Copyright: Copyright


Help Contents
Contents

What's New

Program Operation

Navigation & 3D Interface

Selection and Point Edit Tools

Sweep Tool and Variants

Sculpt and Deform Tools

Boolean Operations

Metaballs

PlastiForm

Nurbs

Polygon and Text Tools

Edit Group

Rendering

Radiosity

Shaders

Paint Tools

Animation with the Keyframe Editor and Function Curves

Physical Simulation

Inverse Kinematics

Bones & Skinning

Scripting

World (VRML) Browsing

Saving and Publishing VRML Worlds

File Formats


What's New

Introduction

True 3D Interface

Rendering

Modeling

Animation


Program Operation

Introduction

Building and Browsing

Interface Notes

Online Help

Tool Tips

Keyboard Shortcuts

Draw Modes

3D Interface

Preference Settings

File Menu

Groups Flyout

Help Menu

View Group

Render Tools

View Select Tool

New Window Tool

Preview AVI

Close All Panels

Dock All Panels

Look At Object

Reset View

3D Tool Guides


Navigation & 3D Interface

Introduction

Object Tool

Object Navigation Tools

Coordinates property panel

Hierarchy Navigation Tools

3D Interface: Widgets, 3D Menus and Global Panel

Navigation Widgets

Cloning A Navigation Widget and Attaching It to Other Objects

Point Edit Widget

View widget

Object Properties 3D Menus

The Global Panel

Menu Setting

Help Bar

Object Collision Menu

Visibility

Ground Settings


Selection and Point Edit Tools

Introduction

New Point Selection Tools

New Point Editing Tools

Point Edit Panel

Selection Modes

Separate

Point Edit Properties Panel

Vertex-Level Animation


Sweep Tool and Variants

Introduction

Sweep

Macro Sweep

Lathe

Bevel

Tip

Sweep

Sweep Property Pane

Bevel

Tip

Macro Sweep

Lathe


Sculpt and Deform Tools

Introduction

Sculpt Mode

Scope Mode

Surface Sculpt Control Panel

Object Deform

Start Deforming by Stand-Alone Object

Stop Deforming by Stand-Alone Object

Deform Primitives


Boolean Operations

Introduction

Object Union

Object Subtraction

Object Intersection

3D Booleans Property Panel


Metaballs

Introduction

Working with Metaballs Primitives


PlastiForm

Introduction

Using PlastiForm


Nurbs

Introduction

The NURBS Options Panel

NURBS 3D Menu Commands


Polygon and Text Tools

Introduction

Regular Polygon

Freehand Polygon

Polygon Control Panel & Boolean Modes

Spline Polygon Tool

Text

Axes Tool

Default Axes

Center Axes

Normalize Location

Normalize Rotation

Normalize Scale

Grid Snap

Magnetic Tool

Using the Magnetic Tool

Magnetic Mode Panel

Magnetic Tool Control Panel

Smooth Quad Divide

Quad Divide

Triangulate Object

Decompose

Mirror

Dimensioning Tool

Polygon Reduction Tool

trueSpace eXtensions

Attaching a URL (Web) Link or Description

Adding 3D Sound

Fix Bad Geometry

Flip All Normals


Edit Group

Introduction

Undo Tools

Erase

Copy

Glue Tools

Split hierarchy into IK branches

Unglue tool

Geometric Primitives

Camera

Lights


Rendering

Introduction

The Render Options Panel

Render Tools

Area Rendering

Render Current Object

Render Scene

Radiosity

Render Scene to File

Wireframe/D3D Preview

Foreground Shaders

Volumetric Lights

Global Environment Shader

Depth Cue Shading

Fog

Snow

Background Shaders

Color

Image

Clouds

Graduated

Render Options

Quality Settings

Visibility Mode


Radiosity

Introduction

Radiosity Rendering

Hybrid Radiosity and Raytraced Rendering

Using Radiosity

Radiosity Options

Object Render Options

Radiosity-Specific Light Types


Shaders

Introduction

Color Shaders

Reflectance Shaders

Transparency Shaders

Displacement Shaders

Shader Attributes


Paint Tools

Introduction

Paint Tool Variants

Paint Face

Paint Vertices

Inspect

Paint Over

Paint Object

Material Property Panels

Material Preview

Color Property Panel

Shader Attributes

3D Paint Tool

Using 3D Paint

3D Paint Textures

Helpful Tips for 3D Paint

3D Paint Attributes Panel

3D Bump Tool

The Paint Draw Type Panel

Material Library

UV Projection Tool

Material Rectangle


Animation with the Keyframe Editor and Function Curves

Introduction

Animation Control Group

Keyframe Editor

Function Curves

Animation Path

Look At

Look Ahead


Physical Simulation

Introduction

Object's Physical Attributes

Preset Physical Attributes

Global Physical Properties

Physical Simulation Control Panel

Tips for Improving Performance


Inverse Kinematics

Introduction

Kinematics Tools

Add Joint Tools

Joint Attributes Panel

Kinematics Property Panel


Bones & Skinning

Introduction

Creating a Skeleton

Using the Build Skeleton Tools

Attach Object To Bone

More tricks with the Attach Skin To Skeleton Tool

Editing Muscles and Tendons


Scripting

Introduction

Script Manager

Writing Scripts - An Introduction to trueSpace Scripting

More Information about Scripting


World (VRML) Browsing

World Browsing Overview

Navigating through Worlds

The URL Field

Loading Local and Internet Worlds

Browsing History

Your Home World

Your VRML Neighborhood

Publishing Worlds


Saving and Publishing VRML Worlds

Saving and Publishing Overview

Linking to Other Worlds

Saving Your Worlds

Inlined Files

The Export VRML File Dialog

Compressing Files

Publishing Your Worlds


File Formats

3D Input Formats

3D Export Formats

2D Rendering Formats

Support

Copyrights and Disclaimers

Program Credits


What's New - Introduction
Introduction

trueSpace4 is a major upgrade, and contains a number of powerful and exciting new features. Not only did we add tools typically found only in the higher-priced competition, but we've seamlessly integrated them with the rest of the program. We made sure that even complex tools are truly usable in trueSpace4. The advancements in user interface design alone make the creation process more life-like, and result in higher productivity. So what are the new tools?


True 3D Interface

3D Widgets

Born to Accelerate


What's New - True 3D Interface - 3D Widgets
3D Widgets

trueSpace4 presents a new interface paradigm -- a true 3D interface for working in a 3D environment. The design has many benefits compared to a traditional (2D) menu system, including:

•	You have the functions presented to you where you are working, in the actual environment. This saves you from moving your mouse back and forth between the menu system and your work environment.

•	It's a tremendously visual way to work. Sometimes (especially for new users), the complexities of traditional menu systems can be overwhelming. Now tools are presented when and where you need them. (Instead of searching for them.)

• It's a proven fact that working in real-time solid 3D mode enhances the overall usability, as compared with wire-frame displays. You can see which objects are in front of others, how they are surfaced, etc. Today, 3D hardware acceleration cards are used more frequently, their quality and functionality keep increasing, and the price keeps decreasing. trueSpace4 is uniquely positioned to take advantage of this situation by allowing the actual interface to be accelerated.

3D Widgets are documented in Navigation & 3D Interface.


Born to Accelerate

With the third generation of D3D, OpenGL, and 3DR drivers, the real time capabilities of trueSpace4 rival those of first class video games. The quality of the real time rendering, particularly transparency, is much higher, and the speed of D3D acceleration is 3 to 5 times faster compared with trueSpace3 on an identical 3D card.

Even if you prefer wireframe, trueSpace4 will run several times faster with hardware acceleration. As an added benefit on cards that support it, trueSpace4 can display anti-aliased lines.


What's New - Rendering
Rendering

New Rendering Engine

Hybrid Radiosity

Volumetric Rendering

Adaptive Anti-aliasing

Area and Projector Lights

Advanced Shaders

Anistropic Reflectance Shaders

Layered Materials

Multi-threading


New Rendering Engine

trueSpace4 includes a brand new photorealistic renderer based on the Lightworks Pro rendering engine from Lightwork Design. It is a truly high-end engine with many impressive features, rivaling or in many cases, surpassing our competition.


Hybrid Radiosity

Radiosity provides for the ultimate realism in computer generated images. trueSpace4 seamlessly integrates an advanced radiosity renderer with traditional rendering techniques such as ray tracing.

Radiosity is important in the quest for the ultimate realism because many surfaces in an interior environment are lit by no direct illumination at all, and are visible only by light reflected diffusely from other surfaces. Also, a surface that is illuminated indirectly may appear to be a different color than it would appear to be if lit directly, since color from one surface can "bleed" onto another. With radiosity, all of the light in the image is taken into account, instead of just part of it.

Radiosity is documented in Radiosity.


Volumetric Rendering

Volumetric Shading allows you to create effects like fog or smoke in a scene with scattered light. It uses true, mathematically correct volume sampling so it can generate physically accurate and consistent results, including effective volumetric shadows. Since it's not just a 2D post-processing fake, you can even fly through the fog!

Volumetrics are documented in Surfacing & Shaders.


Adaptive Anti-aliasing

In addition to oversampling, you can chose adaptive anti-aliasing, which works only on the areas which require it.

Adaptive Anti-aliasing is documented in Render Tools.


Area and Projector Lights

You can create realistic soft shadows with a penumbra effect by using area lights in conjunction with radiosity. You can use projector lights to project images or animations onto other illuminated objects.

Lights are documented in Edit Group.


Advanced Shaders

trueSpace4 materials are composed of four component shaders: color, reflectance, transparency, and displacement. Additionally, there are background, foreground, and post-processing shaders.

Shaders are documented in Surfacing & Shaders


Anistropic Reflectance Shaders

These shaders simulate the appearance of anistropic reflectors, which reflect light differently according to the angle of incidence. A good example of this is brushed metal.

Shaders are documented in Surfacing & Shaders


Layered Materials

trueSpace4 materials can be multi-layered. You can combine the effects of two or more shaders in order to create incredibly realistic effects.

Surfacing tools are documented Surfacing & Shaders


Multi-threading

The trueSpace4 rendering engine now supports multiple threads on multiple processors using Windows NT.

Rendering is documented in Rendering.


Modeling

NURBS

Advanced Selection Tools

UV Mapping

Polygon Creation

Accurate Collision Detection


NURBS

Most trueSpace4 modeling tools now work directly on NURBS surfaces. Drag the direct manipulation widget and see the NURBS surface deform in real time. Change the smoothness of a NURBS surface or the gravity of control points with the same real time feedback.

NURBS is documented in NURBS.


Advanced Selection Tools

You can now select multiple objects by pressing the CTRL button and clicking on different objects. Also, you may use the new lasso, rectangle, and "free-hand" tools to select faces for point editing.

Selection tools are documented in Point Edit & Selectors.


UV Mapping

In addition to the planar, cylindrical, spherical, and cubic types, trueSpace4 now supports per-face UV mapping. Now you can perform custom mapping for organic models. Great for game designers.

UV Mapping is docemented in Paint Tools.


Polygon Creation

You can now draw custom polygons directly on your 3D objects. Create new vertices and edges, or even copy, bevel and slice polygons.

Polygon Creation is documented in Point Edit & Selectors.


Accurate Collision Detection

trueSpace4 brings real time collision detection directly to the interface. Get immediate feedback when objects collide with each other or the floor as you move objects around.

Collision Detection is documented in User Interface.


What's New - Animation
Animation

Bones

Function Curves in the Key-Frame Editor

Scripting


Bones

Skeletons and deformable skin allow you to create and animate realistic, seamless characters with Caligari's trademark ease of use. You have full control over polygon selection for each bone, and the ability to edit how muscles and tendons act when flexing and contracting. IK joints are integrated with bones, so you can set a realistic range of motion for each bone.

Bones are documented in Bones & Skinning.


Function Curves in the Key-Frame Editor

The ability to fine tune animation parameters via direct manipulation of splines inside the Key-Frame Editor brings you the high end controls necessary for realistic and accurate animations. Great for character animation, or any organic movement. The untimate in animation control.

Function Curves are documented in Key-frame Editor.


What's New - Animation - Scripting
Scripting

Using the simple Python language and a built-in editor, you can create custom animation and modeling effects. Create custom behaviors for characters. You can even create a simple interactive application or game prototype entirely inside trueSpace4 with a minimal amount of coding -- simply by copying and editing trueSpace objects. Scripts have access to the same internal functions as plug-ins, so you can add to trueSpace functionality without the need to purchase a compiler and learn C.

Since scripts are shared in source code from, we hope that they will become a truly public property. We expect thousands of Caligari customers to create, share, and customize the scripts to their own needs. To stimulate this development, we have included scenes with scripts for Pong, trueSpace Invaders, and a simple "Doom" type game right on the trueSpace4 CD. We will also add a Script Repository on our Web site.

Scripting is documented in Python Scripting.


Program Operation - Introduction
Introduction

This chapter contains a brief overview of trueSpace4 operations including interface basics, draw modes, help options, preferences, and menu navigation.


Building and Browsing

Caligari trueSpace4 offers two different modes of operation. By default, the program starts in Building mode, for creating and navigating through your own three-dimensional objects and worlds. At any time you can switch to Browsing mode, which lets you explore 3D worlds on the Internet, using Virtual Reality Modeling Language (VRML 1.0). You jump between the two modes using the leftmost pop-up icon menu in the View tool group, attached to the program window.

Note: Although trueSpace4 can save scenes in VRML 2.0 format, currently it can browse only scenes in the VRML 1.0 format.


Interface Notes

Following is a summary of important points concerning the trueSpace4 interface:

•	Icons normally have one of three states: Raised (inactive), Depressed (active), and Ghosted (not applicable).

A raised (or inactive) icon has a light-gray background and looks like a raised push-button. An icon in this state indicates an unselected or inactive tool, a setting that is currently off, and so on.

A depressed (or active) icon has a blue-gray background and looks like a pushed in button. An icon in this state indicates a selected tool, a setting that is on, and so on.

A ghosted icon is entirely grayed out, indicating that the tool or setting is currently unavailable or not applicable.

•	To select a tool, click on it with the left mouse button. If the tool uses control panels to adjust settings, etc., they automatically open. Right-click on a tool to open its property panel, if it has one. These panels automatically go away when another tool is picked with the left mouse button.

•	 Left click and hold brings up a menu of tool variant icons.

•	If you select a tool, then decide not to use it, simply move the mouse away from the tool before releasing the mouse button.

•	To open or close a tool group, select it from the Groups menu.

•	All tool groups except the View group automatically open in a special left-to-right queue formation immediately above or below the menu bar, depending on whether the menu bar is at the bottom or the top of the screen. If there is no more room for new tool groups next to the menu bar, the queue is continued immediately above (or below) the previous row. If there are any panels there, they are moved up (or down) out of the way. When in the queue, if a tool group is closed, the remaining queued groups close ranks (that is, those following the removed group advance to fill in the gap). Tool groups, unlike panels, cannot be repositioned by the user.

•	Through the use of the 3D Panel, you can select a specific base bar interface.  If you wish to have a maximum amount of workspace, you can click on the 3D button, giving a minimum interface with one row of icons on the bottom of the base bar. If you do not prefer this minimum interface, you can click on the 2D button, which returns the default interface.Base Bar.

•	Since the average 3D graphics card with 4 MB of memory can accelerate 3D graphics in 800x600 screen resolution or less, we have optimized the default group layout in the tool bar for this resolution.

Default tool groups at 800x600 screen resolution.

•	If you prefer to use 1024x768 (or higer) screen resoultion, you can open the optional Animation Controls group, and have access to nearly all of trueSpace4's features without cluttering up your workspace.

