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AECOsim
Building Designer
2012
Bentley Systems, Incorporated www.Bentley.com/AECOsim
Quick Start Guide
Chapter A17
Rendering
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Table of Contents
Rendering .....................................................................................................................3
The Camera ................................................................................................................ 3
Materials .................................................................................................................... 5
Material Palettes ....................................................................................................... 5
Bentley_Materials.dgnlib ............................................................................................ 5
Building_Materials.dgnlib ........................................................................................... 5
Assign Material to Part .............................................................................................. 6
Material Editor .......................................................................................................... 6
Lighting ...................................................................................................................... 8
Brightness ............................................................................................................... 9
Ambient ................................................................................................................ 10
Flashbulb ............................................................................................................... 10
Solar ..................................................................................................................... 10
Sky Dome .............................................................................................................. 12
Source Lighting ...................................................................................................... 14
Light Setups .......................................................................................................... 15
Environments ............................................................................................................ 16
Luxology .................................................................................................................. 17
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RENDERING
AECOsim Building Designer's advanced photo-realistic rendering provides tools to produce
lifelike images of your models. Where the goal is to produce realistic images of the building
model, the Luxology rendering engine can be used. This takes into account both direct and
indirect lighting, such as reflection of light and refraction. Additionally, it can calculate diffuse
reflections and caustics (such as reflected light, and refraction).
THE CAMERA
Setting up a view to be rendered is the first step in the rendering process. This can be done in
a number of ways depending what feels most natural and intuitive to the designer.
The Setup Camera tool, found on the Visualization
task bar, is used to setup a view camera. The camera is
setup in 3 point projection mode by entering data points
to define first the view, then camera location, and then
the camera target location.
After selecting the view, use the Setup Camera dialog
to select a lens, the Camera Height and the camera
Target Height. Enter data points in any open view to
define the camera location and the camera target. The
active view updates to display the camera view.
The Define Camera tool, found on the Visualization task bar, is used to manipulate a
camera once it is placed. This can be done interactively by manipulating the dynamically
displayed view cone via handles at strategic points.
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Alternatively, the Define Camera dialog can be
used for specific manipulations and its settings
window for precision inputs. Changing the camera
Projection will adjust the number of vanishing
points, determine whether the verticals remain
vertical or vanish to a third point.
To assist in visualizing the design as the camera is
manipulated; turn on Continuous View
Updates and Display View Cone
The Walk tool, found on the Visualization task bar, is used to interactively “walk” through a 3D view.
The key characteristic of the Walk operation is that the
elevation (Z position) of the camera (eye point) generally
does not change as it moves or turns. For example, if the
camera is tilted upward or downward and the designer
moves forward, the camera´s elevation does not change.
(The shift key in conjunction with mouse or arrow keys
can be used to change the camera´s elevation, if
desired.)
When the Camera Height setting is enabled, the camera
maintains a specified height above the underlying
elements, enabling the designer to walk up or down
stairs, ramps, or slopes.
The view cone, for the view being navigated, displays in all other open views. It shows the
position and orientation of the camera in the view and can help with navigation.
Please refer to the Help Document for a list of shortcut keys for the Walk tool.
The Fly tool, found on the Visualization task bar, is
used to interactively “fly” through a 3D view.
The designer can navigate by using the mouse (with
keyboard modifiers) or the keyboard.
The view cone, for the view being navigated, displays in
all other open views. It shows the position and orientation
of the camera in the view and can help with navigation.
Please refer to the Help Document for a list of
shortcut keys for the Fly tool.
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MATERIALS
In order to create photo-realistic images, the objects in the model need to have materials
applied to them such that when rendered they take on the appearance of real-life objects
rather than just the color of the design element. The part information that is applied to
objects includes a material, therefore in AECOsim Building Designer the material is applied
when the family and part information is applied.
Material Palettes
Material definitions are attributes related to color, texture, transparency, etc. and can include
pattern and bump maps, as well as a host of other settings. Material definitions are created
and stored in material palettes. Palettes can be stored locally in the DGN file, but more
commonly one or more palettes are stored in DgnLibs and used as an external library. There
are two material DgnLibs delivered with AECOsim Building Designer. Both offer a host of pre-
defined material definitions for the novice or even expert renderer, but they are organized
differently depending on the workflow of the user.
Bentley_Materials.dgnlib
The Bentley_Materails.dgnlib contains a series of palettes organized by material type, such as
Glass & Plastic, Wood, Blocks & Bricks, etc. The delivered Building Dataset has parts that are
mapped to this Bentley_Materials.dgnlib. In order to change a material assignment, the user
would assign a different material to the part using the Assign Material to Part tool.
This workflow requires that the user has write access to parts and a single dataset per project
because changes to material assignments on the parts affect any building object that has that
a part assignment.
