a name for the appearance.
7. Click OK to finish defining the appearance. The name is displayed as you move
the cursor over the appearance swatch in the Appearance Palette.
About Placing Textures
You can directly manipulate textures in the Pro/ENGINEER graphics area.
A frame and a sphere with direct manipulation controls are available for placing
textures dynamically. Direct manipulation consists of two sets of controls. One set
comprises a sphere and two rings of which one ring rotates about the x-axis, while
the other rotates about the y-axis. This set of controls positions the origin of the
texture in 3-dimensional space. The second set of controls comprising a frame,
corner handle, and edge handles scales, rotates, and flips the texture.
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The following image shows controls for direct manipulation.
1. Frame
2. Corner Handle
3. Sphere
4. Rotation Handle
5. Edge Handles
In the above image, the intersection of the two rings at the front side of the sphere
defines the source point on which the frame is located. The center of the sphere is
called the aim point. This aim point along with the source point and image origin
define the mapping or projection direction.
1. Source Point
2. Pole
3. Two Rings
4. Aim Point
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• You can hold down the SHIFT key and drag the aim point to snap it to the
nearest geometry.
• You can move the entire sphere by dragging the line connecting the source and
aim points.
• When the source point is close to lining up with the aim point in the current view,
that is, when the line connecting the source and aim points gets close to being
perpendicular to the current view, gravity snaps the source point into place.
Note: Snapping the source point into place means aligning the source point in
such a way that the line connecting the source and aim points is perpendicular to
the current view.
To Place Textures
1. Click or View > Color and Appearance. The Appearance Editor dialog
box opens.
2. Select the required appearance from the Appearance Palette.
Note: You cannot modify default appearances from the Appearance Palette.
However, you can make a copy of the of the default appearances. When you click
or Material > New, a copy of the appearance is made. The Appearance
Editor allows you to change the name and properties of the copy.
3. Click File > System Library in the Appearance Editor to select textures from
the library.
4. Under Assignment, choose whether you want to apply the texture to the entire
part, surfaces, quilts, datum curves, or all objects.
5. Under Properties, in the Map tabbed page, click the following swatches:
o Bump—To specify the image to be used for the Bump map. The Bump
Placement dialog box opens.
o Color Texture—To specify the image to be used for the Color Texture
map. The Color Placement dialog box opens.
o Decal—To specify the image to be used for the Decal map. The Decal
Placement dialog box opens.
6. In the Positioning container, under Mapping, select one of the following
projections for the selected surface or surfaces in the Bump Placement, Color
Placement, and Decal Placement dialog box:
o Planar—To use on a flat, uncomplicated object or surface.
o Cylindrical—To use on rounded objects or surfaces.
o Spherical—To use on spherical objects or surfaces.
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o Parametric—To use on surfaces in your model that you can map
individually with a material.
Note:
o The Mapping type is synchronized across Bump, Color Texture, and
Decal. For example, if you change the Mapping type for Bump from
Planar to Spherical, the Mapping type for Texture and Decal also
changes to Spherical.
o Changing the Mapping type does not affect the placement parameters.
7. Click OK in the Bump, Color, or Decal Placement dialog box to apply the
mapping and close the dialog box.
8. Click Apply under Assignment in the Appearance Editor dialog box.
9. Click the Bump, Color Texture, or Decal swatch again to open the respective
Placement dialog boxes.
The Mapping type that you selected in step 7 is active when the Placement
dialog box opens. Depending on the Mapping type that you selected, a frame
and a sphere with direct manipulation controls appear in the graphics area. Use
these controls to scale, rotate, and flip the texture.
Note: A frame and a sphere with direct manipulation controls do not appear for
the Parametric mapping type or in the non-shaded display mode.
10. If required, click and select a new coordinate system. The frame and the
sphere with direct manipulation controls reorient themselves and the new
coordinate system is the center of the sphere or aim point.
11. Select the required number of Copies, either Single or Multiple. If you select
Multiple, the texture map is repeated across the object or surface.
Note: For Cylindrical and Spherical mapping types, a value of 1.000 for Single
implies that one copy of the texture covers 180 degrees of the map, while a
value of 1.000 for Multiple implies that two copies of the texture cover 360
degrees of the map.
12. Click OK in the Bump, Color, or Decal Placement dialog box to place the
texture and close the dialog box.
13. Click Close to close the Appearance Editor dialog box.
To Manipulate Textures
1. Click or View > Color and Appearance. The Appearance Editor dialog
box opens.
2. Click the Bump, Color Texture, or Decal swatch to open the Bump, Color, or
Decal Placement dialog box, respectively.
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3. In the Bump, Color, or Decal Placement dialog box, select the mapping type
as Planar, Cylindrical, or Spherical. A frame and sphere with handles are
displayed in the Pro/ENGINEER graphics area.
4. To directly manipulate the texture in the graphics window, perform one or more
of the following operations using the handles:
• Scale operation
Use the handles on the frame to scale the texture while placing it. By default, the
scaling is symmetrical around the center axis of the frame.
o Drag any corner of the frame to simultaneously scale the texture in the X
and Y directions.
o Drag an edge handle for scaling in either the X or Y direction.
o Alternatively, under Repeat, use the thumbnails to specify values for X and
Y to scale the texture.
o Hold down the CTRL key and drag a corner or edge handle to scale the
texture asymmetrically around the center axis. When you hold down the
CTRL key and drag a corner or edge handle, only that corner or side of the
frame moves while the opposite side is stationary.
o Hold down the SHIFT Key and drag a corner or edge handle to lock the
aspect ratio while scaling the texture symmetrically around the center axis.
o Hold down the CTRL and SHIFT keys simultaneously and drag a corner or
edge handle to lock the aspect ratio while scaling the texture
asymmetrically around the center axis.
o If required, click Reset to align the frame to the initial position when the
appearance texture was applied.
Before Scale
After Scale
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• Rotate operation
o Drag the rotation handle on top of the frame to rotate the texture.
Note: While using the rotation handle to rotate the texture, gravity will
snap the rotation at 0, 90, 180, and 270 degrees.
o Alternatively, under Position, use the thumbwheels to specify a value for
Rotate to rotate the texture.
o If required, click Reset to align the frame to the initial position when the
appearance texture was applied.
Before Rotate
After Rotate
• Pole rotation
o Drag the pole handle or icon on top of the frame to rotate the axis of the
sphere along with the texture.
For Planar Mapping type, the pole handle is displayed as .
For Cylindrical Mapping type, the pole handle is displayed as .
For Spherical Mapping type, the pole handle is displayed as .
Note: While using the rotation handle to rotate the texture, gravity will
snap the rotation at 0, 90, 180, and 270 degrees.
o Alternatively, under Mapping, use the thumbwheels to specify a value for
Pole to rotate the texture.
o If required, click Reset to align the frame to the initial position when the
appearance texture was applied.
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Before Pole
After Pole
• Move the Frame Center
o Click inside the frame and drag anywhere in the graphics window to the
frame in a translational manner.
o Hold down the SHIFT Key while dragging the frame to make it move either
along the horizontal direction or along the vertical direction.
o Alternatively, under Position, use the thumbwheels to specify values for X
and Y to move the frame center.
Before Moving Frame Centre
After Moving Frame Centre
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• Flip the applied texture
o Right-click any corner handle of the frame and click Flip to flip the texture.
Before Flip
After Flip
You can flip the textures diagonally, horizontally, or vertically.
o Right-click any corner handle of the frame and select Flip to flip the texture
diagonally.
o Right-click any of the edge handles on the right or left edge of the frame
and click Flip to flip the texture horizontally.
o Right-click any of the edge handles on the top or bottom of the frame and
click Flip to flip the texture vertically.
o Alternatively click to flip the texture horizontally or click to flip
the texture vertically.
5. Click OK in the Bump, Color, or Decal Placement dialog box to place the
texture and close the dialog box.
6. Click Close to close the Appearance Editor dialog box.
To Edit a Placed Texture
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Under Assignment, click From Model to activate the edit mode.
Note: When you click From Model, you cannot edit other appearances in the
palette. To edit other appearances, click From Model again.
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3. Select a surface from the active model.
4. Click the Map tab.
5. Click the Bump, Color Texture, or Decal swatch. The Bump Placement, Color
Placement ,or Decal Placement dialog box opens. If you had previously
selected a non-parametric mapping for the texture, a sphere and a frame with
direct manipulation controls appear.
Note: Within an Assembly, direct manipulation controls are available for edit only
for the top-level assembly surfaces and quilts.
Clicking From model on component level appearances that have textures allows
modification through the Appearance Placement Editor only. You cannot
change mapping types of such appearances at the assembly level. You can edit
mapping types of only top level assembly surfaces and quilts.
6. If required, change the number of Copies and the Mapping type.
7. Scale, rotate, or flip the texture, or move the frame using the controls on the
sphere and frame.
8. Click Apply and OK in the Bump, Color, or Decal Placement dialog box,
respectively, to place the texture.
9. Click From Model again to exit the edit mode or, click Close to close the
Appearance Editor dialog box.
To Edit a Texture Placed in Pro/ENGINEER Wildfire 3.0 or Earlier Releases
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Under Assignment, click From Model to activate the edit mode.