Default tool groups plus the optional

Animation Controls group at 1024x768 resolution.

•	Right-click brings up a tool's property panel. To access a variant's property panel without invoking the variant, use the right mouse button, and drag to display the pop-up menu.

•	When a tool's property or control panel is accessed, the panel itself can be moved anywhere in the workspace by clicking and dragging the panel away from the tool icons. The panel will remember its previous position when it is next opened.

•	If the titles option is enabled (in the preference settings), you can close a panel by clicking on the close box in the top left of the panel. You can close all panels in the workspace by pressing the Close All Panels button .

•	Alternatively, to close a panel manually, right click on in any gray area in the panel or on a panel button, and drag outside the panel. When you see an "X" appear across the entire panel, release the mouse button, and the panel will be closed.

•	You can dock all displayed property panels, queuing them immediately above or below any displayed tool groups, with the Dock All Panels tool , found in the Close All Panels pop-up near the right end of the Window group.

•	Control and property panels automatically open in a special left-to-right queue formation immediately above or below any displayed tool groups. If there is no more room for panels immediately next to the menu bar, the queue is continued immediately above (or below) the previous row. If a queued panel is closed or moved to a different part of the screen, the remaining panels close ranks (that is, those following the removed panel advance to fill in the gap).

•	To place a panel at the end of the queue, drag it to within a few pixels of the menu bar or any groups thereon. To insert a panel at a specific location in the queue's first row, drag it to that location, placing the panel's bottom (or top) edge within a few pixels of the menu bar.

•	To move a non-maximized (smaller than full-screen) view window, click on the title bar near the lower left corner and drag the mouse. The title bar is the area containing the name of the window between the system icon on the left of the window and the Close Window icon (a small box with an X).

•	If you are having trouble moving a window because you have resized it and cannot click on the title bar, click on the system icon (the left-most icon), and select Move from the menu. Now press any arrow key on your keyboard once. The window will now follow your mouse as you move it around the screen. Once the window is in position, left-click the mouse and the window will remain in place.

•	Initially the menu bar appears at the bottom of the screen; you can position it at the top by selecting the TopMenu item in the File menu's Preferences panel. If the trueSpace4 window is not at full-screen width, you may not be able to see all menu headings.


Online Help

By enabling the Help Bar option from the Help menu, you can take advantage of trueSpace4's context-sensitive help mode while learning the program and using unfamiliar tools. When the mouse pointer is positioned over any tool icon, the help bar or balloon help displays its description plus a keyboard shortcut, used for accessing the tool from the keyboard.

Also, when certain tools are active and the mouse pointer isn't over any other tools, the help bar or balloon help displays brief directions for using the tool. For example, the Polygon tool's directions are: "Click to add points. Right-click to close polygon."

TrueSpace4 also has a standard Windows help file which provides more detailed information about the various tools. More information about this can be found later in this chapter under the Help Menu section.

Additionally, trueSpace4 offers 3D Tool Guides and Task Tutorials. These features actually show you tools in action. Task tutorials are explained in the Help Menu section of this chapter. 3D Tool Guides are explained in their own section later in this chapter.


Tool Tips

Tool Tips look just like file line bubbles, however, they give you information about the button, slider, or any other control that the mouse cursor is currently pointing at.  Specifically, tool tips are "tips that tell you what a tool can do".

By moving your mouse cursor above any control, the tool tip pops up and tells you what the control does.  When you move your mouse away from the control, the tool tip disappears.

More:

Enabling and Disabling Tool Tips

File Name Bubbles And Tool Tips

Shortcuts and Tool Tips

3D Widgets and Tool Tips


Enabling and Disabling Tool Tips

Tooltips can be enabled or disabled by selecting "Tool Tips" under the help menu.


File Name Bubbles And Tool Tips

When you move your mouse over a file name button, the tooltip will display the file name and the tool tip in one bubble, seperatred by a "|" character.


Shortcuts and Tool Tips

Shortcuts display in tool tips, and can be changed as described in the following section Keyboard Shortcuts.


3D Widgets and Tool Tips

Tool Tips also display for 3D Widgets and 3D Panels.


Keyboard Shortcuts

Keyboard shortcuts provide a way to create keyboard equivalents to onscreen icon buttons. By assigning keyboard shortcuts to frequently used tools, you can concentrate mouse actions on object manipulation, and keyboard actions on tool selection.

If a tool has a keyboard shortcut assigned to it, the keystroke appears in the help bar when the cursor passes over the tool's icon. Many tools already have shortcuts assigned.

To assign a keyboard shortcut to a tool, place the cursor over the tool's icon then press the Ctrl and F1 keys at the same time. The Key Shortcuts dialog pops up.

More:

New Key

Find

Save List


New Key

Once the dialog is open, you can move the cursor away from the tool's icon. Press the New Key button then type the keystroke to be used as the shortcut. Any combination of Ctrl, Alt, and Shift plus an alphanumeric, punctuation or function key is legal.  Note that Ctrl, Alt, and  Shift  need not be used. If the shorcut is already in use, you're notified and asked if you want to delete the exisitng shortcut.


Program Operation - Keyboard Shortcuts - Find
Find

To find out if a shortcut is assigned to a particular function press Find, then the keystroke. If there is a tool assigned, it will show up in the dialog.


Save List

Click on the Save List button to write all current keyboard shortcuts in a disk file named keylist.txt in your trueSpace4 folder. This file is a standard text file that can be opened in Notepad for review and printing.


Draw Modes

trueSpace4 has four ways of displaying objects:

More:

Bounding Box Mode

Wire Mode

Solid Mode

Photorealistic Mode


Bounding Box Mode

Box mode temporarily displays bounding boxes for objects to greatly decrease redraw time and works within the other draw modes.  This mode is most useful to speed up real time manipulation by setting unselected objects as boxes.  Box mode is just one of several choices that you can set for this purpose which can be found under the display options panel.  This is explained in more detail later in this chapter under the section "Display Options."


Wire Mode

Objects are drawn as transparent wireframes consisting of vertices, edges, and faces. Wire mode is most useful for point editing.


Solid Mode

Objects are shaded and can also have textures displayed. The effects of lights on a scene are rendered in real time for production-oriented design. trueSpace4 takes advantage of Microsoft's Direct3D (D3D) , Intel's 3DR real-time rendering technologies, and OpenGL. To switch a window's display mode to any of the three, make the selection from the Display Mode pop-up located next to the Render pop-up. Right-click on the same pop-up to open the Display Options panel. There you can enable the display of textures and the shaded grid. For more information, see the sections titled Display Mode and Display Options.


Photorealistic Mode

When objects are rendered, they are smoothly shaded and can have textures, bump maps, transparencies, environments, and even shadows. With the option of raytracing, reflections and refractions are also rendered adding to the over all photorealism of the image. Because a raytraced image can take anywhere from a few minutes to many hours to finish, the option is disabled by default. Enable it by right clicking on any render tool and opening the Render dialogue box. There the Raytrace option can be turned on. trueSpace4 also has a variety of other rendering effects like motion blur, depth cue, and fog.


3D Interface

In trueSpace4, 3D widgets are augmenting more traditional control elements such as buttons, panels, and sliders. Thus, the interface itself becomes part of the 3D work space and is fully accelerated by 3D hardware. Using 3D widgets, you do not have to worry about coordinate spaces or X, Y and Z axes, since the widgets always position themselves in 3D space to clearly indicate their function.

3D widgets and menus make the user interface simpler, more self evident and maintain constant size regardless of screen resolution. Of course, if you prefer the existing tried and true 2D interface, it is still there. You can also combine 2D and 3D interface elements.

More:

Object's 3D Menu Properties:

Navigation Widget

View Widget

Point Edit Widget:

Global Panel


Object's 3D Menu Properties:

Object's properties appear after a right click to an object. If it already exists then the menu's position is recomputed. Current properties contain these functions:

1. Object appearance setting

2. normalize functions

3. object's collision setting

4. mesh-metanurbs setting

5. close object's properties menu


Navigation Widget

With this widget it is possible to move, rotate and scale an object, select a new object, or select a sub-object of the current object. In fact it is a transformed "Navigation group" from the 2D menu.

The widget has the following active surfaces:

1. White faces for object's moving

2. Blue edges for object's scaling

3. Axes for object's rotating

4. Red (X), green (Y) and blue (Z) tips for activation and deactivation of the previous three surfaces

5. Widget's origin for the widget's position setting and widget's properties menu activating.

The three basic functions: move, scale and rotate are accessible by clicking on the appropriated surface and dragging

Through the 2D menu it was possible to work in World, Object and Screen. The Navigation Widget supports all these systems plus Face coordinate system.


View Widget

View widget gives you direct control of view manipulation. These basic functions are implemented:

1-Eye move 2-Eye rotate 3-Walk function 4-Rotate round selected object (Encircle) 5-Move in eye's Z-axis.

A-B:  Fly Mode (pop up widget menu).


Point Edit Widget:

The PE widget is used to control the face, edge and point selection. The functionality is very similar to the NAV widget, therefore the only differences between the NAV and PE widget will be described.

1. Sweep 2. Tip 3. Lathe 4. Bevel 5. Macro/Sweep

6. Slice object by selected line/plane 7. Separate selected part of object

If the widget is used with NURBS, the two other icons add to the tension and density control (see NURBS)


Global Panel

Global panel is an alternative menu designed to set parameters which are global for a given scene directly from 3D space.

The panel has these active buttons:

1-Close panel   2-Ground setting   3-Interface setting

4-Help bar   5-Collision setting  6-Solid Renderers Setting

7-Visibility setting 8-Enable/Disable Global Panel's rotation

9-Drag Panel

More:

Interface Setting


Interface Setting

Through the menu it is possible to switch between menu versions and set the individual widget visibility:

A-2D Interface B-3D Interface

1-Make the View widget visible. 2-Make NAV widget visible 3- Make Pont Edit widget visible.  4-Make NAV widget appear on selected object.


Preference Settings

Many options related to the operation of trueSpace4 can be set in the Preferences panel. (Settings related primarily to how your worlds are displayed are set in the Render Options panel.) The Preferences panel can be accessed from the Preferences item in the File Menu. Preference settings are automatically saved when you exit trueSpace4 and restored the next time you start the program.

More:

Dynapick

3D Widgets

OrthoNav

Recursive Texture Search

TopMenu

Titles

LoadScene

SmallBrowse

Tablet

SaveState

Change Texture Path

Home

Proxy

Port


Dynapick

When Dynapick has been enabled, an object can be selected and manipulated with the current tool without having to release the mouse button. The benefit is that many objects can be manipulated quickly by simply clicking and dragging on each object. If two objects are under the mouse pointer, selection alternates between them with each successive mouse click. If more than two objects are under the mouse pointer, selection is most reliable when the mouse pointer is positioned over a specific object's edge or vertex. If no object is under the mouse pointer, the currently selected object is used.

Turning off Dynapick can help avoid accidental selection of objects while manipulating a complex world. When Dynapick is disabled, you must select an object by clicking and releasing the left mouse button on the object. Then you can manipulate the object by a second mouse click (and drag). This mode is useful when you wish to work with one object that is positioned on top of others. With an object selected, the mouse pointer need not be over the object in order to manipulate it.


Program Operation - Preference Settings - 3D Widgets
3D Widgets

The 3D Widgets checkbox enables or disables the displaying of 3D Widgets and the 3D Panel.


OrthoNav

Normally, trueSpace4 uses the left mouse button to control actions along the X and Y axes, and the right mouse button to control actions along the Z axis. However, you can only work in two axes in 2D, or orthographic views (Front, Left, and Top).

The 2D Move setting, when enabled, allows you to use the left mouse button to control actions in both the horizontal and vertical directions in the Front and Left views. Note that the vertical direction corresponds to the World Z axis. If 2D Move is disabled, you must use the right mouse button to control vertical (Z-axis) actions.

2D Move has no effect on a Top view. Top views always show the XY plane, and all actions in this plane always use the left mouse button.


Recursive Texture Search

When trueSpace4 cannot locate an image map file used in a material, enabling this switch causes the program to search through all subdirectories in any directories where it expected the file to be found. For further information, see the Change Texture Path section, below


TopMenu

The default position for trueSpace4's menu and tool bars is at the bottom of the screen. If you prefer to have the menus at the top of your screen, enable TopMenu. Note that this also affects small view windows.


Titles

If this setting is enabled, control and property panels all have the standard Microsoft Windows title/drag bar across the top. You can use the title bar to drag the panel around your screen. Panels with title bars also have a Close box in the upper left corner. You can close a panel with a single left-click on the Close box.

To close a panel with no title bar, place the mouse pointer over a blank area of the panel. Press and hold the right mouse button while dragging it outside of the panel. You will see a large X appear over the panel. Release the button and the panel will close.To move a panel with no title bar, click and hold the left mouse button on the panel, and then drag the panel to the desired location.


LoadScene

If this setting is enabled, the last scene saved or loaded during the current session will automatically load the next time you start trueSpace4.


SmallBrowse

Most Windows programs remember the state of their window: if the window was maximized (full-screen), minimized (just an icon or task bar item), or somewhere in between. They also remember the last position of the window. trueSpace4 does this too, but by default, only for the World Building mode window/screen.

If the SmallBrowse setting is enabled, trueSpace4 will switch to a smaller, fixed-size window whenever you enter World Browsing mode. This will also effect the window size trueSpace4 starts with since the program always begins in World Browsing mode.

If this setting is disabled, trueSpace4 will use the same size window and position of the window for World Browsing and World Building modes.


Tablet

This setting is primarily intended for use with graphics tablets. trueSpace4 does not have any special support for tablets, so they should be set up to run under Windows in mouse emulation mode. This also means that the tablet must be set up to use relative (not absolute) positioning.

Normally, trueSpace4 allows proportional scaling through the use of both mouse buttons together. If you find it awkward to hold both buttons down, as with some tablet pens, you can enable this option. When the Tablet setting is enabled, the scaling will automatically be proportional on all three axis when using the left mouse button. If Tablet is enabled, and you want to temporarily turn off proportional scaling, simply turn off one of more axis in the Coordinates panel.


SaveState

This setting determines whether the workspace is remembered when you quit the current session. If SaveState is enabled, trueSpace4 saves everything when you quit. The next time you run the program, it starts in the same state as when you last quit the program. All cameras, lights, and objects are automatically reloaded, and open panels are right where you left them. If SaveState is disabled, the program restarts in a default mode, with no panels open or objects loaded.


Change Texture Path

This lets you enter one or more user-defined paths for image map files.

trueSpace4 has a more flexible method of dealing with the location of image map files (used in materials, as backgrounds etc.) than did its predecessors.  In previous versions of the program, the full path names of image map files when originally loaded were hard-coded into scene, object, and library files.  This is still the case with trueSpace4, and it is the first place trueSpace will look for the specified file.  However, if it does not find the file, trueSpace4 will continue to search.  This makes it easier to move scenes and image maps to other machines and/or hard drives.

The places that trueSpace4 searches for image maps are controlled in the Change Texture Path field in the Preferences panel.  In here, it is possible to define one or more directory paths in which the program will search for image maps. Separate directories need to be separated by semicolons (;).

Example:

D:\TRUSPTXT;C:\MAPS

You can enter the first user-defined path via the keyboard, or by clicking on the Change Texture Path button, navigating to the desired subdirectory, and then double-clicking on any file in that directory. To enter additional user-defined paths, you must use the keyboard. Using the Change Texture Path button always replaces any currently defined path(s).