Building_Materials.dgnlib
The Building_Materials.dgnlib (delivered in the
\WorkSpace\Projects\BuildingExamples\BuildingSample_US\support\dataset\materials folder)
contains a series of palettes organized by the Families in the delivered Building dataset. For
every Part in the dataset there is a corresponding material definition. In order to change the
appearance of a material, the material would be modified thru the Material Editor. In addition,
the Building_Material.dgnlib makes use of Brick and Block Geometry Maps specifically drawn to
match standard US brick and block sizes.
This workflow does not require the user to have write access to the parts since the user is not
expected to change the material assignment on the part. In addition, this DgnLib can be
stored in the project dataset, allowing it to be stored in multiple project datasets, each with
various material definitions for the same Family and Part. In this way the Building dataset can
be shared by multiple projects, but each project can store its own material definitions.
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Assign Material to Part
The Assign Material to Part utility is used to quickly assign material definitions to active
parts and families.
The Assign Material to Part tool is
available from the
Apply Material dialog box found on
the Visualization Task bar, and the
Query Material dialog box also found
on the Visualization task bar.
Please refer to the Help documentation for more information on the Assign Material
and Query Material dialogs.
The Assign Material to
Part tool opens the Assign
Material to Part dialog box.
Select the Family and Part.
Select the Palette and Material.
Select Apply to make the
changes to the Family and Part
dataset.
The Assign Material to Part dialog box can also be opened from the Material Editor dialog
box. A menu opens when a right-click is issued on any material in the Tree view. The Assign
to Part menu item opens the Assign Material to Part dialog box.
In addition, palettes and materials can be assigned to Family and Parts in the Dataset
Explorer by selecting the Rendering Properties tab.
Material Editor
The Define Materials tool is found on the Visualization task bar and will open the
Material Editor which is used to create new materials and palettes or modify existing
material definitions.
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Two modes are available in this dialog — Basic Mode and Advanced Mode. Advanced Mode
exposes more settings giving the designer more control over the material definition.
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The Preview section of the dialog includes a display of the material with the current settings
applied.
Hovering the cursor over any of the
settings will create a pop up
description of the setting and its
effect on the material.
In addition, each setting includes
the ability to add an image file as a
map to further define the setting,
defining the Color as a pattern or
the Surface as a bump, for
instance.
For more information on creating and editing materials see the Help documentation.
LIGHTING
Lighting is the key to photo-realistic rendering. The human eye first detects light versus dark
in an image and then starts to fill in the details. If the lighting is wrong, then the brain
recognizes this and is uncomfortable with this fact, even though the rest of the image is
correct. So the time invested in setting up the lighting is well worth the effort. Below is a
review of various lighting settings and their effect on the final rendering.
The Light Manager tool, found on the Visualization Task bar, is used to control light
setups and the settings for both global and source lighting.
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Brightness
Display Brightness is used to interactively brighten or darken the image in the current
display style.
Global Illumination Brightness determines the method that will be used to adjust the
global illumination brightness of a rendered solution.
Brightness Multiplier scales all pixels by a specified factor. In the field, set the scale
factor to be applied to the brightness of the pixels for the next rendering.
Adapt to Brightness sets the brightness for the middle of the range. In the field, set
the intensity (in lumens) that should be used as the middle of the display range for the
next rendering.
Drago tone mapping imitates the response of the human eye to light, with good
preservation of details and contrast.
Reinhard tone mapping works best with complete images where all pixels are lit; but it
does not work well when you have many unlit background pixels.
Gamma sets the display gamma level for the next rendering. The default gamma used
to render is 1.7. Increasing the gamma value lightens the image, decreasing it darkens
the image.
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Ambient
Ambient lighting provides imaginary light to the scene that is presumed to strike every point
on a surface with equal intensity. Increasing the intensity of the Ambient light will reduce the
depth or contrast of the rendering, but it can be useful for lighting objects or surfaces that do
not receive direct lighting. No shadows are cast by Ambient lighting.
Ambient Lighting can be turned On or Off, and the intensity can be adjusted by changing
the Lux. The Color and Temperature of the light can be set, as well.
Flashbulb
Flashbulb is a point light source originating from the eye-point of the camera. The
Intensity, Color and Temperature can be set just as for the Ambient light source. No
shadows are cast by Flashbulb lighting
Solar
Solar lighting simulates light from the Sun. Shadows can be enabled or disabled for Solar
lighting.
The Solar light source can also be turned On or Off and the Intensity adjusted on the Solar
Properties tab.
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The Details tab is used to define characteristics of the sun. The Color Type can be User
Defined or Physically Based meaning that the color of the Sun is computed based on
factors such as its position in the sky, air quality, and cloudiness.
Shadows can be disabled or enabled. If they are enabled the sharpness of the shadows is
defined ranging from Sharp to Soft – Very Fine. The finer the shadow the higher the
number of samples required to calculate the shadow, increasing rendering time.