3. Select a surface from the active model.
4. Click the Map tab.
5. Click the Bump, Color Texture, or Decal swatch.
6. Click OK in the Bump, Color, or Decal Placement dialog box, respectively.
7. Click From Model again to edit the appearances in the Appearance Palette.
8. Select the applied appearance from the Appearance Editor and click to
make a copy of it.
9. Under Assignment, click Apply to apply the copied appearance to the required
assignments.
10. Click the Bump, Color Texture, or Decal swatch.
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11. If required, change the number of Copies and the Mapping type.
12. Scale, rotate, or flip the texture, or move the frame using the controls on the
sphere and frame.
13. Click OK in the Bump, Color, or Decal Placement dialog box to apply and place
the texture.
14. Click From Model again to exit the edit mode, or click Close to close the
Appearance Editor dialog box.
To Save Textures
1. Open a model in Pro/ENGINEER.
2. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
3. Click From Model and select a surface. The appearance that is embedded in the
selected surface is loaded into the Appearance Editor dialog box.
4. Under Properties, click the Map tab. The textures used with the appearance are
displayed under Bump, Color Texture, or Decal.
5. Click the texture box next to Bump, Color Texture, or Decal. The Bump,
Color, or Decal Placement dialog box opens, respectively, and displays the
textures used with the appearance.
6. Select the required texture in the texture palette.
7. Click Texture > Show texture. The selected texture is displayed in the Image
Editor.
8. In the Image Editor, click File > Save As and save the texture.
Note:
• If the individual texture files are not available for embedded textures, that is, for
textures saved with the model, then this procedure is the only way of extracting
the individual texture from the model and saving it.
• To save the textures applied to the walls of a room, open the Room Editor
dialog box and select a wall. In the Room Appearance Editor dialog box that
opens, select a texture map and save it in the Image Editor.
• To save the textures with the model, set the save_texture_with_model
configuration option to yes.
To Display Textures
1. Click Tools > Environment. The Environment dialog box opens.
2. Select Textures and click Apply to display the textures used for the model.
or
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1. Click View > Display Settings > Model Display. The Model Display dialog
box opens.
2. Click the Shade tab.
3. Under Enable, select Textures to display the textures used for the model.
To Remove Textures
1. Click or click View > Color and Appearance. The Appearance Editor
dialog box opens.
2. Under Properties, click the Map tab.
3. Click the Bump, Color Texture, or Decal swatch. The Bump, Color, or Decal
Placement dialog box opens.
4. Select the texture that you want to remove and click or click Texture >
Delete. The texture is removed from the Texture Palette.
LightWorks Archives
About the LightWorks Material Archives
The LightWorks Archives (LWA) are third-party appearances. These appearances are
supported only by the Photolux renderer.
The LWA materials are of two types:
• Licensed—For licensed archives, you must purchase the license keys from the
archive vendor. Once you have the license keys, you can load appearances in the
Appearance Editor.
• Free—You can use and modify these appearances as and when required. You can
save them with the model but you cannot save them in the .dmt or .drm formats.
Both licensed and free LWA materials can be either public or private or they can have
a combination of public and private appearances.
• Private (Copy-protected)—You cannot view the shader parameters of the private
LWA appearances in the Appearance Editor and therefore, cannot edit them.
• Public—You can view and edit the contents of public LWA appearances.
You can access the LWA materials from the Appearance Editor by clicking File >
Open. If you set the pro_lwa_library configuration option to the LWA materials
directory, then the LWA materials under that directory are appended to the
Photolux System Library list. You can then access the LWA materials from the
Appearance Editor by clicking File > Photolux System Library.
If you select an LWA material that requires a license, Pro/ENGINEER displays a
License Validation dialog box in which you must specify a valid license key to use
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the required material set. The License Validation dialog box also contains the LWA
material information that is required to purchase the license key.
For LWA files that require licenses, Pro/ENGINEER checks for licenses during the
following operations:
• Loading a licensed LWA material from a part or an assembly into the
Appearance Editor.
• Rendering a model that has been saved with licensed LWA materials.
• Loading licensed LWA materials into the Appearance Editor by clicking File >
Open.
Note:
• The Skip and the Do not show this dialog again options in the License
Validation dialog box are available only when you render a model that has LWA
materials applied to it.
• Click Skip in the License Validation dialog box to skip the LWA license
validation process for the current LWA material and replace it with the default
material appearances.
• Click Do not show this dialog again in the License Validation dialog box to
skip the LWA license validation process for all the LWA materials that do not have
a valid license and replace these materials with the default material appearances.
On completing the rendering process, click Info > Session Info > Message
Log to refer to the list of LWA materials that failed the license validation.
To Obtain and Set the LWA License
1. Click Get License Key in the License Validation dialog box that opens when
you try to load a licensed LightWorks Material Archive (LWA). The LightWorks-
Users Web site opens in the Pro/ENGINEER browser. This site displays a form
where you must specify your personal details.
2. If you want to purchase the archive, then within the form you must provide your
credit card details. After you have entered all the required details, the browser
then displays the license key for the selected archive. You also receive the license
key through an email message.
3. Type the license key in the License Key box in the License Validation dialog
box and click OK. The LWA material is loaded into the Appearance Editor and
the license.txt file is created in the current working directory or in the
directory set by the pro_lwa_license_path configuration option. If a
license.txt file already exists in this location, then it is updated with the newly
obtained license key information. You can also manually create or update the
license.txt file.
Note:
• When you load a licensed LWA material into the Appearance Editor using File >
Open, Pro/ENGINEER does not check the validity of the license key that you have
specified in the License Validation dialog box. If you have specified an incorrect
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license key, then Pro/ENGINEER does not inform you of the error. The
license.txt file is also updated with the incorrect license key due to which
license validation fails each time you try to load the archive and you are
prompted to enter the correct license key again.
• Ensure that you have write permissions for the license.txt file itself and its
parent directory. If Pro/ENGINEER tries to write to the file and fails because of
inadequate permissions, an error message is displayed.
• When obtaining a license key, the LightWorks-Users Web site may also provide
license data along with the license key. If this license data is different from the
existing license data in the License Validation dialog box, then type the new
license key in the License Key box as follows:
<new license key>:<new license data>
• Each license key is locked to a specific computer and user.
To Create a license.txt File for the Licensed LWA Material
1. Open a new text document.
2. For each licensed LWA material, type the license ID, license key, and license data
in a line, each separated by a space, starting with the first line in the text
document.
3. Click File > Save As. The Save As dialog box opens.
4. Browse to the Pro/ENGINEER working directory or to the directory set by the
pro_lwa_license_path configuration option.
5. Specify the name of the file as license.txt and click Save.
To Edit the LightWorks Material Archives
You can edit the LightWorks Material Archives (LWA) for which you have the required
licenses, only if they are public or have a combination of public and private
appearances.
If licensed LWA materials have both public and private appearances, then you cannot
edit the private appearances. For a free LWA material, you can edit it only if the
entire material is public or if it has a combination of public and private appearances.
In this case, you can edit only the public appearances.
You cannot save the changes made to the public appearances in the .dmt or .drm
formats. While saving models that have LWA appearances, the LWA appearances are
excluded from the .dmt or .drm formats. However, you can save public appearances
in the .scn format (Scene files).
You can edit the public LWA materials through the Appearance Editor dialog box in
the same way as any of the Photolux materials.
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Lights
About Lights
All renderings must have a light source. The quality of an image is enhanced when
you use lights to highlight portions of the model or to create back lighting. For a
shaded image, you can have a maximum of 6 user-defined lights and 2 default lights
using the Light Editor dialog box. You can apply a light scatter effect to only the
Lightbulb and Spotlight type of lights. Each light that you define for a model
increases rendering time. The available types of light are:
• Ambient—Ambient light illuminates all surfaces equally. The position of the light
in the room has no effect on the rendering regardless of the angle between the
model and the light source. Ambient light exists by default and cannot be
created.
• Lightbulb—This light is similar to light from a bulb in a room where the light
radiates from the center. The light reflected off a surface varies, depending on
the surface position with respect to the light.
• Distant—Directional light casts parallel light rays illuminating all surfaces at the
same angle, regardless of the position of the model. This type of light simulates
the sun or any other distant light source.
• Spot—A spotlight is similar to a lightbulb but its rays are confined within a cone,
called the spot angle.
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• Skylight—Skylight provides a way to simulate the sky using a hemisphere that
contains a number of light source points. To accurately render the skylight, the
Photolux renderer must be used. If Photorender is used as the renderer, this light
is treated as a single source of distant light type.
• Environment—Uses a High Dynamic Range Image (HDRI) to illuminate the
model. This type of light can be used only with the Photolux renderer. If the
renderer is set to Photorender, the Environment light is not displayed in the lights
palette.
To Create Lights
1. Click or click View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Click to create a new distant light, to create a new lightbulb, to
create a new spotlight, or to create a new skylight.
Alternatively, click Light > New to add a new spotlight, distant light, lightbulb,
or skylight to the list of lights.
Note: Click to the left of each light to switch on a light, or Light > Toggle to
switch off a light. If is switched off, light is not displayed or used during
shading or rendering.
About Light Icons
Light icons are used to show the position and direction of a light type. When you
activate a light in the Light Editor, its icon is displayed in the Pro/ENGINEER
graphics area and you can manipulate the light's parameters directly from the
graphics area. You can also show the inactive lights in the graphics area by clicking
Show Light Icons in the Light Editor for the respective light type. The following
types of lights have light icons:
• Lightbulb—Represents the light position. The color of the light is indicated by
the color of the lightbulb.