Textures are searched in this order:

1.	Path directly saved with the object, scene or library

2.	All user defined paths, in this order:

a)	<user-defined path>

b)	<user-defined path>\TEXTURES

c)	<user-defined path>\BUMPS

d)	<user-defined path>\ENVIRMNT

3.	In the current directory, in this order:

a)	<current>

b)	<current>\TEXTURES

c)	<current>\BUMPS

d)	<current>\ENVIRMNT

4.	If, in the Preferences panel, the Recursive Texture Search switch is checked (default is off) search is performed in all sub-directories if the users path.

5.	If, in the Preferences panel, the Recursive Texture Search switch is checked, the search is performed in all sub-directories of the current directory.

Any files that cannot be found will be listed in an alert box. There is a limit of 255 characters when displaying the paths of missing image maps.


Home

This is the path or URL to your home world. You can enter in the path to a local VRML file or an Internet URL to one on the Internet. This file will be accessed whenever you click on the Home tool.

If this option is left blank, the home location will be your neighborhood. (This is a file called "PLACES.NBR" in trueSpace4 folder.)


Proxy

If you are using a Proxy server, you will need to enter the server name here in order to access worlds on the Internet. Proxy servers are sometimes used if you are behind a firewall. If you are unsure about this, consult your network administrator or your Internet server provider.  Usually, you can check the settings for your HTML browser, and use the same Proxy information here.


Port

If you are using a Proxy server, you will need to enter the server's port number here in order to access worlds on the Internet. Proxy servers are sometimes used if you are behind a firewall. If you are unsure about this, consult your network administrator or your Internet Service Provider.

Usually, you can check the settings for your HTML browser, and use the same Proxy port number here. Note that this value is ignored if you have not entered a Proxy server in the Proxy setting.


File Menu

Scene: New

Scene: Load...

Scene: Save and Save As...

Load Object...

Save Object

Save Object As...

Render Scene to File

Save Neighborhood

Preferences

Display Options

Exit


Scene: New

This clears all objects from the workspace, and leaves all other settings (e.g. Material) of program operation.


Scene: Load...

This restores setups saved previously with the Scene: Save As... command, including objects, lighting, animation, and so on. You can use this function to load scenes in the Caligari scene format (scn) as well as the VRML 1.0 world format (wrl). When the Load Scene file dialog appears, select the file to load, then click on OK.

For additional information about saving files in the VRML world format, see the section following this one, entitled Saving and Publishing Worlds.

Note: Although trueSpace4 can save scenes in VRML 2.0 format, currently it can load only scenes in the VRML 1.0 format. Therefore, it's a good idea to keep extra copies of your VRML scenes in Caligari scene format (scn).


Scene: Save and Save As...

This saves to disk all aspects of the current scene, including objects, lighting, animation, eye position, and so on. You can use this function to save scenes in the Caligari scene format (scn) as well as the VRML world format (wrl). When the Save Scene file dialog appears, select the file to save over, or enter a new file name, then click on OK.Object.


Load Object...

This allows loading of 3D object files. Supported formats, automatically recognized by the trueSpace4 loader, including Caligari object (trueSpace), 3D Studio binary, 3D Studio projects, 3D Studio ASCII, DXF (AutoCAD), LightWave, VideoScape, Wavefront, Imagine, Caligari Amiga, Adobe Illustrator, PostScript and Encapsulated Postscript files. When the Load Object file dialog appears, select the file to load, then click on OK. If you don't see an object file you saved, select "All Files *.*" from the List Files of Type pop-up at the bottom left of the file dialog.

To restrict the listed files to a particular type, use the pop-up under "List Files of Type:" in the dialog. For specific information on 3D file formats supported, see the Appendix.


Save Object

Saves the current object over the file from which it was loaded, or the last saved version. If the object was created in trueSpace4, the Save command works the same as Save As..., opening a file dialog so you can name the object.


Save Object As...

This allows saving of objects in trueSpace, DXF and 3D Studio ASCII (text) formats. When the Save Object file dialog appears, select the file to save over, or enter a new file name, then click on OK.

The format under which files are saved is determined by the file name extension you enter. If you use ".cob" the file is saved in trueSpace format, and if you use ".asc" the object is saved in 3D Studio ASCII format. If you use ".DXF" the object is saved in AutoCAD format. To see the available formats and the associated file name extensions, use the pop-up under "List Files of Type:" in the dialog. The program does not add file name extensions automatically.


Program Operation - File Menu - Render Scene to File
Render Scene to File

This renders the current view as a still image or an animation to a disk file. For further information, see the Render Scene to File section in Chapter 14.


Save Neighborhood

This applies to the use of trueSpace4 as a VRML browser. When your Neighborhood file is loaded, using this command saves any changes you've made to the neighborhood (such as adding a link) to the default file. For further information on using the Neighborhood file, see Chapter 23 - World Browsing.


Preferences

Opens the Preferences panel, which is documented earlier in this chapter.


Program Operation - File Menu - Display Options
Display Options

Opens the Display Options panel, which is documented in Chapter 3 - View Group.


Exit

Quits the program. A confirmation dialog appears: Click "Yes" to quit, and "No" to return to the program.

You can also quit the program by clicking the Close Box (a small button containing an X) in the lower-right corner, by double-clicking on the Windows menu heading in the lower-left corner, or by pressing Alt-F4.


Groups Flyout

Use this submenu to open and close trueSpace4's various tool groups, which are described in general above, and in detail in the remainder of this manual. When a check mark appears next to an item, that means the group is currently active and displayed.


Help Menu

About

Contents

Task Tutorials

Play Tutorial

Display Text Info

Help Bar

Internet Access


About

Displays basic program information, including the current display mode. To close the information box, right-click on it and drag outward, or if the Titles switch is enabled, select the Close box in its upper left corner. You can also close it with the Close All Panels tool from the Edit group. The About box also contains pertinent version information which maybe of use in case you require technical support.


Contents

This opens a standard Window's help file. It includes definitions, explanation and description of individual trueSpace4 functions. It is much more extensive than the Help Bar, but is not context-sensitive.


Task Tutorials

trueSpace4 can demonstrate many of its features through the use of Task Tutorials. Task Tutorials are similar to Tool Help; they take over the interface, performing actions as if a real-life instructor were showing you the program. Since Task Tutorials use the program, your current world will be hidden during the replay of the Task Tutorial. However, it will be saved into a temporary file so that you can restore it after the Task Tutorial replay if desired. (A dialog appears asking you if you want to restore the file.)

You can start a Task Tutorial replay in a number of ways. First, you can use the Task Tutorials or Play Tutorial items from the Help menu. The Task Tutorials menu item brings up an index to the tutorials, which is a standard Windows Help file. Another method of starting a tutorial is to select the Task Tutorials icon from Windows. If you choose this method, trueSpace4 does not have to be running; selecting a Task Tutorial will launch the program.

At any time during playback, you can stop replay by pressing and holding down the Esc key until it stops. If trueSpace4 is not already running when you start a Task Tutorial, the tutorial will repeat each time it reaches the end. In this case, ending the tutorial with the Esc key will also close trueSpace4 .

Some Task Tutorials have textual information that will appear in a small dialog box to further explain what is happening. When these appear, continue the playback by clicking on the Continue button. If you do not see these text boxes, make sure that the Display Text Info option in the Help Menu is checked before selecting a Task Tutorial. If you still do not see text boxes during replay, trueSpace4 has no textual information for the selected Task Tutorial.


Play Tutorial

This brings up a standard Open File dialog, allowing you to select a specific Task Tutorial for playback.

Normally, you will use the Task Tutorials item from the Help Menu to select a Tutorial. This item is here in case you have Tutorials not contained in the index, or are having problems with the index. Task Tutorials have a .TSD (trueSpace demo) file extension, and are located in the TUTOR sub-directory.


Display Text Info

This is a toggle menu item; it can be checked or unchecked. When this is on (checked), Tool Help and Task Tutorials will show textual information in a pop-up window during their playback. Note that some Tool Help and Task Tutorials do not have this textual information.


Program Operation - Help Menu - Help Bar
Help Bar

Use this item to toggle the display of trueSpace4's context-sensitive help feature covered earlier this chapter.


Internet Access

trueSpace4 can be used to browse and build VRML worlds on your own computer; you do not need Internet access to use this feature. However, VRML was created for virtual worlds on the global Internet network.

trueSpace4 can function as a standalone VRML browsing and authoring tool. It can also be used with many popular HTML browsers. It has been tested with a variety of sockets libraries (such as winsock), and should work with any sockets library that follows the Microsoft standard.

Caligari cannot provide assistance with obtaining Internet access. There are many ways to get on the Internet. You can do this through work, school, major commercial on-line services, and Internet Service Providers (ISPs).

Once you have Internet access, you can contact your system administrator or customer support representative to find out if you have a socket library. Usually, if you can use one of the popular HTML browsers such as Netscape Navigator or Microsoft Internet Explorer, you have a sockets library on your system.

While you can access the Internet at any speed, VRML often involves large files and images. Therefor, we recommend that you use at least a 14.4Kbps modem connection. If you can use a faster connection, such as a 28.8Kbps modem or ISDN, you will experience better performance when accessing and publishing VRML worlds.

For more information on using trueSpace4 as a VRML authoring tool, see this chapter's Saving and Publishing Worlds section. And for further information on trueSpace4's VRML browsing functions, see  World Browsing.


View Group

Attached to the main window is a group of tools known collectively as the View group, containing view navigation tools, object mode tools, and navigation utilities.

More:

Browsing and Building Modes

Fly and Walk

Encircle and Point

Eye Navigation

Appearance Renderers Setting

Display Options

Default Lights

Texture Res

Scene Detail

Ground Resolution


Browsing and Building Modes

trueSpace4 has two main modes of operation: Building and Browsing.

When you first start trueSpace4, it opens in Building mode. This is where you can create and modify scenes. You can switch to this mode by using the pop-up menu attached to the Switch to Building mode tool. Performing certain actions in World Browsing mode, such as erasing an object, will automatically switch you into World Building mode.

In Browsing mode, you can navigate through VRML 1.0 worlds and follow hyperlinks to other worlds, either locally or on the Internet. If you are in Building mode, you can use the pop-up menu attached to the Switch to World Browsing mode tool to start browsing the Internet or to test a world you are currently building.


Program Operation - View Group - Fly and Walk
Fly and Walk

If you hold the left mouse button down while moving the mouse forward or backward, you will move forward or backward in the world. As you move the mouse left or right with the left mouse button held down, you will turn to the left or right.

If you hold the right mouse button down while moving the mouse forward or backward, you will move up and down in the world. As you move the mouse left or right with the right mouse button held down, you will move left or right.

Finally, if you hold both mouse buttons down while moving the mouse forward of backward, you will tilt your view up and down.

When you are in Walk mode, you move through your world only while you are moving the mouse.  As soon as you stop moving the mouse, your movement will stop. In Fly mode, your movement through a world will continue for as long as you hold down the mouse button(s). For example, if you hold down the left mouse button, and then move the mouse forward a bit, you will keep moving forward until you finally release the mouse button.

The exception to this is for tilting in Fly mode. You will stop tilting when you stop moving the mouse. To continue a tilting movement, you must keep moving the mouse. This is to prevent you from getting disoriented by inadvertently tilting too much.


Program Operation - View Group - Encircle and Point
Encircle and Point

Encircle and Point are constrained to the currently selected object. In World Browsing mode, you can select an object by right-clicking on it since a left-click will follow any link on the object.

Encircle allows to move around the current object while always keeping it in view. You cannot move closer to or further away from an object, but you can fully orbit it in 3D space. Encircle is similar to Walk in that you move around an object only while moving the mouse.

Point, also called Move to Select Object, allows you to move toward and away from the current object while always keeping it in view. You can not move from side to side, nor can you move up and down. Your movement takes place on the same ground plane as the selected object. Point is similar to Fly in that once you start a movement, it continues until you release the mouse button. There is no need to keep moving the mouse in order to approach an object.


Eye Navigation

The Eye Move, Eye Rotate and Eye Scale tools can be used in addition to or instead of using the standard World Browsing navigation tools for modifying your viewpoint in World Building mode. They can be found in their own tool group, called the Eye Nav group, which you can invoke from the Groups menu.

More:

Eye Move

Eye Rotate

Eye Scale


Eye Move

The eye can be moved within all three coordinate systems.

In the WORLD system, clicking the left mouse button and dragging causes the eye to "fly" over the XY reference grid. Clicking the right mouse button and dragging, causes the eye to change altitude over the XY reference grid.

Eye movement in the SCREEN system gives you the easiest way overall of navigating in the workspace. Eye movement is simplified to horizontal and vertical screen movement (left mouse button) plus a straight in and out (SCREEN Z-axis) direction using the right mouse button.


Eye Rotate

Though the coordinate system controls for eye rotation appear the same as for other navigation tools, they have different meanings. Regardless of which coordinate system is chosen, eye rotation (turning about its own axis) and revolution (orbiting) is based on the SCREEN coordinate system.

By selecting the WORLD coordinate system, the eye will orbit the world center, even if the eye does not directly point at it.

By selecting the OBJECT coordinate system, the eye will orbit the active object's center (see below) even if the eye does not directly point at it. If no object is active, the eye will orbit the world center.

By selecting the SCREEN coordinate system, the eye will rotate (pan and tilt) about its own axes which are congruent to the screen axes.


Eye Scale

Zooming in a perspective or camera view is analogous to changing the focal length of a lens. You can zoom from fish-eye to super-telephoto. The photographic effects of the eye's real-world counterparts are apparent in trueSpace4. For example, when the eye is zoomed to telephoto ranges, objects will appear to be crowded together. Zooming in an orthographic view moves the eye in and out without visual distortion.

Eye zoom is independent of any coordinate system; it moves along an axis perpendicular to the screen. Within a perspective view, the amount of zoom on the eye is limited. To "pull out" of a scene or to get close to very small objects, use the Eye Move tool in the SCREEN Coordinate system.


Appearance Renderers Setting

This popup allows the objects in your scene to render in real time as  wire, solid, transparent, outline solid, and outline transparent appearances.

 Right-click on any variant in this pop-up to open the Display Options   Panel (described in the next section) where you can set such solid mode attributes as smoothness, textures, enabling the solid grid, and displaying the background image in the workspace.

More:

Wire

Solid

Transparent

Outline Solid


Wire

View your objects in the form of a wire to see how your object looks in the form of just lines.


Solid

By viewing in a solid appearance, you can see your object completely rendered as a solid.


Transparent

This tool switches the appearance to transparent rendering, allowing you to see through objects.


Outline Solid

Outline Solid is a combination of Wire and Solid functions.


Program Operation - View Group - Display Options
Display Options

This panel contains settings related to how your scenes are displayed in Wireframe and Solid Display modes. You can access this panel by right-clicking on the Appearance Renderers Setting tool icons (described in the previous section), or by selecting the Display Options item in the File Menu.

The first row of icons, unlike the rest of the buttons are pop-up menus which are API's, Ground, Select, Nonsel (non-select), Scene, Highl (highlight).

More:

API's

Ground

Color: Select, Nonsel, Scene, Highl

Faceted

Smooth

Show Textures

Show Lights

Show Cameras

Show Background Image


API's

This pop-up determines how the scene is drawn while you work in trueSpace4. You can opt to work in wire frame mode for point editing, etc., or use either Solid Render Displays such as Intel 3DR, Microsoft Direct3D, or OpenGL to render your scene in real time as you work.

To check if hardware acceleration is working, select Help from the menu, then select About.  You will see the credit screen.  On the bottom right you shold see the name of the API you are using.  If it does not show, then hardware acceleration is not enabled.

Any of the Solid Render Display selections switches the current display mode in the current window to real-time solid rendering. A 3D cursor follows the currently selected object or group of objects but changes to the shape of a local axis when the hierarchy is navigated through to display the current hierarchical level.