Cloudiness determines the cloudiness of the sky which affects how much the solar light
bounces off the sky. This also affects the sharpness and intensity of the shadows, as well as
the color of the light.
Air Quality determines the purity of the air which affects how much the solar light bounces in
the air. This also affects the sharpness and intensity of the shadows, as well as the color of
the light.
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See Sky Dome for an explanation of how the Cloudiness and Air Quality settings affect
shadows and light color.
Latitude, Longitude, North Direction, Date and Time can all be set on the Solar
Position tab on the Solar Light setup. All of these determine the position of the sun and
therefore the light and shadows on the model.
For additional Solar settings to create unusual and dramatic lighting effects on the
rendering see the Help Documentation.
Sky Dome
Sky Dome is a directional light coming from each direction of an imaginary sky hemisphere.
The Sky Dome provides direct illumination; for indirect illumination, use an environment. This
setting is used to add atmospheric lighting from the sky. If the Color Type is set to User
Defined then the Color and Temperature buttons are used to define the color and
temperature of the sky dome. If it is set to Physically Based it uses the Solar settings to
determine color and temperature.
When a Sky Dome is turned on with Solar lighting, the intensity of the light is modified by the
angle of the Sun (providing a more realistic solar study). As cloudiness increases, the direct
sunlight decreases but the amount of light from the sky increases.
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The amount of Cloudiness and the Air Quality is set to create the desired conditions. On a
clear day, for example, the sky is not uniformly lit. More sky light comes from the direction of
the Sun, thus producing darker, sharper shadows. Alternatively, on a cloudy day, the sky is
uniformly lit with softer, less pronounced shadows.
With Air Quality set to Perfectly Clean, there is a small amount of coloring from the sky
lighting. When Air Quality is set to Industrial, the coloring effect of the sky lighting is more
pronounced.
Enabling shadows causes longer render times.
2 - Rendered image with Sky Dome 1- Rendered image without Sky Dome
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Source Lighting
Unlike Global Lighting, which is controlled solely from the dialog, Source Lighting consists of
light sources in the form of special cells that are placed in the model file. AECOsim Building
Designer supports four source lighting types — Directional, Point, Spot, and Area, which are
delivered in the cell library “lighting.cel.” Light source cells are placed with the Place Light tool
and have a number of settings that can be adjusted to get the correct lighting. For photo-
realistic rendering, use IES lighting files to set physically correct values for Point, Spot, and
Area light source cells.
The Place Light tool found on the
Visualization task bar is used to place a Point
Light, Spot Light, or Directional Light,
light source cell, or to create an Area Light
from existing elements.
Select the light type icon from the top of the
Place Light dialog. The light source cell
appears, attached to the pointer.
From the Preset option menu, choose a light.
In the Name field, enter a name for the light.
Change any additional settings as desired.
Follow the prompts on the lower left of the
interface to place and position the light cell in
the model.
Each of the available light sources is described
below:
Point Light — Light is radiated in all directions from the origin of the light source.
Spot Light — Directional light having a conical beam, similar to a flashlight. Spot light
sources having the same Lumens and Intensity settings as a Point light source may
appear brighter in rendered images because the energy is restricted to the cone angle.
Directional Light — Directional light, producing parallel light rays throughout the
model. That is, the light source's orientation defines the direction of uniform light that
illuminates all surfaces facing in its direction. This applies whether they are in front of
or behind the light source in the model.
Area Light — Useful for many diffuse lighting situations, such as simulating
fluorescent lighting, where the light source is neither a Point light nor a Spot light. Area
light sources are created from existing polygonal shapes in the design.
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During processing for rendering, the source lighting cells present in the active file always are
considered. Any source lighting cells located in references, however, are ignored unless the
Use Lights setting is turned on for the reference. This setting is turned on in the
Attachment Settings dialog when the reference is attached. For previously attached
references, toggle the Use Lights setting on or off via the Attachments Settings dialog.
This dialog is opened by selecting Settings > Attachment in the References dialog.
Light sources present in references that have Use Lights turned on, can be seen in the Light
Name list of the Light Manager dialog. Lights from references are displayed in collapsible
lists under the name of each reference. The settings of light source cells in references can be
viewed, but they cannot be edited from the active file.
IES lighting data files can be used to provide the most accurate lighting, but standard light
source cells can be used as well, to provide the illumination. Both processes use the Lumens
value, multiplied by the Bulbs value, to determine the brightness of the light source.
Where lighting effects that match the expected physical lighting are required, it is
recommended that IES lighting data files be used.
Light Setups
The settings for each of the various light sources can be
saved as a Light Setup so that they can be recalled and
reused again.