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• Distant—Consists of the position of the light and an aim point with a direction
line. The color of the light is indicated by the color of the bottom face of the
distant light.
• Spotlight—Consists of the light position, an aim point, a direction line, an
arrowhead focus angle, and a spread angle cone. The color of the light is
indicated by the color of the cone's bottom face.
• Skylight—Represented by a hemisphere. The color of the light is indicated by the
color of the skylight icon. The light source points are scattered around a virtual
hemisphere, and the light icon does not represent the position of these light
sources by itself.
• Environment Light—Represented by a hemisphere. This icon is used to position
the light pole, and does not represent the position of any light source.
Lightbulb Distant Light Spotlight Skylight
Note: Ambient light does not have a light icon because it does not have a position or
direction.
Light is updated dynamically as you manipulate the light icons in the graphics area.
An active light has a larger light icon when compared to inactive lights. The size of
the light icons also depends on the size of the model. Depending upon the type of
light, the light icons have a maximum of four components; Source Location, Aim
Point Location, Focus, and Angle.
You can select the lights by clicking on the light icons in the graphics area. A light
icon has the following controls:
• Light Source Point Controls—This zone controls the X-, Y-, and Z-coordinates
(with respect to the screen) of the light source location in the Light Editor. You
can manipulate the following entities to modify the light source point:
Sphere o The light source point is located at the intersection of
the 2 polar rings. You can move it along the surface
of an imaginary sphere.
o The source point component is highlighted when you
move the pointer over it and while dragging.
o The sphere is divided into front and back hemispheres
by an imaginary plane that is parallel to the screen.
o While dragging, when the pointer leaves the sphere's
silhouette, the point movement continues onto the
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rear side of the sphere. You can do the same to come
back to the front side.
o You can change the size of the sphere by dragging
the sphere’s silhouette. The silhouette edge of the
sphere is highlighted when you move the pointer over
it and while dragging.
The 2 Polar
Rings
o Holding the light source point, you can rotate the polar rings about the X-
and Y-axis of the screen. You can also move the light source along the ring
path by selecting and dragging either of the rings.
o When the light source point is located in front of the sphere, only the front
portion of the ring is displayed.
o When the light source point is located behind the sphere, only the back
portion of the polar rings is displayed as dashed lines.
o Drag the ring to change the size of the sphere and the location of the light
source.
o The rings are highlighted when you move the pointer over them.
1. Sphere's silhouette
2. Y-axis ring (Polar Ring)
3. X-axis ring (Polar Ring)
4. Light Source
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5. Direction Line
6. Aim Point
• Aim Point (Center of sphere)—This zone corresponds to the X-, Y- and Z-
coordinates of Aim Point Location in the Light Editor.
o The aim point location is highlighted when you move the pointer over it and
while dragging.
o A line connects the aim point location and the source point of the light to
indicate the direction of the light. The color of the line is also that of the
light. You can move the entire sphere by dragging the direction line. In case
of a spotlight, drag the black portion of the direction line to move the
sphere. For other types of lights, you can move the entire direction line to
move the sphere.
Note: In case of the lightbulb, the black line does not indicate direction of the
light, because this light throws light in all directions. This line in case of the
lightbulb and the skylight is used to move the entire sphere.
You can position the aim point location in the following ways:
o You can freely drag the aim point location parallel to the screen (X- and Y-
axis, no Z-axis).
o Based on model geometry—Hold down the SHIFT key and drag the aim
point location. The aim point snaps to any geometry immediately behind it.
In addition to the above controls, the spotlight also has the following controls:
• Spread Angle for Spotlight
o The base edge of the spotlight is highlighted on moving the pointer over it.
o You can drag the base edge of the spotlight cone normal to the direction
line to control the value of the spread angle of the spotlight.
• Focus Arrow for Spotlight
You can also change the focus angle of the spotlight by dragging the arrowhead
of the aim point direction line. The longer the arrowhead, the sharper is the focus
of the spotlight.
About High Dynamic Range Images (HDRI)
High Dynamic Range Images (HDRIs), if used for lighting, greatly improve the
quality of renderings. HDRI are images that use the pixel color value of the image as
light sources, and are therefore also called image based lighting. This renders images
as they would appear in the real-world environment. HDRIs do not require any
external light sources for rendering lighting effects and are quick to setup unlike
direct lighting like spot, distant or lightbulb type of lights
HDRIs can be used as sources of lighting, backgrounds, and for model reflections.
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HDRI or Environment lighting is available only when you set the renderer as
Photolux.
Pro/ENGINEER supports only the following types of HDRI – Spherical, Angular
spherical and Panoramic (also known as Latitude-Longitude) types.
To Enable Environment Light as Background (HDRI)
1. Click to access the Perspective dialog box and set up a perspective view
for the model.
Note: The model must be in the perspective view for the High Dynamic Range
Image (HDRI) to be visible as the background.
2. Click to the left of the Environment light in the Light Editor dialog box to
switch on the Environment light, if the Environment light is switched off, or click
Light > Toggle to switch it on.
3. Click the Basic tab and click the thumbnail to select or change an environment
image under Environment Lighting.
To preview the environment image, right click the thumbnail, and click Preview
HDRI. A preview of the environment image is displayed in the Image Editor.
4. In the Effects Editor, click Background under Background.
5. Click the Settings tab under Background. The Background Settings dialog
box opens.
6. In the Background Settings dialog box, click Environment under Background
I.
7. If required, click Fit Image under Background I to fit the image in the graphics
area. Fit Image is not available if the HDRI type is spherical or angular-
spherical.
8. Under Background Zoom, adjust the slider to scale the background image. The
slider ranges from -20 to 20.
Note: The Background Zoom slider is available only when you select
Environment as Background I and you clear the Fit Image check box.
9. Click or View > Render Window to render the HDRI as the background.
Note: In addition to the background, the HDRI also lights the model.
To Set Environment as Lighting
1. Click or View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Click to the left of the Environment light to switch on the light.
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3. In the Basic tabbed page under Environment Lighting, click the thumbnail to
select another environment Image.
To preview the environment image, right click the thumbnail, and click Preview
HDRI. A preview of the environment image is displayed in the Image Editor.
Note: You can also load Low Dynamic Range images in the JPG and TIFF
formats. However, these images do not provide the rendering quality and effects
of High Dynamic Range images in the HDR and EXR formats.
4. Under Environment Lighting, specify the Accuracy as High, Medium, or Low.
Accuracy corresponds to the number of samples, where Low corresponds to 50
samples, Medium corresponds to 300 samples while High corresponds to 600
samples. Higher accuracy increases rendering time.
5. Click Show Light Icons to display the environment light icon in the graphics
window, even when the light is not selected in the Light Editor.
6. In the Advanced tabbed page, click Cast Shadows to cast soft or hard
shadows.
For hard shadows, use the slider to adjust the Noise Factor ranging from 0
through 1.00.
7. Click the Intensity tab to adjust the absolute intensity and the unit for the
Environment light.
8. Under Saturation, use the saturation slider to change the color saturation of the
environment light.
Saturation of the Environment light ranges from -1 to 1. The default saturation
value is 0.
9. Click the Position tab and use the thumbwheels under Source Location to
change the position of the light along the x-, y-, and z-axes. Use the Rotation
slider to rotate the light along the y-axis. You can also rotate the light by
dragging the light icon in the graphics window.
10. Click or View > Render Window to render the environment lighting effects
in the graphics window.
To Use Environment Light for Model Reflections
1. Click or View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Click the left of the Environment light to switch on the light.
3. In the Basic tabbed page under Environment Lighting, click the thumbnail to
select an environment Image.
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To preview the environment image, right click the thumbnail and click Preview
HDRI. A preview of the environment image is displayed in the Image Editor.
4. Click or View Model Setup > Render Setup. The Render Setup dialog
box opens.
5. In the Options tabbed page, under Model, click Reflective and select
Environment.
On rendering the model, the environment image is reflected on the model
wherever Model is set to Reflective.
Note: Room Reflections on Model will always take precedence over
Environment Reflections if Render Room is ON.
About Hard and Soft Shadows
You can set hard and soft shadows for each individual light using the Light Editor
dialog box.
• Hard shadows are translucent, can travel through objects, and pick up the color
of the material that they pass through.
• Soft shadows are always opaque and gray. You can control the softness of soft
shadows.
Note: You can see the effect of hard and soft shadows only when you select the
Photolux renderer.
To render shadows using the PhotoRender type of renderer, you must select
Shadows on Floor or Self Shadows in the Render Setup dialog box. For
Photolux renderer, you can select Shadows under both Model and Room.
Light Definition
Lighting is crucial to a good rendering. Lighting creates dramatic effects in an image
the same way photographers use lights to set up their subjects. If you have
photographs of a similar design, try to recreate the lighting from the pictures.
Experiment with lighting and keep the following tips in mind:
• A good lighting position to begin with is a little above the eyepoint and to the side
(try a 45° angle), similar to a light positioned over your shoulder.
• Spread out your lights and do not make one light stand out too strongly.
• Your model will appear too harsh if you use lights emitting from only one side.
• Too many lights can cause a model to look washed out.