Direct 3D Solid Render Display

If you have a 3D accelerator card that supports Microsoft's Direct3D display technology, you may wish to use D3D as your primary Solid Render Display mode. This mode generally provides fast feedback, and offers the Bilinear Filtering option for improved display of texture maps. However, be aware that performance may suffer with scenes containing more than a few hundred polygons. Also, for the present, using D3D with the 3D Paint function is not advised.

Here's some more important information about using Direct3D with trueSpace4:

•	To run Direct3D in hardware, you must have a hardware accelerator card that supports this mode in a window. If the card only offers full-screen support of Direct3D, trueSpace4 cannot take advantage of the hardware acceleration

•	Many Direct3D display cards come with 4 MB of memory, which is sufficient to display an 800 x 600 resolution at 16 bit. For 1024 x 768  resolution you need 8 megs of video memory.

•	trueSpace4 does not support hardware acceleration at the 8-bit color depth option (256 colors). If you use trueSpace4 in 256 colors, Direct3D will run in software emulation.

•	The aesthetic advantage of being able to use bilinear filtering more than compensates for the inability to use resolutions higher than 800 x 600 in the default memory configuration.

•	Direct3D hardware accelerators use onboard memory for storing texture maps. If the card runs out of texture map memory when you're in D3D mode, trueSpace4 automatically switches over to 3DR Solid Display mode.

•	Be sure to check the ReadMe file in your trueSpace4 folder for the very latest information about Direct3D and graphics cards.

By using the right mouse button on the D3D Solid Render Display button, you can open up the D3D Property Panel.

Bilinear filtering

Bilinear filtering is a feature of many hardware Direct3D accelerators that removes much of the pixel artifacting observed when the viewer is close to a texture map. This switch lets you turn your card's bilinear filtering feature on and off.

Using bilinear filtering may reduce the display performance on some graphics cards.

Perspective Correction

By enabling perspective correction, you can display a higher level of realism when viewed from different angles or different view points.

Enable Dithering

By enabling dithering, you can simulate an increase in the number of colors that are originally used for rendering the image.

Transparency

This setting contain three levels:

level 1 : Allows the use of "sprites" to attain the highest speeds.

level 2 : Does not allow the use "sprites" if the scene contains one         or more transparent objects (including widgets).

level 3 : Transparent triangles are sorted by Z coordinate (if the scene contains a transparent object) resulting in the slowest speed of the three.

OpenGL Solid Render Display

If you have a 3D accelerator card that supports OpenGL you can switch to this API.  The same video memory requirements as described for D3D also apply.

By using the right mouse button on the OpenGL Solid Render Display button, you can open up the OpenGL Property Panel.  OpenGL also supports Bilinear Filtering as described for the D3D Property Panel.

3DR Solid Render Display

If you don't have a 3D accelerator card, you can still render solid in real time with the use of Intel's 3DR.

WireFrame Display

This tool serves two functions. You can use it to refresh the wireframe display in the current window or to disable solid rendering. In wire mode, selected unselected objects are different colors depending on the settings described in the following section Display Options.


Ground

This is the 2D equivalent for ground settings described in Navigation & 3D Interface.  The settings are the following:

Set Textured Ground

Set Ground to Solid

When solid or textured are enabled, a solid ground will be displayed in Solid Display mode. This can be useful for the placement of lights, but will slow down screen refreshes. This setting has no effect when API is set to wireframe.

Set Ground To Wireframe

Set Ground To Hide

These two set the floor to a minimum, to increase real-time response.


Color: Select, Nonsel, Scene, Highl

Select:  Color of the selected object.

Nonsel:  Nonselected parts of the hierarchical object when one of   its subobject is selected.

Scene: The rest of the scene.

Highl:  Highlighted parts of the object in face selection tools and point editing.  (Refer to Chapter 4 for more details).


Faceted

This setting, when enabled, turns off smoothing of objects in Solid Display mode. However, shading within individual faces is performed. This mode results in faster performance compared to Smooth.

Enabling this setting disables the Smooth setting. This setting has no effect on Wireframe views.


Smooth

This setting, when enabled, results in smooth shading of objects in Solid Display mode. While this can result in a nicer look for objects, display performance will be slower compared with the Faceted setting. Enabling this setting disables the Faceted setting. This setting has no effect on Wireframe views.


Show Textures

This setting is a toggle. When enabled, textures on objects will be visible in Solid Display mode. Enabling textures results in the most realistic and detailed representation of worlds in trueSpace4, but it also causes the slowest performance. This setting has no effect on Wireframe views.


Show Lights

This toggles the display of lights in the workspace. Note that if this is disabled, lights still cast light. Only the display of the light objects is affected by this setting.


Show Cameras

This toggles the display of cameras in the workspace, and can also be accessed through the global panel.


Show Background Image

Shows the background image that is currently set.  To set this image, refer to "Render Options" in Chapter 14 Rendering.


Default Lights

These icons offer different choices for the default lighting in a scene. Default lights are used whenever you create a new world using the Scene: New menu item in the File Menu, or when you change this setting. In order to change the default lights, trueSpace4 must delete all of the current lights in your world. However, trueSpace4 will first ask you to confirm this.

Note: The default light selections are mutually exclusive; selecting one type of default lighting will unselect the rest.

The choices for default lights are:

More:

Colored Lights

Textured Ground Lights

White Lights

VRML Lights

No Lights


Colored Lights

These are three Local lights of different colors arranged in a triangle formation over the workspace. These lights might not be appropriate for realistic worlds, but they are useful for building objects since they provide a good sense of depth.


Textured Ground Lights

These lights are used on textured grounds.


White Lights

These are four Infinite lights pointing toward the center of the workspace. These lights provide even illumination from all angles.


VRML Lights

These are two white Infinite lights pointing toward the center of the workspace They are well suited to designing worlds for browsers that would otherwise wash out a world with too much light.


No Lights

No lights are placed in your world. Normally you will only choose this setting if you intend to place your own lights into the world.


Texture Res

This setting allows you to choose the maximum resolution of textures displayed while rendering in Solid Display mode. The higher the setting, the better your textures will look, but the slower the screen refresh will be.

To change the texture resolution, click and hold the left mouse button until the pop-up list appears, and then select the desired resolution.


Scene Detail

This setting affects the way trueSpace4 simplifies unselected objects during complex operations. Render All offers the most detailed representation, while Always Boxes offers the fastest performance. Note that this setting affects all open view windows.

More:

Render All

Always Wire

Wireframe

Always Boxes

Boxes


Render All

All objects are fully rendered in Wireframe or Solid, depending on the display mode of the window.


Always Wire

Unselected objects will always be drawn in Wireframe mode until a new selection is made. This setting is intended to be used with Solid Display mode to speed up the display a bit.


Wireframe

Unselected objects will switch to Wireframe mode while the selected object is manipulated, even when the view is set to Solid Display mode.


Always Boxes

Unselected objects will always be drawn using bounding boxes until a new selection is made.


Boxes

Unselected objects will switch to bounding boxes while the selected object is manipulated.


Ground Resolution

By either dragging on the x and y arrow buttons or inputting x and y coordinates into the edit boxes, you can modify the size of the ground.


Program Operation - Render Tools
Render Tools

The next group, Render Tools, will be described in Rendering.


View Select Tool

This command is used to set the main view mode: perspective (default), top, left, front or camera. Each window can be set to a different view, and different windows can be set to different camera views simultaneously.

More:

Perspective View

Front View

Left View

Top View

Camera View


Perspective View

Perspective is the default view, being the one in which the program normally starts, and for most users it is the most flexible in which to work. In perspective mode, the point of view or "eye" can be positioned anywhere, pointing in any direction. However, appearances from an angle can be deceiving so the view can be made into an orthogonal view for the proper positioning of objects.


Front View

The front view is orthogonal (no perspective), looking down the world Y axis. The view can be moved and scaled but not rotated.


Left View

The left view is orthogonal (no perspective), looking down the world X axis. The view can be moved and scaled but not rotated.


Top View

The top view is orthogonal (no perspective), looking down the world Z axis. The view can be moved and scaled but not rotated.


Camera View

The camera view is the view from a selected camera, light, or object. The orientation of the view is in regard to the selected object's Z axis. This view can be moved, rotated, and scaled either with Eye Navigation tools or by manipulating the selected "camera" object.


New Window Tool

The New Window tool variants, found only on the main window, allow opening up to three auxiliary windows as perspective, front, left or top views. Auxiliary windows have standard Viewpoint Navigation and View Select tools as well as Render tools. A window can be set to show the view from the currently selected camera, light or object by selecting Camera from its View Select pop-up. These windows can be used for everything the main view can, including object manipulation, animation, and rendering. Orthogonal views can be moved and scaled but not rotated.Windows can be moved by clicking on the blue text box near the left end of the window bar and dragging, and can be resized by the edges and corners using standard Windows mouse techniques. The maximum size of auxiliary windows is limited to about one-fourth of the screen resolution. To close a window, click once on its Control-menu box, then on the Close item, or simply double-click on the Control-menu box.


Preview AVI

Left clicking on this button allows you to preview avi files.  The standard Windows 95 file dialog box opens, and you specify which avi file you wish to preview.

If you right Click to bring up the Preview AVI properties you can specify which external avi player you want to use.


Close All Panels

All open panels are automatically closed.


Dock All Panels

All open panels are automatically placed in orderly rows immediately above or below any displayed tool groups.


Look At Object

In Perspective view, this tool centers the eye to point at the current object. In orthogonal views, which cannot be rotated, Look At Object centers the view on the object. Look At Object has no effect on a camera view. To use Look at Object select the object to which the view is to be oriented then select the Look at Object tool.


Reset View

This tool let you return the currently active window's view to its default settings. In Perspective view, the default view is the one in which the program always starts, with the "eye" pointed diagonally down at the working grid, situated halfway between the X and Y axes. The orthogonal Left, Front and Top views, which cannot be rotated, are returned to their original eye position. If a window is set to Camera view, this tool doesn't affect it.


3D Tool Guides

trueSpace4 can demonstrate many of the tools available for use. 3D Tool Guides take over the interface, performing actions as if you had a real-life instructor using the program. Since 3D Guides use the program, your current scene will be hidden during the replay of the 3D Guides. However, your scene is saved into a temporary file so that you can restore it after the 3D Guides replay if desired. (A dialog appears asking you if you want to restore the file.)

To use 3D Tool Guides, left-click on the 3D Tool Guides icon. The pointer will turn into a large question mark. Now left-click on any tool icon. Many icons, including some of those in control and property panels, have 3D Guides. If the tool you select does not have help, trueSpace4 will inform you of this.

At any time during playback, you can stop replay by pressing and holding down the Esc key until it stops.

Some 3D Tool Guides replays have textual information that will appear in a small dialog box to further explain what is happening. When these appear, continue the playback by clicking on the OK button. If you do not see these text boxes, make sure that the Display Text Info option in the Help Menu is checked before selecting 3D Tool Guides. If you still do not see text boxes during replay, trueSpace4 has no textual information for the selected tool.


Navigation & 3D Interface - Introduction
Introduction

The Object Navigation tools are used for selecting, moving, rotating and scaling entire objects, hierarchical sub-objects, and UV mapping space. There are also tools for navigating vertically through object hierarchies.

In addition to these 2D tools, there are also equivalent tools in the 3D Interface in the second section of this chapter: Global Panel, 3D Menus and Widgets.


Object Tool

Select the Object tool to enter object selection mode and to exit other modes like painting, point editing, etc... It is not nescessary to use the Object tool to pick new objects while working in different modes as the selection can be made simply by clicking on a new object . When the Object tool is active, select it with the right mouse button to open the Object Info panel.

Note: An alternate way of picking objects is to use the left and right arrow keys on the keyboard.

More:

Object Info Panel

Object Render Options Panel


Object Info Panel

The Object Info property panel displays location, rotation, and scale  information for  the currently selected object or selected entities (vertices, edges, and faces). Other information regarding the object such as name, number of vertices and faces, and selected unit systems are also displayed. When the panel is left open, all operations on the object or entities, such as scale, rotate, and move are reflected in the panel automatically. The fields for name, location, rotation, and size can be modified with keyboard entry. To change the value in a field, place the cursor on the desired field and select once with the left mouse button. When the cursor appears, enter the new value and press return.

More:

Dynaunits

Location

Rotation

Size

Name

# Vertices

# Faces

Class

LOD Dist.

Inlined

Render Options


Dynaunits

If Dynaunits is disabled, the numerical displays are based on the World's unit system. If Dynaunits is enabled then the numerical display for location, rotation, and size are according to the unit system assigned to the current object. The unit systems do not have to be the same for both World and Object as one can be in inches and the other centimeters. For example, to change the unit system for either World or Object, click and hold the left mouse button over the unit system name until a pop up of different values appears. Drag the mouse to the new desired system and release. The possible variants are millimeters, centimeters, meters, kilometers, inches, feet, yards, miles, and points.


Location

These three settings show the current object's position in the world according to the axis of the current object. The unit of measurement displayed is either in the World or Object system, depending on whether Dynaunits is disabled or enabled. Change the position values by clicking on the X, Y and Z boxes, entering a new value from the keyboard, and pressing Enter. Location values may also be entered as formulas involving addition, subtraction, multiplication, and division functions. Parentheses may be employed within formulas. As an example: 43+67-5 or 43*(8+7).


Navigation & 3D Interface - Object Info Panel - Rotation
Rotation

These three settings show the current object's alignment in degrees. Change the alignment by clicking on the X, Y and Z boxes, entering a new value from the keyboard, and pressing Enter. Rotation values may also be entered as formulas involving addition, subtraction, multiplication, and division functions. Parentheses may  be employed within formulas.


Navigation & 3D Interface - Object Info Panel - Size
Size

These three settings show the current object's absolute scale values which are displayed either in the World or Object system, depending on whether Dynaunits is disabled or enabled. Change the scale by clicking on the X, Y and Z boxes, entering a new value from the keyboard, and pressing Enter. Scale values may also be entered as formulas involving addition, subtraction, multiplication, and division functions. Parentheses may be empolyed within formulas.


Name

This shows the object's name and lets you change it. Objects other than primitives, cameras, and lights are automatically called NoName when created. Click on the field next to Name and enter a new name from the keyboard, then press Enter.


# Vertices

This shows the number of vertices in the current object. Since the only way to change this value is by interactive editing, it cannot be changed in the property panel.


# Faces

This shows the number of faces or polygons in the current object. Since the only way to change this value is by interactive editing, it cannot be changed in the property panel.


Class

This shows VRML-specific information about an object, such as inlined groups and LODs. For more information on this, see the sections on Inlined Files, under Saving and Publishing Worlds in Chapter 2 - Program Operation.


LOD Dist.

You can enter a numeric value into this box to set the LOD distance. This value is documented in greater detail in the Levels of Detail Groups section, later in this chapter.


Inlined

This check box lets you indicate whether or not the object should be inlined. Inlined files are documented in their own section. Note that this setting just marks individual objects for possible inlining. The Export VRML Files dialog has a global setting that determines whether or not any inlined files are created.


Navigation & 3D Interface - Object Info Panel - Render Options
Render Options

This button brings up the Object Render Options Panel.


Object Render Options Panel

Invisible

Cast Shadows

Receive Shadows

Radiosity Options


Invisible

This check box lets you indicate whether or not the object should be visible. Making objects temporarily invisible helps in speeding up navigation with complex scenes. You can also use an invisible object as a "null object" in animation with the Look At function to control the camera's aim without having it pointing at a specific object.

To make an invisible object visible, it's necessary to use the Animation Project window (see Chapter 18 - Animation). In the Project window, select the item you wish to make visibleby clicking on its name. Then, in the Object Info window, click the Invisible check box to uncheck it.