The Light Setup List turns on or off the display of the
light setups list, from which a saved lighting setup can be
selected. When the list is not displayed, the down arrow
will open a pull down list of the saved light setups.
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ENVIRONMENTS
For an exterior rendering, or an interior rendering which has a view to the outside, it is
important to define an environment. An environment is simply the surroundings around the
building. The environment can provide a background, indirect light, reflections and refractions
to the rendered image. The environment Maps dialog controls the environmental settings for
Luxology rendering, as well as controls the visibility of these environment settings.
The Environment Maps dialog opens by clicking the Environment Maps icon on the
Visualization task bar. It can also be accessed from the Luxology Render dialog or by
clicking the Environment Maps icon on the Materials toolbox.
Luxology environments can be saved and recalled at render time. The environments are similar
to render settings in that they can be stored in a DGN library file (DGNLib). The environment
types are Sky, Light Probe, Image, Image Cube and Gradient. A number of preset
environments are delivered with AECOsim Building Designer.
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All environments produce indirect light on the scene and are controlled by a brightness slider.
To illuminate a model or scene solely by the enabled environment, choose the Override
Existing Lights option. The Visibility check boxes determine where the environment is visible,
for instance, if it is visible to the camera it will show up as the background. Alternatively, a
Background can be enabled, and an image selected as the background, but the environment
will still provide indirect lighting and be visible in the reflections and refractions of any
reflective surfaces.
For additional information on creating custom environments, see the Help
Documentation.
LUXOLOGY
The Render icon found on the Visualization task bar is used to set up and preview the
rendering. The dialog also provides tools to access the Material Editor, the Lighting
Manager, the Environment Settings, and Rendering settings.
The Begin Luxology Render (Alt+R) icon starts the Luxology rendering process to
render a new solution of a selected view or, if a fence is present in the view, the fence
contents.
Once the preprocessing phase of the rendering is complete, the computation process continues
independently, allowing other AECOsim Building Designer tools to be used in parallel with the
rendering process.
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The Toggle Preview icon toggles the Fast Preview option On or Off. Fast Preview
is a mode that quickly and interactively displays the results of changes to rendering, lighting,
and material settings. This mode is invaluable for a variety of rendering tasks; everything from
setting up the right camera view to tweaking materials to perfection. The Pull-Down opens the
Fast Preview dialog, which is used to set options for a fast preview of the rendering
The Luxology Render Settings (Alt+T) icon opens the Render Settings dialog.
The Pull-Down opens a drop-down menu that contains predefined setups.
The View icon opens a drop-down menu in order to select the view to be rendered.
Any View from 1 – 8 can be selected. The X and Y Values to the right indicate the number of
pixels for the rendering based on the View Size and the resolution set in the Luxology
Render Preferences (Alt+F).
If the lock icon is enabled then the aspect ratio of the image is locked to the aspect ratio of the
view being rendered.
The Save Image to File icon opens the Create Luxology File dialog, which will
save the current Luxology rendering to an image file. Controls on this dialog are identical to
those on the Save As dialog.
The standard image formats are available as well as “Radiance High Dynamic Range” (HDR).
The HDR format stores high-definition imagery that can be post processed in other
applications.
If the scene has been rendered using the Piranesi Rendering Setup, it can be saved as a
Piranesi .epx file. Antialiasing should remain off (default) in this setting. Enabling antialiasing
will produce undesirable artifacts.
The Previous Luxology Render icon (Enabled only when a previous rendered
image is available) and the Next Luxology Render icon (Enabled only when a latter
rendered image is available) provide the ability to view the previously rendered images.
Clicking the down-arrow opens a drop-down menu from which any previous history image may
be selected to view. The Luxology Render Preferences dialog is used to set the number of
history images stored (default 100).
The Background icon is enabled only if an environment was not used as the
background for the rendering. In these cases, the drop-down dialog can be used to change the
background, without having to reprocess the rendering. The Background icon reflects the
selection.
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When background is set to color or image, clicking the Background icon opens the Modify
Color dialog or Open Image dialog as appropriate.
Enabling the Lock, retains the same background setting for future rendering.
The Update Active Environment with Current Background Settings icon is used
to update the active environment with the current background settings.
The Adjust Image Settings (Alt+I) icon opens the Luxology Image Settings
dialog, which allows adjustments to the settings for the currently displayed rendering. Clicking
the down arrow opens the same settings in a drop-down menu.
The Overlay Visible Edges toggle is used to turn on or off the visible edges overlay.
To enable this setting, it must first be turned on with the Render Visible Edges check box in
the Render Settings dialog´s Settings tab. Click the down arrow next to the icon to display
options for changing the color of the Visible Edges and Hidden Edges.
3 - Rendered Image with Overlay Visible Edges enabled
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MOVIE: Rendering
This movie shows:
1. Camera
2. Materials
3. Lighting
4. Environments