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Remember that pure white lights are only created in a laboratory situation and are
not found in the natural environment. However, use only a small amount of color for
most of your lights. Colored lights enhance a rendered image but can alter the
appearance you have applied to your part. Here are more tips you can use to define
lights:
• To simulate an outdoor environment, use warm colors reflecting from below to
simulate the earth and cool colors from above to simulate the sky.
• For a studio setting, use lights that are close to white.
• Use a directional light with HSV values of 10, 15, 100 to simulate sunlight.
• Use a directional light with HSV values of 200, 39, 57 to simulate moonlight.
• Use a point light with HSV values of 57, 21, 100 to simulate an indoor lamp.
Some of these recommendations include HSV values for lighting. These values may
work for a majority of cases, but remember that HSV values look different depending
on your monitor calibration. If you have customized your monitor, these values
might not work for you.
To Modify Lights From the Light Editor
1. Click or View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Select the light that you want to modify.
3. Click Reset to restore the active light to its default position.
4. Under Basic, specify a name and color to define any or a combination of the
following types of lights:
• Lightbulb
• Spotlight
• Distant light
• Skylight
You can also specify the Color Temperature for these lights. The default color
temperature is set to None.
5. Under Spotlight, specify additional definitions for spotlights.
o Angle—Controls the size of the light beam. The spot angle is the diameter
of the beam.
o Focus—Controls the focus of the light beam.
6. Under Sky Light and Environment Lighting in the Basic tabbed page the
Accuracy as Low, Medium, or High for the skylight, where Low
correspondents to 50, Medium corresponds to 300, while High corresponds to
600.
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Note: Higher accuracy increases rendering time.
7. Select Show Light Icons to display light in the graphics window. This enables
you to adjust the position of the lights. In case of spotlights, the Show Light
Icons help in adjusting the spot angle.
8. Under Shadows in the Advanced tabbed page, click Cast Shadows and click
Soft or Hard shadows. For hard shadows of skylight and environment light,
specify the Noise factor. Noise factor controls the magnitude of noise in the
hard shadow. The Noise factor slider value ranges from 0 through 100.
Cast Shadows casts shadows during a rendering. By default, shadows are cast
for the default distant light.
9. Lens Flare Threshold—Controls the lens flare for spotlight and lightbulb. The
Lens Flare Threshold slider value ranges from 0 through 100.
Note: If the threshold value of the light is less than the threshold value set in
Lens Flare effects, lens flare will not be generated for that light.
10. Under Absolute Intensity in the Intensity tabbed page, specify the following
definitions for lightbulb, spotlight, skylight and Environment light:
o Absolute Intensity—Adjusts the absolute intensity of light. Use the
thumbwheel to specify the value. You can see the effect of the light
intensity only when you select the Photolux renderer.
o Unit—Determines the intensity of the light. You can choose Brightness,
Candelas, Kilocandelas, Lumens, or Kilolumens for spotlight and
lightbulb,or Brightness, Lux, Kilolux and Footcandles for distant light,
skylight, and Environment light as the unit of light intensity.
Under Light Scatter in the Intensity tabbed page, specify the following options:
o Scatter—Scatters the light for the lightbulb and spotlight type of lights.
You can see the effect of scattered light only when you select the Photolux
renderer, and enable Scatter in the Effects Editor with appropriate
parameters.
o Falloff—Determines whether light intensity diminishes from the source.
You can diminish light using a natural or linear method or you can turn off
Falloff.
Note: Falloff is available for spotlight and lightbulb.
To scatter light during the rendering, select Light Scatter in the Effects Editor
dialog box.
Note: Scatter is unavailable for distant light, skylight, and Environment light.
11. Under Position, specify the following options:
o Source Location—Positions the light in the x-, y-, or z-direction. This is
independent of the default Pro/ENGINEER coordinate system. The z-
direction is always perpendicular to the screen or view.
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o Aim Point Location—Aims the light.
Note: Aim Point Location is unavailable for light bulb, skylight, and
environment light contain a number of light source points.
o Locked to—Fixes a light to an object or a view.
Camera—The light is fixed in a position relative to the camera.
Model—Fixes a light to the model. The light illuminates the same point on
the model at all times, independent of the viewpoint.
Studio—Fixes a light to the studio. The light illuminates the same point in
the view at all times, independent of the room and model rotations.
Room—Fixes light at the same position, relative to the room. For example,
if you place a light in the top left corner of the room, it always stays in the
same corner of the room.
To Modify Lights From the Graphics Area
1. Click or View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Select the light that you want to modify. The light icon is displayed in the
graphics area.
Within the graphics area, you can modify the light in the following ways:
o Place the pointer over the light source that you want to modify and drag it
along the polar ring to the required location. To snap the light source to any
geometry closest to the pointer, hold down the SHIFT key while dragging
the light source.
o You can move the aim point independently of the light source by dragging
the aim point to the required location. This also changes the direction of the
light. To snap the aim point to any geometry closest to the pointer, hold
down the SHIFT key while dragging the aim point.
o Change the spread angle of the spotlight by dragging the base edge of the
spotlight. The base edge is highlighted when you move the pointer over it.
You can also change the focus of the spotlight by dragging the arrowhead
on the direction line of the aim point.
o To move the entire silhouette sphere, drag the direction line of the aim
point. In case of a spotlight, drag the black portion of the direction line to
move the entire sphere.
Note: Changes to the light parameters in the graphics area are synchronized with
the values in Light Editor dialog box and vice versa.
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To Delete Lights
1. Click or View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Select the light you want to delete from the light list. You can delete all the lights
in the list except the default lights.
3. Click or Light > Delete to delete the selected light.
To Save a Light File
1. Click or View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Click File > Save As in the Light Editor dialog box. The Save As dialog box
opens.
3. Type a name for the light file.
4. Click OK. The light files are saved with a .dlg extension.
Note: Lights scale and reposition parametrically according to the size and position of
the model. This makes the light files reusable with any kind of geometry. To take full
advantage of this capability, save your light files that were created in Pro/ENGINEER
Wildfire 2.0 or earlier releases to the Pro/ENGINEER Wildfire 3.0 format.
To Open a Light File
1. Click or View > Model Setup > Lights. The Light Editor dialog box
opens.
2. Click File > Open. The Open dialog box opens. Locate the required light file and
click OK.
or
Click File > System Library to open a predefined light file. The System Library
dialog box opens. Select the required light file and click or double click any
light file to load the light in the Light Editor dialog box.
3. Click Close.
Note: To open a light file from a release prior to the Pro/ENGINEER Wildfire, select a
file with the .lgh extension from the Open dialog box.
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Environment
About the Effects Editor
Use the Effects Editor dialog box to set advanced render functionality. All the
options in this dialog box are supported by Photolux rendering and are available only
with an optional Photolux license. Use this dialog box to define and modify a new
environment, open a saved one, or access the system library of environments.
The following options are available in the Effects Editor dialog box:
• Light Scatter—Simulates the atmospheric scattering of light within a medium
such as a smoky room or a hazy atmosphere. Lightbulbs and spotlights support
light scatter.
• Fog—Adds a fog effect to a rendering.
• Visible Light Lens Flare—Simulates the lens flare effect that is produced when
a camera is pointed towards a light. Lens flare is produced by lightbulbs and
spotlights.
• Hidden Light Lens Flare—Simulates the hidden light lens flare effect.
• Background—Places a background behind the scene. The background simulates
the model in a particular setting and is rendered behind the model and the room.
• Depth of Field—Produces varying focus throughout a scene. Depth of Field is
available only for rendering in the perspective view.
Note: Fog and Light Scatter are mutually exclusive that is you cannot select both
for a single image.
Environment settings are saved in a file with the .den extension.
To Set Fog Properties
1. Click or click View > Model Setup > Effects. The Effects Editor dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Effects Editor dialog box opens.
2. Select Fog and click Settings. The Fog dialog box opens.
3. Click the Color swatch and define the color using the Color Editor dialog box.
4. Select Layered Fog to create fog in a horizontal or vertical layer such as ground
fog, cloud cover, or shore fog. Standard Fog is the default.
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5. Specify the following:
o Distance—Specifies the distance, in model units, that the fog extends to
from the eyepoint.
o Density—Specifies the density of the fog.
6. If required, select Fog Background to render the fog over the background as
well as over the geometry including the room.
7. For additional layered fog properties, specify the following:
o Height—Specifies the height to which the fog extends in the room from the
selected falloff wall.
o Falloff—Specifies the direction in which the fog decreases relative to the
room. For example, if you choose ceiling, the fog falls off from the ceiling of
the room towards the floor.
8. Click Close.
To Set Light Scatter Properties
1. Click or click View > Model Setup > Effects. The Effects Editor dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Effects Editor dialog box opens.
2. Select Light Scatter and click Settings. The Light Scatter dialog box opens.
3. Click the Color swatch and define the color using the Color Editor dialog box.
4. Specify the density of the scatter medium. Increasing the density intensifies the
effect and makes the scattering more visible.
5. Use the Clip thumbwheel to specify the distance, in model units, that the
medium extends to from the eyepoint.
6. If required, select Turbulence to create turbulent light scattering effect and
specify the amount of detail in the scatter medium and the overall size of the
turbulence. Rendering time increases significantly after applying turbulence.
7. If required, select Shadows to specify whether the medium itself receives
shadows. Selecting Shadows increases rendering time significantly and is valid
only when lights cast shadows.
Note: You must select Scatter for the required lightbulb or spotlight in the scene
from the Light Editor dialog box.