Cast Shadows

Enable or disable an individual object's abilities to cast shadows.


Receive Shadows

Enable or disable an individual object's abilities to receive shadows.


Navigation & 3D Interface - Object Render Options Panel - Radiosity Options
Radiosity Options

These options: Exclude Object, Adaptive Mesh, and Object quality are described in Radiosity.


Object Navigation Tools

Note: The Object Move, Object Rotate and Object Scale tools can also be found in their own tool group, which can be opened from the Groups menu.

More:

Object Move

Object Rotate

Object Scale


Object Move

Select this tool to move an object or a group of glued objects in the current coordinate system. The left button controls movement along the X axis by mouse movement parallel to the X axis, and movement along the Y axis by mouse movement parallel to the Y axis. Using only the right mouse button controls movement along the Z axis.

An object always rotates around its own axis which may or may not (especially with objects not created with trueSpace4) be positioned in the center of the object.  Right click on Object Move to open the Coordinates property panel where a coordinate system can be selected for the current tool and also where you can constrain transformations to certain axes. The Object Move tool defaults to World coordinates. If Orthonav is enabled in the settings panel, object navigation temporarily switches to Screen coordinates for navigation within orthographic views (Top, Front, or Left views). For more information on Coordinate systems see the discussion in the Window Group section of this manual.


Object Rotate

Select this tool to rotate an object or a group of glued objects in the current coordinate system. The left button controls rotation around the X axis by mouse movement perpendicular to the X axis, and rotation around the Y axis by mouse movement perpendicular to the Y axis. Using only the right mouse button controls rotation around the Z axis, by mouse movement perpendicular to the Z axis.

An object always rotates around its own axis which may or may not be positioned in the center of the object (see the section on axes). Right click on Object Rotate to open the Coordinates property panel where a coordinate system can be selected for the current tool and also where you can constrain transformations to certain axes. The Object Rotate tool defaults to Object coordinates. If Orthonav is enabled in the settings panel, object navigation temporarily switches to Screen coordinates for navigation within orthographic views (Top, Front, or Left views).


Object Scale

Select this tool to scale an object or a group of glued objects in the current coordinate system. The left button controls scaling on the X axis by mouse movement parallel to the X axis, and scaling on the Y axis by mouse movement parallel to the Y axis. Using only the right mouse button controls scaling on the Z axis. If both buttons are pressed, the scaling is uniform on all axes.

An object always scales from its own axis which may or may not be positioned in the center of the object (see the section on axes). Right click on Object Scale to open the Coordinates property panel where a coordinate system can be selected for the current tool and also where you can constrain transformations to certain axes. The Object Scale tool defaults to Object coordinates. If Orthonav is enabled in the settings panel, object navigation temporarily switches to Screen coordinates for navigation within orthographic views (Top, Front, or Left views).


Coordinates property panel

Right-click on any Navigation tool to open the Coordinates property panel. The upper row of buttons determines the coordinate system in which a transformation is to occur. The lower row lets you constrain transformations to certain axes.

Alternatively, you can use the Coordinates panel at the right end of the Help Bar. There are three buttons for enabling and disabling the X, Y and Z axes, and to the left of these, a pop-up for setting Object, World or Screen coordinates.

Both panels function identically: that is, they show and allow control of the settings for the navigation tool currently in use.

Transformations can take place within three possible coordinate systems: Object Coordinates, World Coordinates, and Screen Coordinates. The three system are covered in depth in the trueSpace4 Environment section of the User Manual. Regardless of the current Coordinate system, if OrthoNav is enabled in the Preferences panel, object navigation temporarily switches to Screen coordinates for navigation within orthographic views (Top, Front, or Left views).

More:

Object Coordinates

World Coordinates

Screen Coordinates


Object Coordinates

Navigation operations in the Object coordinates system are constrained to the local axes of the selected object or entity. The axes can be displayed for objects by selecting the Axes tool but not for entities like face groups or for tools like Surface Sculpt. Changing the orientation and the position of an object's axes will have an effect on how the object translates, rotates, and scales. For more on axes, see the Axes tool in the Utilities Group chapter.


World Coordinates

Navigation operations in the World coordinates system are constrained to the orientation of the World Axes: the World X axis runs along gridlines from the top-right to the bottom-left of the screen, the Y Axis runs from the top-left to the bottom-right, and the Z axis runs at ninety degrees from the XY reference grid.


Screen Coordinates

The Screen Coordinates system is oriented relative to the plane of the screen: the X axis run horizontally, the Y axis runs vertically, and the Z axis runs perpendicular to the plane of the screen. If OrthoNav is enabled in the Preferences panel, all navigation within Orthographic views are constrained to the Screen coordinates system.


Hierarchy Navigation Tools

These tools, available from a pop-up, are used for navigating vertically through hierarchical objects and are disabled when the current object is not a hierarchical model. See the Glue tools, in Edit Group, for information on creating hierarchical objects.

Use the up arrow for moving to higher levels, and the down arrow for moving to lower levels of a hierarchical model. Selected sub-objects are drawn as white wireframes, while unselected sub-objects are drawn as brown wireframes. Keyboard equivalents are the up and down cursor keys, usually marked as arrows.

While maneuvering through hierarchies, you can select siblings, or parts at the same level as the currently selected object, by clicking on them. You can also maneuver horizontally through hierarchy levels by pressing the left and right cursor keys.


3D Interface: Widgets, 3D Menus and Global Panel

With the debut of the Global Panel and 3D Widgets, you now have the ability to perform a number of modeling functions, manipulate your eye view, edit light settings, or execute commands directly from your workspace without having to mouse back and forth to the toolbar.  This unprecedented leap in 3D modeling technology means fewer interruptions in the flow of your 3D work.  Use the right mouse button to activate both widgets and the Global Panel:

*	Right-click on an object to bring up its 3D menu;

*	Right-click anywhere in your workspace (except for currently selected objects) to place or move the Global Panel.

Although you may be used to accessing tools in two-dimensional space, do not hesitate to experiment with the widgets and Global Panel.  You will find they work much like 2D controls except they give you the power to execute commands from right within your scene.  Once learned, you may find it difficult to go back to ordinary 2D commands!

You should also be aware that you can use the 3D menus and widgets in either wireframe or solid-render mode, but they were specifically designed to take advantage of the trueSpace solid-render capability; thus, they will be somewhat easier to use if you choose 3DR, OpenGL, or D3D modes.


Navigation Widgets

Navigation widgets combine move, rotate and scale functions into one functional and efficient package. The first navigation widget appears automatically with the first created object. Then it can be cloned to other objects, or deactivated altogether if desired.  To use the navigation functions of the widget on its attached object, simply click and drag on the appropriate surface.  The widget moves and rotates with its attached object as you use the navigation tools.

The Navigation Widget was designed with a 3D interface in mind; therefore, it is best used from either a Perspective or Camera view.  Using a widget from one of the Orthogonal views (Top, Left, or Front) can yield unpredictable results, so proceed with care.

The widget has the following functions according to the surface:

1.	Move object (white surfaces)

2.	Scale object (dark blue surfaces)

3.	Rotate object (axes)

4.	Rotate widget/deactivate movement, scale, or rotation (explained below)

5.	Widget Origin (Widget properties/cloning tool)

More:

Moving 3D Widgets

Object Movement using 3D Widgets

Object Scaling using 3D Widgets

Object Rotation using 3D Widgets

Rotating the Navigation Widget and Deactivating Navigation

Adjusting Widget Properties


Moving 3D Widgets

To relocate your 3D widget, click and drag on the Widget Origin (the white sphere at the center of the widget, marked number 5 in the figure).  Moving the widget enables you to position it so you can get a better view, and also allows you to attach the widget to another object.  A more detailed explanation can be found under "Cloning A Widget And Attaching It To Other Objects" later in this chapter.


Object Movement using 3D Widgets

For movement, it may help you to keep in mind that in the default World coordinate system, dragging with the left mouse button will move the selected object and its widget parallel to the plane of the selected surface, while dragging with the right mouse button moves the object and widget perpendicular to the plane of the selected surface.  (Refer to the accompanying figure to get a visual idea of using the different mouse buttons for object movement.  The arrows marked "L" denote the direction the cube moves with the left mouse button on the highlighted surface, while the arrows marked "R" show the direction the cube moves when the right mouse button is used.  Similar rules apply to the use of the Scaling tools as well.)

The Help Bar will indicate whether you are working in World, Object, or Screen coordinate system for the selected widget.  You can change coordinate systems using the Widget Properties 3D menu (explained further on).  Some time may be required to familiarize yourself with this type of movement, but once you become accustomed to navigating this way, you will find that it is an easy and precise supplement to the Object Move tool.

a) 	Surface between Red (Z) and Green (X) axes:

i)	Left-click + drag: Move object along XZ plane

ii)	Right-click + drag: Move object along Y axis

b)	Surface between Green (X) and Blue (Y) axes:

i)	Left-click + drag: Move along XY plane

ii)	Right-click + drag: Move along Z axis

c)	Surface between Red (Z) and Blue (Y) axes:

i)	Left-click + drag: Move along YZ plane

ii) 	Right-click + drag: Move along X axis


Object Scaling using 3D Widgets

As with Object Movement, the Object Scale strips on the 3D Navigation Widget functions differently depending on whether you use the left or the right mouse button.  Scaling occurs along parallel plane to the Scale strip when using the left mouse button, and along a perpendicular axis when using the right.  However, no matter which strip you point to, holding down both mouse buttons scales the object in all three axes (as it does with the 2D Object Scale tool).

a) 	Strip connecting Red (Z) and Green (X) axes:

i)	Left-click + drag: Scale object along XZ plane

ii)	Right-click + drag: Scale object along Y axis

b)	Strip connecting Green (X) and Blue (Y) axes:

i)	Left-click + drag: Scale object along XY plane

ii)	Right-click + drag: Scale object along Z axis

c)	Strip connecting Red (Z) and Blue (Y) axes:

i)	Left-click + drag: Scale along YZ plane

ii) 	Right-click + drag: Scale along X axis


Object Rotation using 3D Widgets

The Object Rotation axes on the 3D widget can be thought of as spikes driven through the object, around which the object will rotate when clicked with the left mouse button.  The elegance of rotating objects using navigation widgets becomes evident after only a few practice tries.

a)	Red (Z) Axis:

i)	Left-click + drag: Rotate around Z axis

ii)	Right-click + drag: Rotate around XY axes

b)	Green (X) Axis:

i)	Left-click + drag: Rotate around X axis

ii)	Right-click + drag: Rotate around YZ axes

c)	Blue (Y) Axis:

i)	Left-click + drag: Rotate around Y axis

ii)	Right-click + drag: Rotate around XZ axes


Rotating the Navigation Widget and Deactivating Navigation

To rotate the navigation widget, click on the tip at the end of the desired axis (labeled number 4 in the initial figure).  The widget follows the same behavioral rules set forth with the Object Rotation axes.  (Note: To reset the widget to its original position in the World coordinate system, click and drag at the Widget Origin — the white sphere at its center — and it will realign itself.)

The tips at the end of the axes also serve another function: clicking both mouse buttons on the appropriate tip can be used to toggle movement, scaling, and rotation on and off for the selected widget:

Red axis tip: Deactivate rotation axes

Blue axis tip: Deactivate scaling strips

Green axis tip: Deactivate movement surfaces


Adjusting Widget Properties

The Widget Origin (the small white sphere at the center of the widget, marked number 5 in the initial demonstration figure) serves several functions.  One of the primary uses of the origin is to bring up the Widget Properties 3D menu.  Left-click on the origin to bring up this menu.

1.	Widget coordinate system

2.	Resize navigation widget

3.	Delete navigation widget (requires double-click)

4.	Close widget properties menu (requires double-click)

More:

Widget Coordinate System

Resize Navigation Widget

Delete Navigation Widget

Close Widget Properties Menu


Widget Coordinate System

Click and hold on the visible Coordinate System icon to view the widget coordinate popup menu.  From here, you can select whether to work from (W)orld, (S)creen, or (O)bject coordinate systems.  Refer to coordinate system documentation for a more detailed explanation of these functions.


Resize Navigation Widget

Clicking and dragging on the Resize Navigation Widget icon scales the widget and its associated 3D menu.  Drag right to increase the size of the widget, and drag left to shrink the widget.  Note that this scales only the widget, and not its associated object.


Delete Navigation Widget

Clicking on the Delete Navigation Widget erases the widget from your workspace.  If no other widgets are present in your scene, one will be created the next time you create or load a new trueSpace object.


Close Widget Properties Menu

Hides the Widget Properties 3D menu.


Cloning A Navigation Widget and Attaching It to Other Objects

When you first create a new trueSpace4 scene, you start off with a single navigation widget.  You can copy this widget and attach it to other objects to create as many widgets as you will need for your scene.

To clone a widget, right-click and drag on Widget Origin (the white sphere at the center of the widget).  The new widget can be attached by simply continuing to drag it toward another object. To attach a widget to an object (including sub-objects of a glued hierarchy), left-click on the Widget Origin and drag the widget toward its intended target.

When you drag the widget to another object, one of three things can happen:

*	If you place the origin of the widget away from other objects, it remains assigned to the last object it was attached to, using the World coordinate system.

*	If you place the origin of the widget within the bounding box (an imaginary cube drawn around a polyhedron) of an object, the object's bounding box becomes visible (as in the following figure).  Left inside the bounding box, the widget adheres to the Object coordinate system.

*	If you place the widget directly on a face of the target object, the widget sticks to the highlighted face, and operates according to the face's coordinate system.  In the following figure, the widget origin has been placed on the highlighted face on the cone (left); upon release of the mouse button (right), it is stuck directly onto the target face.  Movement, scaling, and rotation executed from the widget will now behave in accordance with the orientation of the face.

Use the bounding boxes and/or highlighted faces as your indicator to which object will be selected, and which coordinate system will ultimately be used.


Point Edit Widget

The Point Edit Widget can be used during face, edge and point selection operations to perform extrusion operations (such as sweep, tip, and bevel). This widget functions much like the Navigation Widget, with a few variations — it cannot be cloned, though it can be moved to another object if both objects have been selected using multiple object selection (holding down the Control key).

To activate the Point Edit Widget, you must activate the Point Edit: Context tool and use it to select faces on the target object.  Once the faces are highlighted, right-click anywhere on the object to bring the Point Edit Widget into view.  If you have selected one face, the Point Edit Widget appears on the selected face.  If you have selected multiple faces, the Point Edit Widget pops up on the first selected face.

By default, the Sweep tool will be the icon that is visible.  As with other 3D Object Menus, to choose other tool variants, click and hold on the visible icon and move your cursor to the desired function.  Upon release of the mouse button, trueSpace4 performs the selected operation.

1.	Sweep

2.	Tip

3.	Lathe

4.	Bevel

5.	Macro Sweep

6.	Slice Object by Selected Line/Plane

7.	Separate Selected Part Of Object

Consult the Point Edit documentation for more information on using these tool variants.

Note: If you activate the Point Edit tool while editing a NURBS Control Mesh, you will be presented with two additional controls to adjust the Density and Tension values of the NURBS surface.  The blue NURBS control alters the Density setting, while the green NURBS control affects the object's Tension setting.  Refer to the NURBS documentation for a more detailed explanation of these functions.


View widget

The View Widget gives the user direct control of view manipulation in 3D space, allowing for eye navigation without moving the mouse back and forth to the toolbar.  It duplicates many of the Eye Navigation features, with the advantage of being more easily accessible from the workspace.

The Eye Move surfaces lie diagonally between the X, Y, and Z axes.  Click and drag on the appropriate surface to shift your eye view in the desired direction.  The Walk surface lies just beyond the edge of the XY move surface, and duplicates the function of the Walk Through World tool (forward and backward movement parallel to the Grid, with left-right motions turning the eye).  The Eye Rotate axes behave much like their counterparts in the Navigation widget — think of them as a skewer around which you can adjust your eye view.

One of the first tools you should become familiar with in the Eye View Widget is the green semi-circle in the lower right corner, known as Rotate Around Selected Object.  This duplicates the Encircle Selected Object tool found in the main menu toolbar, keeping your eye view trained on a specific object as you orbit around it from all sides.  This tool will make it much easier to build your models and view them from all possible directions.

1) Eye Move:

Left Button — move in YZ plane

Right Button — move along X axis

2) Eye Move:

Left Button — move in XZ plane

Right Button — move along Y axis

3) Eye Move:

Left Button — move in XY plane

Right Button — move along Z axis

4) Walk Through World

5) Move forward (toward Eye View Z axis)

6) Rotate Eye View:

Left Button — rotate around Screen X axis

Right Button — rotate around Screen ZY axis

7) Rotate Eye View:

Left Button — rotate around Screen Z axis

Right Button — rotate around Screen XY axis

8) Rotate Eye View:

Left Button — rotate around Screen Y axis

Right Button — rotate around Screen XZ axis

9) Rotate Around Selected Object

10) Widget Origin

Left Button (click + drag) — move View Widget

Left Button (click) — open Widget Properties Panel

More:

View Widget Properties


View Widget Properties

The View Widget properties panel can be accessed by a single click on the View Widget Origin (the small sphere at the center).  Similar to the Navigation Widget, you can adjust the size of the widget or delete it from your workspace entirely.  To close the View Widget Properties 3D menu, click on the Close Widget's Properties button found on the left side (the small block marked with an 'X').


Object Properties 3D Menus

An object's 3D properties menu allows you to perform functions or alter settings without having to mouse back and forth to the toolbar.  Right-clicking on a selected polyhedron opens up a row of 3D icons, which function much as their counterparts in the 2D menu. A second right-click on an object will reposition the Object Properties 3D menu to the click point.  (If, for example, you have moved your eye view to the opposite side of an object — thereby hiding its 3D menu — simply right-click to reorient the 3D menu to be seen from the new view.)

After right-clicking on an object, you will see a  row of icons appear:

To invoke an icon from the Object Properties 3D menu, simply point your mouse to the visible icon and click.  Like the 2D icons, you can click and hold down the mouse button on one of the visible icons to view other pop-up options; drag the mouse to the desired tool and release the mouse button to select.  You can also right-click on those tools (such as Sweep) to open the appropriate properties panels.

1.	Real-time render properties (solid, wireframe, etc.)

2.	3D Axis Tools (normalize, etc.)

3.	3D Object Collision properties

4.	3D NURBS tools

5.	Close Object Properties 3D menu

(Note: If you right-click on an object with faces selected, you will invoke the Sweep tool variants 3D menu, which will be explained in more detail later.)

More:

Real-time Render Properties

3D Axis Tools

3D Object Collision Settings

3D NURBS tools


Real-time Render Properties

This 3D popup allows the user to define how real time renderers display the object. The options are:

1.	Open the Object Render options panel (explained in detail elsewhere in this manual).

2.	Use the Global Setting (set from the Global Panel) to display the object.

3.	Draw object as transparent.

4.	Draw object as solid

5.	(The currently active selection)

6.	Draw object as solid-wire

7.	Draw object as transparent-wire

8.	Draw object as wire

Refer to the Real-Time Render section in the Global Panel documentation for a more detailed description and figures.


3D Axis Tools

The 3D Axis tools serve the same function as their 2D equivalents:

1.	Toggle axis visibility on/off

2.	Move Axes to Center of Object

3.	Normalize Location

4.	Normalize Rotation

5.	Normalize Scale

Refer to documentation on the axis tools for more information.


3D Object Collision Settings

The 3D Object Collision popup tools enable you to specify whether an object collides with other objects, or with the Grid:

1.	Object is dense and does not penetrate anything

2.	Object is dense and cannot penetrate other dense objects

3.	Object is dense and penetrates anything but the Grid

4.	Object penetrates anything

Refer to the documentation under the Global Panel for a more descriptive definition of object collision properties.


3D NURBS tools

The 3D NURBS tool group functions the same way as those found in the 2D panel, allowing you to create a NURBS object, switch between NURBS and the Control Mesh visibility, and to destroy the NURBS surface and revert the object to its control mesh (polyhedron) form:

1.	Destroy NURBS — Eliminate the NURBS surface and transform the object to a polyhedron.

2.	Draw object as a NURBS Object — Create a NURBS surface from a non-NURBS polyhedron, or view the NURBS surface of a NURBS object.

3.	Draw object's mesh — View and/or edit the Control Mesh of the selected object.


The Global Panel

The Global Panel contains several useful controls for setting up your work environment.  From here, you can assign the following parameters

The panel has these active buttons:

1-closing of Global Panel

2-Ground size and visibility   3-choice between 2D and 3D menu interfaces

4-visibility of the Help Bar

5-object collision properties

6-Appearance Renderers Setting

7-visibility of cameras, lights, deformation lattices, and physics and IK elements;

8-choice between 3D Global Panel and non-rotating 2D Global Panel

9-Drag Panel

Each of these controls will be described in the sections that follow.

The  Global Panel displays Grid settings.  To access the other 3D menus, simply click on the appropriate 3D icon along the edge of the panel, and the panel will instantly display the selected 3D menu.  If you have the Help Bar or Tooltips activated, you will see a helpful text reference that lets you know you're in the right place.

The various options are arranged in a grid on the Global Panel.  To select an option from the Global Panel, point your mouse to the desired option and click.  The selected option will be highlighted by a wireframe box that envelops it.

More:

Opening and/or Moving the Global Panel

Closing the Global Panel

Affixing the Global Panel in place


Opening and/or Moving the Global Panel

To enable the Global Panel, you must ensure that the 3D Widgets box is checked in your Preferences panel.  (It will be toggled on by default.)  To open the Global Panel, right-click anywhere in your workspace away from the currently selected object(s).  The Global Panel will open at the place where you click.  If you wish to move the Global Panel to some place more visible (perhaps it has been moved partly off-screen), simply right-click at the new point, and the Global Panel will instantly be relocated there.  In addition, you can also drag the global panel with the left mouse button on the icon in the corner


Closing the Global Panel

To close the Global Panel, click the icon labeled with an X.  Be aware that 3D menus have a similar icon that will let you hide them as well.


Affixing the Global Panel in place

Clicking the Move Global Panel To/From 3D Space button  toggles between two views of the Global Panel.  When the Global Panel is set to rest in 2D space, it remains fixed in a three-quarters perspective, unaffected by eye rotation.  When set for 3D space, you can rotate your eye around the Global Panel and see it from all angles.  If you are having trouble seeing or using the Global Panel at first, try clicking this button to ensure a steady view.  Once you have gained experience using the 3D menus, you might wish to free it up by placing it into 3D space.


Menu Setting

1.	Full 2D Menu Without Widgets — The "trueSpace Classic" interface.  Selecting this option disables all 3D menus, widgets, and the Global Panel.  To re-enable the 3D interface, open the Preferences panel and put an 'X' in the 3D Widgets box.

2.	Full 2D Menu With Widgets — Similar to the previously listed setting, except the user has access to the Global Panel, 3D menus, and widgets.  This is the recommended mode to work with for a while to get yourself accustomed to the 3D interface before graduating to the simple 2D menu.

3.	Simple 2D Menu With Widgets — The most dramatic departure from the classic interface.  The normal Groups are hidden, freeing up more of your workspace, and a special arrangement of group, animation, and view tools are placed on the menu bar for maximum efficiency.  Note that you can still open and close individual Groups by selecting File->Groups.


Navigation & 3D Interface - Help Bar
Help Bar

To toggle the Help Bar on and off, click the Show/Hide Help Bar button in the lower right corner of the Global panel.  This functions the same as selecting Help->Help Bar on the trueSpace4 menu bar.


Object Collision Menu

The Object Collision Menu allows you to set the parameters that determine how your trueSpace4 objects behave when they come into contact with one another.  Using these settings allows you the maximum amount of freedom and precision according to the needs of your scene, or to determine the most efficient settings for your particular machine.  Note that you must set the collision properties of individual objects by bringing up the object's 3D menu (explained in detail in this section).  Refer to the accompanying figure in the manual for the explanation of the Object Collision commands that follows.

More:

First Tier (or, Who Hits What?):

Second Tier (or, What Happens When We Meet?):

Third Tier (Collision Precision)

Appearance Renderer Settings


First Tier (or, Who Hits What?):

1.	Collision With All — Solid (collision-enabled) objects stop when hitting any other object.

2.	Collision With Peers Only — Solid objects pass through non-solid objects but collide with other solid objects.

3.	Collide With Ground Only — Solid objects collide with the Grid, but pass through all other objects.

4.	Collision disabled — All objects pass through one another and the Grid.


Second Tier (or, What Happens When We Meet?):

5.	Stop After Colliding — The collidor halts in place when it encounters another solid object or the Grid.

6.	Slide After Colliding — The collidor will not pass through another solid object, but is afforded lateral movement along the surface of the second object.

7.	Stick After Colliding — The collidor comes to rest on the surface of other solid objects or the Grid, much like the Magnetic tool.


Third Tier (Collision Precision)

8.	Low precision collision (default) — trueSpace4 performs minimal calculation for detecting collisions.  This is the best setting for older machines, or when working with more complex objects (those with a higher face count).

9.	Medium precision collision — the middle ground for object precision.  Best used for objects of average complexity.

10.	High precision collision — the most accurate collision detection setting.  This is the best setting for more powerful computers, or for detecting collisions between simple primitives such as planes and cubes.


Appearance Renderer Settings

These settings on the global panel are the 3D equivalent to the 2D popup menu explained in Chapter 2 under Appearance Renderers Setting.


Visibility

Through the Visibility menu, you can toggle the visibility of certain elements of your scene.  If, for example, you are happy with the lighting scheme of your 3D scene and do not wish to alter a light source accidentally, you can hide the lights by clicking the Make Lights Visible tool.  Similarly, you can hide deformation lattices to speed up scene navigation.

1.	Make cameras visible — Show/hide all cameras in your scene.

2.	Make lights visible — Show/hide all lights in your scene.

3.	Make lattices visible — Show/hide all stand-alone deformation lattices in your scene.

4.	Draw/Hide Inverse Kinematics Joints — Show/hide all IK joints and connectors; especially useful for working with bones objects. See the documentation on the Physical Simulator for more information.

5.	Draw/Hide Physics Resources — Show/hide Physical Simulator indicators (vectors, center of gravity, etc.)  See documentation on the Physical Simulator for a more detailed description.

6.	Draw/Hide Inverse Kinematics Effector — Toggles the visibility of the effector (the yellow line which indicates force and direction when manipulating a skeleton).  See the documentation on the Physical Simulator for more information.


Ground Settings

The Ground Settings menu allows you to modify the appearance and size of the Ground .  Although the Ground will not appear in your rendered scene, you can make adjustments to help you in your modeling and scene layout.

More:

Ground Appearance Settings

Ground Size Settings


Ground Appearance Settings

1.	Set Ground to Hide — The Ground becomes invisible in your workspace.

2.	Set Ground to Wire — The Ground reverts to a wireframe.

3.	Set Ground to Solid — The Ground assumes a solid checkerboard pattern.

4.	Set Textured Ground — The Ground takes on alternating bitmapped texture patterns.


Ground Size Settings

Click and drag on any of the three Ground Size Settings tools to modify the size of the Ground .  Drag left to decrease the size setting, or drag right to increase it.

5.	Change Size of Ground — Alters both the length (X direction) and width (Y direction) of the Grid simultaneously.

6.	Change Size of Ground in X Axis — Increases or decreases the length of the Ground .

7.	Change Size of Ground in Y Axis — Increases or decreases the width of the Ground .


Selection and Point Edit Tools - Introduction
Introduction

Caligari is proud to bring its users a powerful new set of selection and point editing tools for trueSpace4.  It is now possible to use the area select tools (Rectangle and Lasso) to select all points within an enclosed area, meaning you can select groups of edges, faces, and vertices by outlining an area in your workspace.  The addition of multiple object selection makes it possible to manipulate several objects at once without resorting to the Glue tools.  Further, new tools have been added that make it easier than ever to add new edges, vertices, or polygons onto the surface of your object, or paint multiple faces at one time.


New Point Selection Tools

The point select tools described below enable you to select multiple vertices, edges, or faces at once, instead of having to select them one at a time.  You can then use any of the standard Point Edit tools (including point move, point scale, point rotate, and the Sweep variants) to manipulate those points en masse.

Right-click on any of the multiple select tools (Lasso, Rectangle, or Freehand) to open up the Selection panel.  Use the Selection panel to choose whether points are added or subtracted to the currently selected set of points.

Add To Selection: Newly selected points are added to points already highlighted.  This tool can be used independently, or in conjunction with the Remove From Selection tool (see below).

Select Subset: Choosing this setting causes further selections by the Lasso or Rectangle tools to only include points already selected.  Everything outside the area of intersection is then deselected.  See the figure below for an example of subset selection.

Remove From Selection: Points chosen by clicking or by area selection will be removed from those points already selected.

Note: To immediately deselect all points on an object, click on the Object Tool.

Note: As mentioned above, you may choose to have the Add and Remove tools active at once or independently of each other.  If both options are active at the same time, points will toggle between selected and deselected with each new selection.  (In other words, you can click on a face once to select it, then immediately click on the same face to deselect.)

Backside: Normally, the Point Select tools will only pick out those faces, edges, and vertices that are on the visible surface of an object.  Putting an 'X' in the Backside box allows you to select all points that fall within the selection area, including hidden surfaces and points on the other side of an object.

Highlight: With the Highlight box checked, you will see which points will be selected by your Lasso, Rectangle, or Context selection before you click, making it easier for you to avoid unwanted selections.  Disabling this option can speed up the selection process on slower systems.

Highlight Color: Click and hold on the color block to select the color of highlighted faces.

Note: Selected vertices, edges or faces can be saved to a file and reloaded later on.  If you have a selection tool active and have selected points on an object, you can use the Save Object As... command to write the object to a .cob file.  This does not save the object(s), so you will have to have the object(s) loaded and selected first. Upon reloading, the selections will be restored.  Note that edges and vertices will only be reloaded while the Point Edit tool is active; faces, however, can be loaded any time.

More:

Lasso Selection Tool

Rectangle Selection Tool

Freehand Selection Tool

Painting Selected Faces

Selecting Multiple Objects


Lasso Selection Tool

The Lasso selection tool allows you to select points within an irregular area by clicking and dragging within your workspace.  After selecting the Lasso tool, click and drag in your workspace to draw a freehand shape around the points you wish to select.  As your cursor moves about, your cursor leaves a bounding trail behind it, and if you have the Highlight option turned on, the underlying points that fall within the outline will be highlighted.  Note that faces and edges must be completely encircled by the Lasso to be selected.  Release the mouse button to conclude your selection.

In the preceding example, note how the enclosed area defines the polygons which have been selected on the face model.  The Lasso tool can be used in any viewing window (orthogonal or perspective).


Rectangle Selection Tool

The Rectangle selection tool works similar to the Lasso tool, except that your selector defines a rectangular area for selection.  As with the Lasso tool, all points must be fully contained within the rectangle to be selected.  The Rectangle tool can be used in any viewing window (orthogonal or perspective), but can be especially useful when used in Left, Top, and Front views.