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To Set Background Properties
1. Click or click View > Model Setup > Effects. The Effects Editor dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Effects Editor dialog box opens.
2. Select Background and click Settings. The Background Settings dialog box
opens. You can specify a single background or mix two backgrounds.
3. Under Background I, define one of the following properties:
o Color—Defines a solid color for the background using the Color Editor
dialog box.
o Image—Defines an image for the background. Select the image using the
file browser.
Fit Image is available for selection if you select an Image as the
background for both Background I and Background II. Fit Image fits
the image to the graphics window.
o Blend—Defines a procedural image that is a gradation of two colors from
the top to the bottom of the image. Click the Color swatch and specify the
top and bottom colors for the blend in the Blended Color dialog box. To
reset the blended color to previously defined values, select Top or Bottom.
o Clouds—Defines a cloud procedural image. Click the Color swatch and
specify the properties for clouds in the Cloud Editor dialog box.
Specify the color of the cloud and the background.
Use the slider or type a value for Detail. This is the amount of detail in the
clouds and how many wisps are rendered around them. For example, 1
renders a simple outline of the clouds while 6 renders the clouds with fine
detail.
Use the slider or type a value for Scale, specifying the size of the clouds.
4. If you choose to use a second background, under Background II, select Enable
and define the properties for the second background.
Specify a mix ratio which indicates how much of the second background is to be
mixed with the first background. A value of 20 means that 20% of the second
background is mixed with 80% of the first background.
To Set Depth of Field Properties
1. Click or click View > Model Setup > Perspective. The Perspective dialog
box opens.
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Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Perspective dialog box opens.
2. Use the Perspective dialog box to set the perspective view.
3. Click View > Model Setup > Effects. The Effects Editor dialog box opens.
4. Select Depth of field and click Settings. The Depth of Field Settings dialog
box opens.
5. Select Camera or Planes to define depth of field by either describing a camera
model or a pair of focus planes, respectively.
6. Select Auto Focus to automatically focus at a certain position in the scene. You
can use Auto Focus in conjunction with either Camera or Planes.
7. If you have selected Camera, the scene is in focus at a single plane. The rate of
change of focus is controlled by the F-Stop value. Specify the following
properties:
o F-Stop—Specifies the aperture opening of the camera. This value is
analogous to how you set up a camera, although you are not restricted to
exact camera settings. The minimum value is 1.4 which creates a narrow
depth of field. The maximum value is 20.0 which creates a broad depth of
field.
o Focus—Specifies the distance in model units, from the eyepoint to the
point at which the scene is in focus.
8. If you have selected Planes, the scene is in focus between two planes. The rate
of change of focus is controlled by the blur factor. Specify the following properties
of the focal planes:
o Near and Far—Specifies the focus planes. The model is in focus between
these two planes. The Near and Far planes are indicated by blue vertical
lines and green horizontal lines, respectively. You can see the intersection
of these lines with the model and adjust them manually.
o Blur—Specifies how quickly the scene blurs outside the focus planes.
To Set Lens Flare Properties
1. Click or click View > Model Setup > Effects. The Effects Editor dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Effects Editor dialog box opens.
2. Set up one lens flare environment for visible lights and another one for hidden
lights. A hidden light is one that is behind the geometry or outside the view.
3. Specify a percentage for the overall intensity of the lens flare effect.
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4. Specify the rotation of the lens flare effect in degrees.
5. Specify the minimum flare threshold. For example, if the threshold is set to 0.5,
then only those lights in the scene that have a threshold value of 0.5 or above
produce a lens flare. The threshold slider value ranges from 0 to 100.
Note: You can have a lens flare effect only for lightbulb and spotlight type of lights.
For spotlight, the lens flare effect is visible only if the spotlight is aimed at the
camera.
To Set Lens Flare Effects
1. Click or click View > Model Setup > Effects. The Effects Editor dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Effects Editor dialog box opens.
2. Select Visible lights lens flare or Hidden lights lens flare and click Settings.
The appropriate dialog box opens.
3. Under Effects, click the Rays check box to define light streaks that extend from
the light source. Click the Rays tab and define the following properties for lens
flare rays.
o Color—Defines the color of rays.
o Type—Defines the type of rays. Regular rays are specified by a number and
are bold rays. Random rays are numerous light rays. Mix is a mix of regular
and random rays.
o Number—Defines the number of pairs of regular rays. The number of rays
that you can select ranges from 1 to 20.
o Intensity—Defines the intensity of the rays.
o Length—Defines the length of the ray as a ratio of the glow radius. For
example, the ray extends to the edge of the glow when the length is 1.0.
4. Under Effects, click the Glow check box to define the glow of the light source.
Click the Glow tab and define the following properties for lens flare glow.
o Color—Defines the color of the glow.
o Shape—Defines the shape of the glow. Select from Circle, Polygon, or
Soft Polygon. The polygon shape is a hexagon with sharp corners.
o Intensity—Defines the intensity of the glow.
o Radius—Defines the size of the glow.
5. Under Effects, click the Halo check box to define the halo around the lens iris.
Click the Halo tab and define the following properties for lens flare halos.
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o Color—Defines the color of the halo.
o Shape—Defines the shape of the halo. Select from Circle, Polygon, or
Soft Polygon. The polygon shape is a hexagon with sharp corners.
o Intensity—Defines the intensity of the halo.
o Radius—Defines the size of the halo.
o Width—Defines the thickness of the halo ring.
6. In a photograph, ghosts are caused by the light bouncing between the elements
of the camera lens. To create the same effect in your image, under Effects, click
the Ghosts check box. Click the Ghosts tab and define the following properties
for lens flare ghosts.
o Shape—Defines the shape of the ghost. Select from Circle, Polygon, or
Soft Polygon. The polygon shape is a hexagon with sharp corners.
o Number—Defines the number of ghosts. The number of ghosts that you
can select ranges from 1 to 20.
o Intensity—Defines the intensity of the ghost.
Room
About the Room
A room sets the stage for a rendering and is an integral part of a rendered image. A
well-defined room shows a model's best features. The elements of a room include
size, position, and wall patterns (assigned textures).
A room can be either rectangular (default) or cylindrical in shape. You can change
the size of the room and use either the wireframe or shaded display. A shaded
display is automatically viewed in any background room or wall surface.
You can assign textures to the walls of a room. Assign a texture to an individual wall
or to all four walls at once.
To Create a Room
1. Click or View > Model Setup > Room Editor. The Room Editor dialog
box opens.
2. Click Room > Rectangular to create a rectangular room represented by a floor,
ceiling, and four walls or click Room > Cylindrical to create a cylindrical room.
Photorealistic Rendering represents a cylindrical room with a floor, ceiling, and
one wall. By default, a room is rectangular in shape.
3. To assign appearances to the ceiling, floor, and walls of the room.
a. Under Room Appearances, click a thumbnail. The Room Appearance
Editor dialog box opens.
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b. Select the required appearance from the appearance palette and modify it,
if required.
Note: You cannot modify default appearances. However, you can make a copy of
the default appearances. When you make a copy, the Room Appearance Editor
allows you to change the name and properties of the copy.
4. Select the Lock Room to Model check box to rotate the room along with the
model. Clear the Lock Room to Model check box to rotate only the model.
Note: The Lock Room to Model check box is selected by default if you set the
room_rotation_lock configuration.
5. Click the Position tab.
• Enter values for the size of the Ceiling, Floor, Wall 1, Wall 2, Wall 3, and
Wall 4 of the room. Alternatively, use the thumbwheels to adjust the size of the
ceiling, floor, and walls.
• If required, click next to Ceiling, Floor, Wall 1, Wall 2, Wall 3, and Wall
4, respectively to align the ceiling, floor, or walls of the room to the visible
shaded geometry.
• Under Scale, use the thumbwheel to scale the entire room. If required, select
Scale Floor to scale the floor along with the walls and ceiling.
The dimensions of the ceiling, floor, and walls and the size of the room change
dynamically in the graphics window.
6. Click the Rotate tab.
• Enter values for x-, y-, and z-axis to rotate the room on its axes. Alternatively,
specify values for x-, y-, and z-axis by using the thumbwheels.
• If required, set room orientation to Studio or Model and click Orient.
If you select Studio and click Orient, the room is oriented such that Wall 2 is
parallel to the screen and the x-, y-, and z-axis values are reset to zero.
However, if you select Model and click Orient, the room changes its orientation
to align to the default coordinate system of the model.
7. Click the Display tab.
• Under Walls Displayed, click or clear the check box next to Ceiling, Floor,
Wall 1, Wall 2, Wall 3, and Wall 4 to display or hide them, respectively.
• Under Display Options, select either the Shaded or Wireframe mode of
display for the room.
8. Click Close.
Tip: Creating a Room
The size and orientation of the room and the placement of textures on the walls,
ceiling, and floor are all issues that affect the quality of an image. For a rectangular
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room, making the corners of the room look realistic can be the hardest aspect of
room creation.
You can avoid the problem of room corners by either creating a cylindrical room or
by making the room so large that the corners are not included in the image. Move
the walls of the room away from the model and then zoom in on the model for the
rendering.
To Apply a Texture to a Room
1. Click or View > Model Setup > Room Editor. The Room Editor dialog
box opens. You can assign textures to the walls of a room. Assign a texture to an
individual wall or to all the walls at the same time.