Freehand Selection Tool

Using the Freehand tool, you can click and drag your mouse across the surface of an object and select those points with which your cursor comes into contact.  This basically allows you to "wipe" to select surfaces on an object.


Painting Selected Faces

To apply a new surface to selected faces, click the Paint Face tool.  trueSpace4 will apply the currently selected texture to those faces that are selected, making it possible to re-texture a large volume at once.  In the figure below, we have used the Rectangle tool to select the faces on the right side of the sphere.  By selecting a new texture and clicking on the Paint Face tool, the new surface is applied to the highlighted faces.


Selecting Multiple Objects

In addition to point selection, it is possible to use the Control key to select multiple objects in conjunction with Rectangle and Lasso select.  However, the Lasso and Rectangle tools are not chosen prior to multiple object selection; using those tool will select points only.

To select multiple objects individually: Hold down the Control key as you click on each object.  To deselect an object from a group, hold the Control key and click on it again.

To select multiple objects using Rectangle Select: Hold down the Control key, and left-click and drag in an area away from any object.  The rectangle will function exactly as it does using the Rectangle Select tool.  Use the Shift key and drag to deselect objects using the Rectangle tool.

To select multiple objects using Lasso Select: Hold down the Control key, and right-click and drag in an area away from any object.  Use the Shift key instead of Control to deselect objects.

To glue multiple objects together: With multiple objects selected, click the Glue As Sibling tool to form a hierarchy of all selected objects.


New Point Editing Tools

trueSpace4 brings a suite of new features that make it possible to add geometry to your object with a few simple steps.  These tools can be found in the Point Draw panel, which can be accessed by right-clicking on the Polygon Draw tool.

More:

Add Vertex

Add Edges

Polygon Copy

Polygon Draw

Polygon Slice

Polygon Bevel


Add Vertex

This tool allows you to add a new vertex to any edge on your polyhedron.  To use, simply click the Add Vertex tool, then point your cursor to the position on the edge that you wish to create the new vertex.  If you have the Highlight option selected, you will see the position the new vertex will occupy.  Click to add the vertex to your polyhedron.


Add Edges

The Add Edges tool enables you to create a new edge, and is a quick way to add detail to your object where it is most needed without adding extra faces to the rest of your object. It creates or selects edges by pairs of clicks. One click selects an existing vertex or creates a new vertex on an edge under teh cursor. The second click connects the first vertex with an existing vertex under the cursor or with a new vertex on an edge under the cursor, or it selects an existing edge (if the second click specifies an end vertex of the edge starting in the first selected vertex.)


Polygon Copy

The Polygon Copy tool allows you to draw regular polygons within the boundaries of any face on a selected object.  Right-click on the Regular Polygon tool and use the spinner at the bottom of the Poly Modes panel to determine the number of sides for the added polygon.  Click the Polygon Copy tool and point to the face you wish to add the polygon to.  In the example below, the Polygon Copy tool was used to add three, four, and six-sided polygons to the faces of the cube.


Polygon Draw

Using Polygon Draw, you can create bounded polygons of any shape directly onto faces of a selected object.  Simply click the Polygon Draw tool and point your cursor to the surface of an object.  The first click creates a new vertex at the selected point; subsequent clicks will add new vertices and join them with edges.  You can draw across faces by clicking on an edge and continuing on the adjoining face.  Click on the initial vertex to close the polygon.  The new polygons can then be extruded or re-textured.


Polygon Slice

Polygon Slice allows you to cut a selected object across a plane defined by three points on edges or vertices contained in the object. Refer to the figure below for an example of the function of Polygon Slice.  The first click creates a new vertex on an edge or selects an existing vertex (as in Panel A). With the second click, you can select a point on the same edge or another edge on the same face (see Panel B). The third click cuts the object in a vicinity of the first two points across a plane defined by all three points (a la Panel C). With your fourth click, you select the volume of the object from the cutting plane to the terminus of the object.  Notice that in Panel D below, the fourth click on the upper half of the cone selects all points from the slice to the tip. Note that using CTRL on the third click cuts the whole object across the plane, instead of a vicinity of selected points.


Polygon Bevel

This tool allows you to create a new face of the same shape inside an existing face.  Note that unlike the regular Bevel tool, Polygon Bevel does not create a raised face connected by edges; however, you will be able to extrude the new face using the standard Sweep variants. This is an ideal tool for creating symmetrical or recursive patterns on the surface of an object that would otherwise be difficult to achieve.


Point Edit Panel

The Point Edit panel lets you select and manipulate individual points, groups of points, individual edges, groups of edges, individual faces, and groups of faces. Your selection can be context-sensitive, or you can limit the selection to one type of entity (faces, edges, or vertices). When one or more entities are selected, you can immediately move, rotate, and scale them using the Point Navigation controls (Point Move, Point Scale, and Point Rotate). While in Point Edit, a small "P" is attached to the cursor as an indication.  To exit Point Editing and return to editing objects, select the Object tool.


Selection Modes

To select the first point, edge or face, select an object, select the Point Edit tool, then click on the desired entity. If you have the Highlight option selected in the Selection panel, the target point will be highlighted before you click.  Selected entities are highlighted the color you choose from this panel as well. The context-sensitive selection mode eliminates the extra step of choosing a selection mode—you can select faces, edges, and points at the same time. Or you can restrict the type of entity to be selected by choosing one of the dedicated selection tools.

To select multiple entities, you may hold down the Ctrl key in addition to using the Selection panel. In Context mode, you can select different types of entities for simultaneous manipulation (for example, you can move points and faces at the same time).

Right click on any Point Navigation tool to open the Coordinates property panel. This uses the same principles as the Object Navigation Coordinate property panel in that a coordinate system can be selected for each Navigation tool. Axis navigation can also be enabled and disabled in this property panel.

It's important to keep in mind that when using the Object coordinate system  that each selected entity—point, edge, or face—has its own axes, which cannot be made visible. Each entity's axes' origin is at the entity's center, with the Z axis pointing out of the object perpendicular to the entity. Therefore, if you, for example, move several selected faces on the Z axis in the Object coordinate system, each moves perpendicularly in and out of the object.

More:

Point Move

Point Rotate

Point Scale

Point Edit: Faces

Point Edit: Edges

Point Edit: Vertices

Point Edit: Context

Weld Vertices

Erase Vertices

Flip Faces


Selection and Point Edit Tools - Selection Modes - Point Move
Point Move

Click on this button to move the selected entities in the current coordinate system. The left button controls movement along the X and Y axis. Using only the right mouse button controls movement along the Z axis.


Point Rotate

Click on this button to rotate selected entities in the current coordinate system. The left button controls rotation around the X and Y axis. Using only the right mouse button controls rotation around the Z axis.


Point Scale

Click on this button to scale entities in the current coordinate system. The left button controls scaling on the X and Y axis. Using only the right mouse button controls scaling on the Z axis. If both buttons are depressed the scaling is uniform in all three axes.


Point Edit: Faces

Only faces will be selected. To select a face, anywhere on the face. Multiple faces can be selected that share vertices and edges. These groups can be manipulated just as other point edit entities.


Point Edit: Edges

Only edges can be selected. To select an edge, click directly on it. A new edge can be created via the Create Edges tool found in the Polygon Draw panel.


Point Edit: Vertices

Only vertices can be selected. To select a vertex, click directly on the intersection of two or more edges. Note that you can use the Create Vertex tool to add a new vertex to any existing edge.


Point Edit: Context

In this default selection mode you can select faces, edges, and points depending on where you click. To select a face, click near its center, away from any edges. To select an edge, click directly on it, away from any vertices. To select a vertex, click directly on the intersection of two or more edges. To select multiple entities, hold down the Control key while clicking on the second, third, and so on. Selected entities change color.

Note: If two (or more) selected faces are connected with a single vertex (for example, one is to the upper left of the other), they cannot be swept. If a Sweep is attempted, an error message is displayed.


Weld Vertices

The Weld Vertices tool fuses all selected vertices into one point.   All edges that connect those vertices are also joined to this point.


Erase Vertices

Use the Erase Vertices tool to zap the selected vertices from the object.  trueSpace4 assigns nearby edges to other vertices and creates new faces where needed.


Flip Faces

Clicking the Flip Face(s) tool with a face selected reverses the normal vector of individual faces. As opposed to the Flip All Faces tool, which affects the entire object, you can now control which faces are inverted. The most obvious effect of this operation is the disappearance of flipped faces when rendered.

This tool is probably most handy for correcting inverted faces on models imported from other 3D packages.


Separate

This function can be used to detach any selected entities from the object (or sub-objects in hierarchical objects) to which they belong. This should generally be done with sections of objects that have been selected with the Polygon Slice tool (see previous documentation for details). Individual edges, faces, and vertices can also be separated but the separate function does not remove entities from an object, it creates a copy of the entities.

To detach part of an object or objects (as sub-objects of a hierarchical object), select the parts to detach, then select the Separate button. After separating the parts, the program exits Point Editing, leaving the remaining part of the object or objects selected.


Point Edit Properties Panel

To open the Point Edit properties panel, right-click on any point edit tool (Faces, Edges, Vertices, or Context). This panel has the following controls:

More:

Draw

Quadrangles

NoDynDiv


Selection and Point Edit Tools - Point Edit Properties Panel - Draw
Draw

The Draw combo box gives you two choices — Object and Edited — which determine how trueSpace4 redraws an object's wireframe mesh when manipulating entities. Note: If Solid Display mode is used, the draw mode will not affect the redraw response time, as the object is continually being redrawn.

Selecting Object causes trueSpace4 to continually redraw the entire object, as selected entities are manipulated. While this gives the you better modeling feedback, it can slow down redraw response when working with complex objects.

Selecting Edited causes trueSpace4 to redraw only the selected entities and adjacent edges as they are manipulated. The remainder of the object wireframe is invisible until the mouse button is released. This gives faster redraw response when working with complex objects.


Quadrangles

This option, if enabled, causes trueSpace4 to automatically subdivide polygons that are made non-planar during editing. Polygons will be subdivided into Quadrangles, similar to the operation performed by the Smooth Quad Divide tool. Note that if this option is enabled, it is very easy to quickly create large numbers of polygons. This will increase the size of your object, which decreases download and display performances. Enabling this option disables both the Triangles and NoDynDiv settings.

You can adjust the number for this option from 0.1 to 1. The higher this value is, the smoother the subdivision will be. Using higher values will result in more polygons being created.

Triangles

When this option is enabled, it causes trueSpace4 to automatically subdivide the non-planar polygons during editing. Polygons will be subdivided into Triangles. This can create a large number of polygons in the object, and decrease display performance. Enabling this option disables both the Quadrangles and NoDynDiv settings.

You can adjust the number for this option from 0.1 to 1. The higher this value is, the smoother the subdivision will be. Using higher values will result in more polygons being created.


NoDynDiv

This option turns off both Quadrangles and Triangles, and does not subdivide the object.Highlight Color

Click and hold on the colored block to select the desired color for highlighted faces.


Vertex-Level Animation

You have the option to animate almost all Point Edit functions in trueSpace4: the Point Move, Point Rotate, and Point Scale functions are the most obvious and easy to use, though you will also have access to keyframing Sweep, Tip, Lathe, Macro Sweep, Bevel, and Sculpt Surface tools.

To enable vertex-level animation, right-click on any of the Point Edit tools (Faces, Edges, Vertices, or Context) to open the Point Edit panel, and check the Anim box in the lower right corner. From then on, you can keyframe point editing by entering a new Current Frame number and making changes to the polyhedron.  Note that vertex-level animation is incompatible with the DynDiv functions.

Important note about Sweeping and other extrusion functions: The extrusion process itself is not recorded. The face itself stays swept and unchanged over the course of the animation at this point. However, you can sweep out several floors and manipulate the key floors (outlined in green on the swept object) to create vertex-level animation.  This adds a  keyframe type of Vertex for all vertices of the manipulated key floor and the edges between the floors that are changed with it.  (In other words, you can sweep out a face several times and keyframe Point Edit changes in the swept floors, but not the sweep action itself.)


Sweep Tool and Variants - Introduction
Introduction

The Sweep Tool variants provide a powerful and versatile array of functions for extruding and lathing faces. Entities suitable for sweeping include individual and multiple faces which should first be selected with Point Edit tools. If you create a polygon with any polygon tool or text with the Text tool, you can use Sweep immediately. Each of these variants is featured within the tutorials in the User manual directly following the Sweep discussion.

NOTE: The Sweep Tools are also available in the Point Edit Widget. 3D Widgets are documented in User Interface.


Sweep Tool and Variants - Sweep
Sweep

 Extrudes 2D shapes and faces of 3D objects.


Sweep Tool and Variants - Macro Sweep
Macro Sweep

Remembers a set of sweeps and applies it to other polygons. Also sweeps along paths.


Sweep Tool and Variants - Lathe
Lathe

Sweeps along a modifiable circular path.


Sweep Tool and Variants - Bevel
Bevel

 Automatically bevels faces.


Sweep Tool and Variants - Tip
Tip

 Sweeps faces to a point.


Sweep Tool and Variants - Sweep
Sweep

This tool enables the user to repeatedly extrude 2D and 3D shapes with optional manipulation of interim stages. Sweep works by first copying selected polygons and edges, then moving them away from the original along the local Z axis (perpendicular to the polygon surface) or the specified path. Finally, it creates new polygons to connect the sides. This function is similar to Extrude in other 3D programs, but is superior in that multiple faces can be extruded in different directions simultaneously. Also, the extrusion can be done in any view, including Perspective.

Each Sweep operation can have a user defined number of intermediate segments plus a floor, which is the outermost new polygon.

After the Sweep operation, the new floor is selected and highlighted and the program is placed in Point Editing, which lets you immediately move, rotate, and scale the floor, and then re-sweep.  If a floor is re-swept, then any transformation done to it originally is added on to the next floor. For example, if you scale a floor 50% and then re-sweep, the next floor will be 50% smaller or 1/4 the original size. You can also re-select previous floors, indicated by their dark green color, and transform them as well. While Sweeping, each of the floors can be scaled, moved, and rotated affecting the over-all shape of the object as spline nodes. After exiting the sweep with the Object tool, the shape is frozen and can no longer be manipulated in such a fashion.

A sequence of Sweep operations can be saved as a Macro and re-used on other polygons with the use of the Macro Sweep tool.

To sweep using the default settings, select the entity or entities to sweep, then left click on the Sweep tool. Right click once on the Sweep tool to open the Sweep property panel and change sweep settings numerically.


Sweep Property Pane

Segments

X - Y

Z

Bend

Default Mapping of Swept Objects


Sweep Tool and Variants - Sweep Property Pane - Segments
Segments

This numeric value sets the number of subdivisions or intermediate segments created between floors during a Sweep operation. The default value is 1 segment. Change the value by clicking on the number and entering a new one from the keyboard, or by clicking on the double-headed arrow and dragging left and right. The more subdivisions you use, the better definition you'll obtain for spline interpolation of segments (i.e., smoother transitions), at the cost of rendering time.


X - Y

These two settings let you specify horizontal offsets for the swept polygon. If you move the new floor interactively after sweeping, the amount is placed in these fields.


Z

As sweeping is always done perpendicular to the swept surface, the Z value sets the total sweep extent in grid square units. The default length is 0.5 units. Change the value by clicking on the number and entering a new one from the keyboard, or clicking on the double-headed arrow and dragging left and right. Of course, you can also change the selected polygon's Z position by dragging with the right mouse button in the workspace.