2. Select a texture using one of the following methods:
o File > Open to open an existing room file.
o File > System Library to open a predefined room file.
o File > New to add a new room file. This resets the texture of the room
with the default room file.
3. Under Room Appearances, click the appearance that you want to modify. The
Room Appearance Editor dialog box opens.
4. Select the required appearance from the Room appearance palette and click
in the editor, or Material > New to create a new appearance.
Note: You cannot modify default appearances. However, you can make a copy of
the default appearances. If you want to change the appearances, click , or
Material > New to make a copy of the appearance. The Room Appearance
Editor allows you to change the name and properties of the copy.
5. If required, specify a name for the copy of the appearance.
6. Specify values for the options on the Basic, Map, Advanced, and Photolux
tabbed pages in the Appearance Editor dialog box to define the appearance.
7. Click Close to close the Room Editor dialog box.
To Save a Room File
1. Click or View > Model Setup > Room Editor. The Room Editor dialog
box opens.
2. Click File > Save As in the Room Editor dialog box. The Save As dialog box
opens.
3. Type a name for the room file.
4. Click OK. The room file is saved with a .drm extension.
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Note: A room scales parametrically. The size of the room changes according to the
size of the model. This makes the room files reusable with any kind of geometry. To
take full advantage of this capability, save your room files that were created in
Pro/ENGINEER Wildfire 2.0 or earlier releases to the Pro/ENGINEER Wildfire 3.0
format.
To Open a Room File
1. Click or click View > Model Setup > Room Editor. The Room Editor
dialog box opens.
2. Click File > Open. The Open dialog box opens. Locate the required room and
click OK.
or
Click File > System Library to open a predefined room. The System Library
dialog box opens. Select the required room file, click or double-click any
room file to load the room in the Room Appearances palette.
3. Click Close.
Scenes
About the Scene File
A scene file is a collection of render settings applied to a model. These settings
include lights, rooms, and environment effects. All information about the scene is
stored in a file with a .scn extension.
Note: Set the default_scene_filename <path to scene file> configuration
option to point to the scene file where you have saved the light, room and effects
settings in the scene file. You can use this file as your default scene file.
You can access the Scenes dialog box by clicking or View > Model Setup >
Scene Palette. The scenes palette in the Scenes dialog box, by default, displays
the default scenes located at <loadpoint>/graphic-library/scenes. The scenes
palette also displays scenes from the Pro/ENGINEER startup directory. Using the
Scenes dialog box, you can add scenes to the scenes palette, create new scenes,
copy existing scenes, edit current scenes, and save scenes for future use.
You can apply a scene to a model by double-clicking the scene thumbnail in the
scenes palette. On applying the scene, the lights and room are displayed only if the
light and room editors are open.
Scenes are loaded and remain in memory during the session. If you want to save the
scenes permanently, then you must save them as scene files.
When you activate a scene from the scenes palette, the scene settings are applied to
the model in the current window. This also becomes the active scene in the memory.
On making changes to this scene, the active scene in the memory is modified. You
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can save these changes made to the active scene in the memory by either saving the
scene with the model or by saving the scene as a scene file.
Saving the model does not save the modifications made in the active scene, unless
you click the Save scene with model check box in the Scenes dialog box. The
Save scene with model option is controlled by the save_scene_with_file configuration option. When you set the save_scene_with_file configuration option
to yes, Save scene with model remains selected for the duration of the session.
You can also save the scene independently by clicking File > Save As in the Scenes
dialog box. If you want to save the textures with the scene, then you must set the
save_texture_with_model configuration to yes.
You can save only one scene with the model. When you reload the model from its
location, the scene that is saved with the model is activated.
Room and lights within the scenes scale parametrically, depending on the size of the
model to which the scene is applied. The room is automatically resized or the
position of the lights change making the scene reusable with any kind of geometry.
Note:
• In the scenes palette, the thumbnail of a new scene is displayed with a symbol
while the thumbnail of a modified scene is displayed with a symbol.
• In the scene palette, the active scene's thumbnail has a red border while the
selected scene's thumbnail has a blue border.
• Result of rendering would differ from thumbnails when using Photorender.
To Create a New Scene
1. Open a model in Pro/ENGINEER.
2. Click or click View > Model Setup > Scene Palette. The Scenes dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Scenes dialog box opens.
3. Click File > New in the Scenes dialog box. The scene with the default settings is
added to the scene palette and is also applied to the model. The newly added
scene has a symbol over its thumbnail in the scene palette.
4. If required, edit the lights, room, and other render options.
5. Click File > Save As in the Scenes dialog box. The Save As dialog box opens.
6. Type the required name and click Save. The scene is saved as a scene file with a
.scn extension.
Note: While saving a scene file, the scene name is appended to the names of the
scene's room appearances so that the room appearances have unique names.
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To Create a New Scene by Copying an Existing Scene
1. Open a model that does not have a scene saved with it.
2. Click or click View > Model Setup > Scene Palette. The Scenes dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Scenes dialog box opens.
3. Select a scene from the scene palette and click Edit > Copy to create a copy of
the selected scene. The copied scene is added to the scene palette as a new
scene with a symbol on its thumbnail.
4. To activate the new scene, double-click its thumbnail in the scene palette. The
new scene is loaded into the current window.
5. Edit room, lights, and render options, if required.
Note: When you edit the scene, the symbol on the scene's thumbnail changes
to a symbol, indicating that the scene has been modified.
6. Click Save scene with model and save the model. The new scene is saved with
the model. If you continue modifying the scene and saving the model, the latest
updates of the scene and the model are saved.
Alternatively, click File > Save As in the Scenes dialog box and save the scene
as a scene file.
To Retrieve and Update an Existing Scene From the Disk
1. Click or click View > Model Setup > Scene Palette. The Scenes dialog
box opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Scenes dialog box opens.
2. Click File > Append to load a scene from the library to the palette if the scene is
not already loaded. The newly loaded scene has a symbol on its thumbnail.
3. To activate the scene, double-click the scene's thumbnail in the scenes palette or
click Edit > Apply. The scene is applied to the current model.
4. Make modifications to the scene by changing the lights, room settings, or
environment effects.
Note: When you edit the scene, the symbol on the scene's thumbnail changes
to a symbol, indicating that the scene has been modified.
5. Click File > Save As. The Save As dialog box opens. Overwrite the original
scene file in the scene library.
Note: A warning is displayed when overwriting the file.
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6. Click OK. The original scene is updated with the changes and its thumbnail is
updated in the palette.
To Reuse a Scene From Another Model
1. Open a model that has a scene saved with it.
2. Click or click View > Model Setup > Scene Palette. The Scenes dialog
box opens. The scene that is saved with the model is loaded in the scene palette
for the session. The thumbnail of the scene has a symbol.
3. Right-click on the scene's thumbnail in the scene palette and click Copy. A copy
of this scene is created in the scenes palette. The copied scene's thumbnail also
has a symbol on it.
4. Open a second model that has a scene saved with it.
5. Open the Scenes dialog box. The second model's scene is loaded in the scenes
palette. The second model and its scene now become the active model and the
active scene.
6. Double-click on the first model's copied scene that is available in the scenes
palette, to apply this scene to the second model.
7. Click Save scene with model in the Scene dialog box and save the model. The
scene is saved with the model.
To Save a Scene With the Model
1. Open a model that does not have a scene saved with it.
2. Click View > Model Setup.
3. Click the appropriate command to set up room, lights, and render options.
4. Click or click View > Model Setup > Scene Palette. The Scenes dialog
box opens.
5. Click Save scene with model and save the model. The new scene is saved with
the model. If you continue modifying the scene and saving the model, the latest
updates of the scene and the model are saved.
Alternatively, click Update > Model and save the model. The model is updated
with the active scene settings immediately. These settings are saved with the
model when the model is saved.
To Remove a Scene From the Scene Palette
1. Click or click View > Model Setup > Scene Palette. The Scenes dialog
box opens.
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Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Scenes dialog box opens.
2. In the scenes palette, select the scene that you want to remove from the palette.
3. Click Edit > Delete. The scene is removed from the palette.
Orientating and Viewing the Model
About Orientating and Viewing the Model
Use the Orientation dialog box to change the view of the model. The view is created
by selecting an axis or two surfaces that lie along two planes. The model is oriented
along the reference.
Perspective viewing creates a dynamic single-vanishing point perspective of a shaded
or wireframe model. You can observe an object as the view changes following a
curve, axis, cable, or edge around an object. Choose a viewing path and then control
the position of the model, rotating the perspective view, zooming, and changing the
viewing angle.
To Change the Perspective View
1. Click or click View > Model Setup > Perspective. The Perspective dialog
box opens.
2. Select one of the following methods to move a view:
o Fly Through—Manual method of changing the perspective view. The
orientation and position of the model is controlled with flight simulator-like
interactions.
Middle-clicking starts the Fly Through method. In the Fly
Through mode, you can move the object as follows:
Middle click to move towards the object. Middle-click and hold down to
accelerate the forward movement of the view.
CTRL+middle-click will decrease the speed while moving forward.
After reaching the zero-velocity, use CTRL+middle-click to move away from
the object. Middle-click and hold down to accelerate the backward
movement of the view.
Similarly, middle click to decrease the speed of movement of the view while
moving the view away from the part.
Middle-click twice to stop the movement of the view without exiting from
the Fly Through mode.
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Note: After reaching the zero-velocity, you can restart the forward and
backward movement of the view. Using the spin center symbol, you can
then spin the model with the movement of the mouse.
To exit the Fly Through mode, hold down the SHIFT+CTRL keys and
middle-click.
o Walk Through—The view can be manipulated using only the controls in
the Perspective dialog box. This method allows you to move the object
only in the two-dimensional view.
o From/To⎯Viewing path along the object is defined by two datum points or
vertices.
o Follow Path⎯Viewing path is defined by an axis, edge, curve, or
silhouette.
3. Select Dynamic Update to automatically display the adjustment of the settings.
4. Specify a value for Eye Dist to move the viewpoint along the selected path
through the model. For a shaded model, nothing is visible when the path lies
inside the model.
5. Specify values for Rotate Eye in the range of -180 to +180 degrees, to set the
rotation around axes.
6. Specify values for Pan Eye to set the horizontal and vertical position of the
display.
7. Specify the Zoom value. This sets the percentage of magnification of the display.
8. Specify the View Angle in the range of 0 to 45 degrees.
9. Click OK to set the values.
Note: In the Perspective mode, you may find it difficult to view the model if the
eyepoint is close to the model. Surfaces also may not be rendered correctly if the
model is complex and contains many surfaces that are close to each other. Use the
zoom functions for a better perspective view of the model.
To Orientate Dynamically
1. Click or click View > Orientation > Reorient. The Orientation dialog box
opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Orientation dialog box opens.
2. Under Type, select Dynamic orient as the type of orientation to orientate the
model.
3. Under Options, specify the horizontal and vertical values for Pan to set the
position of display.
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4. Specify the Zoom value. This sets the percentage of magnification of the display.
5. Click Refit to fit the model to screen or Center to pick a new screen center.
6. Under Spin, click to spin using the spin center axis or to spin using
the screen center axis.
7. Select Dynamic Update to automatically display the adjustment of the settings.
8. If required, save the view. Open the Saved Views container and select the
required view. The selected view is displayed in the Name box.
9. To define a view name of your choice, type a name for the view in the Name box
and click Save to save the new view name.
10. If required, select a view and click Set to set the selected view as the current
view.
11. Click OK to orientate the view dynamically.
To Orientate by Reference
1. Click or click View > Orientation > Reorient. The Orientation dialog box
opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Orientation dialog box opens.
2. Under Type, select Orient by reference as the orientation type.
3. Under Options, select a plane or axis as a reference for orientation from the list
in the Reference 1 box.
4. To use the axis method, select Horizontal axis or Vertical axis from the list in
the Reference 1 box. Select an axis from the screen or from the dialog box. The
model is orientated in the view.
or
To use the plane method, select one of the planes from the list in the Reference
1 box and select the surface from the view. This orientates the selected surface
along the defined plane, but you must select another reference point to complete
the orientation.
5. If you orientate a surface along a plane, select the required plane from the list in
the Reference 2 box. Select the surface to orientate along the second reference
plane. The model is orientated in the view.
6. If required, save the view. Open the Saved Views container and select the
required view. The selected view is displayed in the Name box.
7. To define a view name of your choice, type a name for the view in the Name box
and click Save to save the new view name.
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8. If required, select a view and click Set to set the selected view as the current
view.
9. Click OK to orientate the model by reference.
To Orientate by Preference
1. Click or click View > Orientation > Reorient. The Orientation dialog box
opens.
Alternatively, click View > Model Setup > Render Control and click on
the Render Control toolbar that appears. The Orientation dialog box opens.
2. Under Type, select Preferences as the type of orientation.
3. Under Spin Center, select one of the following spinning methods:
o Model center—The spin center is at the center of the model.
o Screen center—The spin center is at the center of the screen.
o Point or vertex—The spin center is at the selected point or vertex.
o Edge or axis—The spin center is at the selected edge or axis.
o Coordinate system—The spin center is at the selected coordinate system.
4. Under Default Orientation, set the orientation to Isometric, Trimetric, or
create a User Defined orientation.
5. If required, save the view. Open the Saved Views container and select the
required view. The selected view is displayed in the Name box.
6. To define a view name of your choice, type a name for the view in the Name box
and click Save to save the new view name.
7. If required, select a view and click Set to set the selected view as the current
view.
8. Click OK to orientate the view by preference.
To Render a Model
1. Load the part or assembly.
2. Define and set appearances for the part or surfaces using the Appearance
Editor dialog box.
3. Define a rendering room using the Room Editor dialog box. Size and orient the
room to fit your model and rendering style. Apply textures to the room to create
a detailed background, if required.
4. Create and position lights using the Light Editor dialog box. Illuminate the
model from different angles with a variety of light sources.
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5. Move and rotate the model until you achieve the required view. You can also
change the viewing perspective.
6. Choose and apply an existing scene from a variety of scenes from the Scene
dialog box.
7. Select rendering options using the Render Setup dialog box. Set the render
Output as Full Window in the Render Setup dialog box.
8. Click or click View > Render Window to render the model. If required,
modify the rendering settings and render again.
9. To save the rendered output, click from the Render Control toolbar and save
the currently displayed image to a file.
About Render Region
Rendering an entire window to view the results of the effects applied to the model
takes considerable amount of time. In such cases, the Render Window functionality
enables you to view the results of the effects on the model without having to render
the entire window.
This functionality enables you to select a region of the window where the effects are
applied, and render only this selected region.
To Use Render Region
1. Click on the Render Control toolbar.
2. In the graphics window, select a region of the model that you want to render.
Pro/ENGINEER renders the selected region.
If Pro/ENGINEER has already performed a full window rendering, render region is
composited over the full window rendering.
Note: Render region is available only when:
• You set the renderer to Photolux.
• You select the render output as Full Window under Output in the Output tab.
Images
About Importing Images
When importing large images, Pro/ENGINEER rescales the image to the value set for
the max_image_dimension configuration option. This configuration option sets the
maximum size of images that Pro/ENGINEER can load. Images larger than the
maximum size are rescaled to the specified size when they are imported.
Pro/ENGINEER maintains the aspect ratio of the image during rescaling.
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About Saving an Image
You can save an image to a file while you are rendering, or view the image and then
decide to save it. Use the Image Editor to edit any supported image file.
You can also use the Image Editor to display one image at a time or multiple
images in a slideshow-like format.
About the Image Editor
The Image Editor provides the following options:
• Edit—Includes the following options:
o Undo—To undo the previous operation performed on the image.
o Cut—Removes the selected area from the image.
o Copy—Copies the selected area.
o Paste—Pastes the area that was previously cut or copied to the image.
• View—Includes the following options:
o Display Alpha Channel—Displays the Alpha Channel.
o Pointer Position—Displays the x- and y-coordinates of the pointer in the
bottom right corner of the Image Editor.
o Pixel ARGB Value—Displays the Alpha and RGB values at the pixel
location of the pointer in the bottom right corner of the Image Editor.
• Image—Includes the following options:
o Size—Resizes the image.
o Mirror—Mirrors the image either horizontally or vertically.
o Rotate—Rotates the image either clockwise or counterclockwise.
o Crop—Crops the image.
o Repeat—Duplicates the image. Use this option to create a tiled texture
larger than the original image file.
o Blur—Blurs the image. The valid range is 2 through 9.
o Oil Paint—Creates an oil paint effect on the image.
o Smear—Smears the image.
o Sharpen—Sharpens the image. The valid range is 0.0 through 1.0.
o Brighten—Brightens the image.
o Contrast—Changes the contrast of the image. The default contrast value is
20.
o Saturation—Changes the saturation of the image.
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o Tint—Changes the tint of the image.
o Grey Scale—Converts the image to grey scale.
o Emboss—Creates an embossed effect on the image.
o Create Alpha Channel—Reads any pixel of the specified RGB values in the
image and makes it a transparent channel.
o Slideshow—Displays multiple images in a slideshow format.
To Save an Image
1. Click or click View > Model Setup > Render Setup. The Render Setup
dialog box opens.
Alternatively, click View > Model Setup > Render Control and click on the
Render Control toolbar that appears. The Render Setup dialog box opens.
2. Use the Render Setup dialog box to save the image after rendering. Preview the
image until you have the required result.
3. Click the Output tab.
4. Select the required file format for the rendering output in the Render To box. A
file name with the appropriate extension appears in the File Name box. This will
output the image with the required file name while rendering the model using
Render Model.
5. To view a rendered image first and then decide whether to save it, set the
rendering output to Full Window, render the model, and click to save it.
or
Set the rendering output to New Window and render the model to display the
image in the Image Editor. Modify the image if required and click File > Save
to save the image.
6. Click File > Save a Copy from the top menu bar of the Pro/ENGINEER window to
save a shaded image using any valid image file formats.
To Edit an Image
1. Click . The Image Editor opens.
2. Open the image that you want to modify.
3. Use one of the following options available on the Image Editor to modify the
image.
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4. Use the Edit, View, or Image menu options to further modify the image.
5. Click File > Save to save the image.
To Use Slideshow
1. Click . The Image Editor opens.
2. Open the image that you want to modify.
3. Click Image > Slideshow. The Slideshow dialog box opens.
4. Click Insert and use the Open dialog box to add individual files to the slideshow
or
Click Append Dir and use the Select Working Directory dialog box to add all
the images in the selected directory into the slideshow.
5. Select the directory where the images are stored and, if necessary, select image
files. To add multiple files, hold down the CTRL key, select additional images, and
click OK in the respective dialog box.
6. Use the following methods to control the slideshow:
o —Cycles through the images in a continuous loop.
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o —Displays the images once and stops. Reverses the direction before
beginning the slide show or when you select the continuous loop option.
o —Optimizes the size of the image to fit the window while retaining
the width and height ratio.
o —Stores the image files in memory. Replaying the images is faster
as the slideshow does not reload them from disk each time.
7. Click Close.
Glossary
Glossary for Photorealistic Rendering
Term Definition
Alpha The optional fourth channel in an RGB image file,
typically used for compositing.
Ambient Light A light that equally affects all portions of all objects in a
rendering scene.
Ambient Light
Reflection
A property of the surface that determines how much
light from an ambient light source is reflected off the
surface, regardless of the position or angle of any light
source.
Appearance A set of attributes that determine the appearance of a
surface. These attributes include color, reflecting
ability, transparency, texture, and so on.
Appearance
Sphere
The sphere that is contained in the appearance editor
that displays the current appearance properties.
Backface The back side of a surface.
Background The environment, other than the room, in which the
model is rendered.
Bounces A ray trace option that determines how many times a
light ray bounces before it arrives at the eyepoint.
Brightness The property of an appearance that determines its
intensity after the hue is chosen.
Bump Map A one-channel texture map that creates the illusion of
surface roughness.
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Term Definition
Bump Height The height or depression of the bump map features.
Color The surface color of a lighted model.
Color Blender A part of the color editor that provides a continuous
range of colors. Blends colors between the four color
chips of the blender.
Color Box A part of the color editor that allows you to define
colors along two axes based on red, green, and blue
values of colors.
Color Palette A part of the color editor that provides an array of
colors.
Color
Temperature
Color Temperature is a property that indicates the hue
of a specific type of light source.
Color Texture A three-channel texture map that consists of red,
green, and blue values.
Color Wheel A part of the color editor that allows you to select
colors based on hue, saturation, and brightness.
Decal A four-channel texture map that consists of a standard
color texture map and a transparency (or alpha)
channel.
Decal Intensity The intensity of the decal map.
Depth of Field The distance between the closest and the farthest
points from a camera that are in sharp focus.
Distant Light Distant lights cast parallel light rays, illuminating all
surfaces at the same angle, regardless of the position
of the surfaces. This type of lighting simulates the sun
or any other distant light source.
Effects Additional special effects like fog, scatter, lens flare and
depth of field that can be applied to the final rendered
scene.
Environment
Light
High Dynamic Range Image (HDRI) Light that uses the
image pixels for lighting a scene.
Fog A misty effect that can be applied during rendering.
Gamma An inherently nonlinear reproduction of intensity by a
display device (monitor).
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Term Definition
Highlight Color The color of the highlight that is reflected from the
model.
Highlight Shine The sharpness or spread of the highlight; the smaller
the highlight, the shinier the surface.
Highlight
Intensity
The brightness of the highlight.
Hue The basic shade or tint that defines a color.
Hue,
Saturation,
Brightness
The combination of dominant wavelength, purity, and
intensity that fully specifies a color.
Image The picture that is created during a rendering. An
image can be displayed on the screen or written to a
file.
Lens Flare An effect caused by internal reflections of light within
the lens of a camera.
Graphics
Library
A collection of textures, appearances, rooms, and lights
that are stored together on disk for convenient access
when assigning parts of a scene.
Light Necessary for all renderings, lights have position, color,
and brightness. Some lights also have direction,
spread, or concentration. The six types of lights are
ambient, environment, skylight, distant, lightbulb, and
spotlight.
Lightbulb A type of light where the illumination radiates from the
center of the bulb. The effect of a lightbulb on a surface
depends on the position of the light from the surface.
Light Room A rendering option that determines whether the room
is lit by user-defined lights or a standard ambient
lighting.
LWA LightWorks Material Archives. These are third party
appearances that are supported only by the Photolux
renderer. You must have appropriate licenses to view
or edit these materials.
Mapping Types The specification for how textures are to be mapped
onto a surface. Available mapping methods are planar,
cylindrical, spherical, and parametric.
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Term Definition
Palette A collection of rendering objects that are displayed
together in an editor. Palettes are available for
appearances, lights, and scenes.
Perspective
View
Viewing the model the way our eye perceives 3D
objects in the real world.
PhotoRender A rendering utility that creates photorealistic images of
a scene.
Pixel A single dot of an image, displayed by the combination
of three primary colors, red, green, and blue.
Preview A framed area in the graphics window that displays the
contents of the image before rendering, depending on
the image size you select.
Ray Trace An approach to generating more realistic images.
Models are shaded by simulating the inter-reflection of
rays of light between objects in a scene. Rays are
"traced" from the light through the scene to the
eyepoint.
Reflect Model
in Floor
A rendering option that reflects a model in the floor
during a rendering.
Reflect Room A rendering option that controls the reflection of the
room on the model.
Reflection The degree to which a model reflects its surroundings.
Refraction The degree to which light bends as it passes through a
material.
Render Window Generates a photorealistic image of the model.
Render Quality A rendering option that controls the surface-rendering
quality in a model.
Render Room A rendering option that switches the display of the
room during a rendering.
RGB The red, green, and blue values of a color.
Room The environment in which the model is rendered. A
rectangular room has four walls, a ceiling, and a floor.
A cylindrical room has one wall, a floor, and a ceiling.
You can display the room with a grid pattern or apply
textures to a room.
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Term Definition
Saturation The purity of the hue in a color. An "unsaturated" color
is gray.
Scatter Light scattering is an effect used to simulate
atmospheric or volumetric scattering of light within a
medium, for example a smoky room or a hazy
atmosphere.
Scene A collection of render settings applied to a model.
These settings include lights, rooms, and environment
effects.
Self Shadows A rendering option that causes shadows from a model
to be cast onto itself.
Shadows on
Floor
A rendering option that switches floor shadows.
Sharpen
Geometric
Textures
A rendering option that renders geometric textures
with more clarity.
Sharpen
Textures at
Angle
A rendering option that sharpens the image of textures
that are rendered at a shallow angle to the view.
Skylight A light source that simulates the sky using a
hemisphere that contains a number of light source
points.
Slideshow A utility that displays multiple images in a sequence.
Spotlight A type of light whose light rays are confined within a
cone. The effect of spotlight on a surface depends on
the light’s position from the surface.
Spot Angle The diameter of a spotlight's circle of light.
Spot Focus The sharpness of a spotlight's beam.
Supersampling Supersampling is a method to calculate the color
between a number of pixel samples. To obtain the
required color, the reading of a number of pixel
samples is taken and then an average of their values is
calculated to get a better approximation.
Surface A three-dimensional form that defines a geometric
object.
Texture An image that is used to determine the color or
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Term Definition
appearance of a surface.
Transparency The degree to which you can see through a surface.
Watermark A watermark refers to text or an image that appears
over your rendered image. Watermarking can also be
used as an authentication technique. A watermark is a
unique identifier that is inserted to personalize the
rendered image.
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Index
A
Appearances
creating texture......................... 48
remove appearances .................. 25
setting to model ........................ 23
Appearances ................................ 18
C
Color
about Color Editor...................... 20
creating appearance................... 21
display colors ............................ 21
using Color Editor ...................... 23
Color........................................... 23
config.pro Options
PhotoRender Setup Options...11, 12,
13, 14, 15
setting PhotoRender options..2, 3, 4,
10, 11
config.pro Options ........................ 10
config.pro Options ........................ 11
E
Environment
Background............................... 75
Depth of Field............................ 75
Fog Property ............................. 73
Lens Flare............................76, 77
Light Scatter ............................. 74
Environment ................................ 73
F
File formats
Image........................................ 8
saving a room............................80
saving images............................91
saving lights ..............................72
File formats ..................................90
I
Image Size
editing ......................................91
Render options..................... 3, 5, 6
Image Size...................................91
Images
editing ......................................91
saving................................. 90, 91
Slideshow..................................92
Images ........................................90
L
Light Icons ...................................62
Lights
creating .............................. 62, 68
deleting ....................................72
modifying............................ 69, 71
saving.......................................72
understanding............................61
Lights ..........................................61
LWA
editing ......................................60
obtaining license ........................59
LWA ............................................58
LWA ............................................59
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P
PhotoLux
creating.................................... 26
editing.... 27, 29, 30, 31, 32, 33, 34,
35, 36, 37, 38, 39, 40, 41, 42, 43
Options .................................. 6, 7
PhotoLux ....................................... 9
PhotoLux ..................................... 25
PhotoLux ..................................... 26
R
Realtime Rendering
Settings...............................16, 17
Realtime Rendering....................... 15
Render
Procedure ........................ 3, 85, 88
rendering model ............. 86, 87, 88
System Libraries........................ 20
Render .......................................... 1
Room
creating...............................78, 79
Render options............................ 5
saving................................. 80, 81
texturing ...................................80
Room ..........................................78
S
Scene
creating .............................. 82, 83
removing ..................................84
saving.......................................84
Scene ..........................................81
Shadows
Hard and Soft Shadows...............68
Shadows......................................16
T
Textures
applying to a room .....................80
creating appearance ............. 46, 48
displaying textures .....................57
storing ......................................48
Textures ......................................46