Sweep Tool and Variants - Sweep Property Pane - Bend
Bend

The Bend function rotates all "floors" to be perpendicular to the tangent of a  sweep spline path. It can be used to make a pipe from swept object. To see how it works, create a small polygon, and then sweep it using the default settings. Move the new floor horizontally a short distance. Sweep it again, and move the new floor a little farther in the same direction as before. Repeat about twice more, and then select Bend. The moved floors will rotate to be perpendicular to the sweep path you've created, creating a more rounded profile in the swept shape.


Default Mapping of Swept Objects

When you use Sweep to create a 3D object, a special type of default UV mapping is automatically applied. Flat UV mapping is applied to the object's flat ends, while its length is mapped with a special type of cylindrical mapping that conforms to the object's shape.

For more details, see the section about the UV Projection tool in Chapter 17 - Paint Tools.


Sweep Tool and Variants - Bevel
Bevel

Bevel is a special form of the sweep function, which is most often used to give an angled edge to 3D text for extra visual interest. Select one or more polygons, then select the Bevel tool. This causes extrusion of a new polygon for each selected polygon. The new polygon is offset from the original by the current Bevel numeric setting, which defaults to 0. By clicking and dragging the right mouse button, thus moving the new polygon vertically, it is also automatically scales the new surface smaller by a proportional amount, thus creating a beveled surface in front of the original polygon.

To open a panel for setting the Bevel amount numerically, right-click on the Bevel tool:

The default setting is 0 or the most recently used value. Change the bevel amount by clicking on the number and entering a new one from the keyboard, or clicking on the double-headed arrow and dragging left and right.

To use the Bevel tool, select or create polygons to be beveled. If you've just created text or polygons, you can bevel them immediately (generally, though, you'd use the Sweep tool first to give the text or polygons some depth). Then select the Bevel tool. This causes the selected polygons to be extruded immediately. Adjust the beveled surface by holding the right mouse button and dragging the mouse vertically. This causes the beveled surface to be scaled down and moved away from the original at the same time, with real-time visual feedback. To accept the bevel settings and exit beveling, select the Object tool .

Note:  Please must keep in mind that narrow polygon edges, such as those at the ends of certain swept serif characters may not bevel properly as high bevel edge settings can result in crossed over polygons. trueSpace4 does not prevent the cross over so one must opt to bevel at a lower setting or use a smoother polygon. You could also try to fix the crossed geometry.

For more info, please see Chapter 12 - Utilities, for the description of the Fix Bad Geometry tool.


Sweep Tool and Variants - Tip
Tip

This tool sweeps a selected polygon, face, or group of faces to a point, creating a cone-shaped object. The Tip tool uses the same property panel as the Sweep tool. After execution, a tip can be moved with Point Move but not rotated or scaled.

Right-click to access the Sweep property panel.


Sweep Tool and Variants - Macro Sweep
Macro Sweep

This tool allows the user to apply a macro created by a sweep and/or tip procedure. Used in conjunction with the Path Library, the Macro tool also allows objects to be swept along paths created for spline polygons or animation paths. You might think of this tool as a path extrusion function. However, its macro capabilities are quite powerful. You can use it to quickly and easily set up a macro after a sweep, save it to a path library, and then apply it again to a new polygon, face, or a selected group of faces. Right-click on the Macro tool to open the Macro property panel.

More:

Macro Property Panel

To Execute a Macro

To Create a Macro


Macro Property Panel

Rotation

Bend


Sweep Tool and Variants - Macro Property Panel - Rotation
Rotation

This shows the current rotation of the macro path with respect to the polygon's vertical axis. The value can be changed in the requester by dragging on the double arrow and by clicking on the number and entering a new value from the keyboard. You can also change the Rotation value with the mouse by clicking directly on the path and dragging.


Sweep Tool and Variants - Macro Property Panel - Bend
Bend

When using Macro to sweep along a path, bend acts to keep the integrity of a sweep. In some cases, sweeping shapes around a curve can cause unexpected results, such as partial flatness, because the shape isn't rotated while being swept. If Bend is on during a macro sweep, each subdivision and floor is rotated to be perpendicular to the current path direction. If Bend is off, the swept shape retains its original alignment throughout the sweep.


To Execute a Macro

After selecting a polygon or polygons to be swept, the first click on the Macro tool displays the most recently stored or executed macro path, if any, connected to the currently selected polygon. To choose a different path for sweeping, open up a path library  and select it from the list of path names. The new path will replace the original macro. Before executing the macro, the path can be rotated around the polygon's vertical axis by clicking on it and dragging. Very complex objects can be created by sweeping a polygon along a succession of different paths.

To execute the macro sweep, click on the Macro tool a second time. After the macro is executed, the last edge is highlighted and the Point Navigation panel appears. Like sweeping, individual floors can be manipulated affecting the overall shape of the spline object. After exiting the Macro Sweep tool with the Object tool , the shape is frozen and can no longer be manipulated in such a fashion.


To Create a Macro

To store a new macro in the Path Library, first define it by executing the sweep/modify sequence to be stored. Then select the Macro Sweep tool to display the path. Next select the Path Library tool from the Libraries group, then click on Add in the Path Library panel. The macro is stored with a new name. To change the name of the macro, select it on the Name Field and type from the keyboard.

To use a spline polygon or animation path as a sweep path, create the path using the appropriate tool, open a paths library and click on Add Path in the Path Library panel.


Sweep Tool and Variants - Lathe
Lathe

This tool sweeps a shape along a modifiable circular or spiral path. Lathe is a true 3D tool because all parameters can be set by direct manipulation of the path. No numeric entry is required, although it is possible.

When you select this tool, a circular path of white line segments with a green segment at the end appears. At the end of this path is a perpendicular straight green line (handle) and connected to that is a crossbar. The crossbar represents the lathing axis, around which the lathed outline is spun.

The path can be manipulated interactively in three dimensions by clicking and dragging on different parts. The illustration below indicates which Lathe settings, as described immediately below under Lathe Property Panel, are affected by clicking and dragging on the associated Lathe path part. A second click on the Lathe tool executes the lathe with the current settings.

As with the Sweep tool, immediately after lathing, the program goes to Point Editing. Each copy of the swept polygon or polygons is outlined in green, meaning that they are now available for standard Point Edit navigation functions. Until another object is selected, the whole object consists of polygons connected by splines, so a change to any polygon affects the entire shape. Select a polygon by clicking on it, then use Point Move, Rotate or Scale functions as described in the Point Edit section of this manual.

Right-click on the Lathe tool to open the Lathe property panel. Lathe settings can also be set from here by clicking on a number and entering a new value from the keyboard, followed by Enter. You can also click and drag horizontally on the arrow button next to the value to change.

More:

Lathe Property Panel

Default Mapping of Lathed Objects


Lathe Property Panel

Segment

Angle

Radius

Rotation

Helix


Segment

The number of path segments, which controls the smoothness of the path. This value can be changed interactively by clicking and dragging on the white part of the circular path.


Sweep Tool and Variants - Lathe Property Panel - Angle
Angle

Sets the extent or distance of the lathe in degrees, which normally ranges between 0 and 360 degrees. If Helix  is set to any value other than 0, then the Angle value can be any amount. To set interactively, click on the handle, the perpendicular green line at the end of the curve, and drag the mouse.


Sweep Tool and Variants - Lathe Property Panel - Radius
Radius

Sets the distance from the curve's center (indicated by the crossbeam position) to its edge. Radius and Rotation can be set interactively by dragging the crossbeam with the mouse. To change the radius only, click on the crossbeam's center point and drag. If the crossbeam is dragged near a polygon edge, it snaps to that edge, so the edge is used as the lathe axis.

To change Radius and Rotation at the same time, depending on which direction you drag the mouse, click anywhere on the handle between the center and ends of the cross bar.


Sweep Tool and Variants - Lathe Property Panel - Rotation
Rotation

Sets the angle of the path to the polygon. To change the Rotation only, click on either of the crossbeam's endpoints and drag.

To change Rotation and Radius at the same time, depending on which direction you drag the mouse, click anywhere on the handle between the center and ends of the cross bar.


Helix

Lets you create a spiral path. Most effective with Angle settings above 360. Set interactively by clicking on the last segment of the circular path, which is green, and dragging.

There is a "click stop" for the interactive setting of Helix at the zero point. If you drag it near zero, it "catches," and you have to drag a bit farther to disengage the zero setting.


Default Mapping of Lathed Objects

When you use Lathe to create a 3D object, a special type of default UV mapping is automatically applied. If you lathe a shape 360 degrees with Helix set to 0, which means the object has no ends but is a continuous circle, the default UV mapping is applied cylindrically, but is then bent around to match the object's circular shape. If the lathed shape has ends, a flat UV mapping space is applied to each end. For more details, see the UV Mapping tool in the Paint Tools chapter.


Sculpt and Deform Tools - Introduction
Introduction

The surface sculpting tool is used to deform the surface of a subdivided object. The greater the number of subdivisions, the smoother the sculpted surface will be. With this tool, you can grab a part of the surface and pull or push it in any direction. When the surface sculptor is first selected, a control panel appears. The sculptor has two modes which are set in the control panel, the sculpting mode and the scope adjustment mode. In the sculpting mode (default mode), you create the deformation by moving and adjusting the sculpter and its cross hairs. In the scope adjustment mode, you can change the area affected by the sculpting tool, change the orientation of the sculpt deformation, and move the deformation to other parts of the surface.

To sculpt an active object, first select the surface sculpting tool, then place the cursor over the sculpting spot and click. The sculpting tool will appear as a green crosshair that floats directly above the chosen sculpting spot. The surface sculpting tool contains a number of parts that perform different roles in sculpting a surface. Sculpting may be performed in any of the coordinate systems. By default, it is the Object coordinate system that is used.

Note: The object coordinate system is based on the sculpting tool itself with the Z-axis perpendicular to the crosshairs.


Sculpt and Deform Tools - Sculpt Mode
Sculpt Mode

To move the tool as a unit, left click on the middle point of the tool and drag.

To move a single handle, left click on the endpoint of a handle.

To move a handle pair which are two handles opposite each other, left-click on either of the two handles themselves.

To bank a handle pair, right click on either of the two handles. A right click on an endpoint banks only one handle.


Sculpt and Deform Tools - Scope Mode
Scope Mode

To change the orientation (rotation) of a sculpted area, click on the endpoint of any handle.

To change the scope of a deformation, click on any of the control handles and drag. Changing the scope of one handle symetrically changes the scope of the handle's pair.

To move a surface sculpt to a different part of the surface click on the center point of the tool and drag.


Surface Sculpt Control Panel

Erase Deformation

Copy Deformation

New Deformation

Scope Mode

Sculpt Mode

Dyn(amic) Div(ision)


Erase Deformation

Erases the current deformation. Once you make a new deformation, you cannot go back to a previous one to delete it.


Copy Deformation

Copies the deformation to another place on the same surface. To execute select the Copy Deformation tool and then select a new location on the surface.


New Deformation

Allows you to pick a new surface location to sculpt.


Sculpt and Deform Tools - Surface Sculpt Control Panel - Scope Mode
Scope Mode

Enables scope mode and disables sculpt mode.


Sculpt and Deform Tools - Surface Sculpt Control Panel - Sculpt Mode
Sculpt Mode

Enables sculpt mode and disables scope mode.


Sculpt and Deform Tools - Surface Sculpt Control Panel - Dyn(amic) Div(ision)
Dyn(amic) Div(ision)

Automatically subdivides the sculpted surface to avoid loss of planarity and to smooth out the deformation. The range is from 0 to  1. The higher the number, the more division occurs to the surface.


Object Deform

Deform comprises a versatile tool set that is divided into two parts: local and outline deformations. The Deformation navigation panel for this tool is brought up when the tool is first selected. This lets you choose between local and outline deformations and determines how mouse moves affect the deformation. Other controls can be found on the Deformation property panel, invoked by right-clicking on the Deform tool.

Local deformations let you grab a point or outline on an object and work it like a piece of clay. You can stretch or push on the object, rotate, or scale it. The parts of an object that can be grabbed and worked with are dependent on the structure of the Deform control outlines. These outlines are the intersections of the green cross sections in the X, Y, and Z planes, which can be viewed by selecting the Outlines option in the Deformation property panel.

You can increase or decrease the number of control outlines by   clicking and dragging outside of the object before selecting a point or outline to manipulate. The left mouse button and vertical dragging controls the number of cross sections in the object Y-axis. Horizontal dragging controls the number of cross sections in the object X-axis. The right mouse button controls the number of cross sections in the object Z-axis. Even if the Outlines switch is not enabled in the Deform property panel, floors and vertices will be visible during this adjustment and highlighted in green while the mouse button is pressed.

Note: Once you have deformed an object, you can change the number of cross sections only by using the Erase tool or delete key while the Deform tool is active, then reselecting the Deform tool and clicking and dragging outside the object.

The area of an object that is affected by deformation depends on how densely the control outlines are distributed over the object's surface. As the number of control outlines increases, the Deform tool affects an ever smaller area of the object. If dynamic subdivision (DynDiv) is enabled, trueSpace4 automatically smoothes the area local to the deformation. You can control the extent of smoothing by using the numerical entry field to the right of the DynDiv checkbox. The range is between .01 and 1. The higher the number, the smoother the deform.

The Deform tool, visible only if the Handles in the Deformation  property panel is selected, is a cluster of control handles that can be manipulated as a unit or individually.

Four of the five control handles form a crosshair tangent to the surface clicked on, and the fifth (not always present) is perpendicular to the other four.  With outline deformation, the tool has only two control handles. Click on any of these and drag to see how they affect the underlying mesh. Or click on the center or away from the tool and drag to pull the mesh. The best way to experiment with the Deform tool is with a simple object, such as a plane or sphere. Starting from the perspective view, add new Top and Front views in the upper left and right screen corners, then manipulate the tool while watching all three views.

More:

Deform Navigation Panel

Deform Property Panel


Deform Navigation Panel

When using the Deform tool, the above control panel appears. The top group contains navigation tools to move, rotate and scale the current control vertex or outline, and thus the mesh points affected by it. With this additional navigation tool set, you can switch instantly between manipulating an object and manipulating its deformation. This makes it convenient to work in different areas of the object at the same time. Right-click on any of these tools to invoke the Coordinates panel, letting you set the coordinate system and enable or disable axes. The lower area lets you set local or outline deform, and set up and enable or disable Dynamic Division.

More:

Push/Pull

Twist

Stretch

Local Deformation

Outline Deformation X/Y/Z

Dyn(amic) Div(ision)


Push/Pull

Click on this button to move the Deform tool, control outline, or components in the current coordinate system. The left button controls movement along the X axis by mouse movement parallel to the X axis, and movement along the Y axis by mouse movement parallel to the Y axis. Using only the right mouse button controls movement along the Z axis.


Twist

Click on this button to rotate the Deform tool, control outline, or components in the current coordinate system. The left button controls rotation around the X axis by mouse movement perpendicular to the X axis, and rotation around the Y axis by mouse movement perpendicular to the Y axis. Using only the right mouse button controls rotation around the Z axis.

The Deform tool always rotates around its own center, but the effect of mouse movement during rotation depends on the coordinate system currently in use.


Stretch

Click on this button to scale the Deform tool, control outline, or components in the current coordinate system. The left button controls scaling on the X axis by mouse movement parallel to the X axis, and scaling on the Y axis by mouse movement parallel to the Y axis. Using only the right mouse button controls scaling on the Z axis. If you press both buttons, scaling is uniform on all three axes.


Local Deformation

This mode lets you deform objects by clicking on cross-section intersections and dragging. To deform a different part of the object, simply click on another cross section.


Outline Deformation X/Y/Z

These modes let you perform deformation on an outline perpen-dicular to the X, Y or Z axis by clicking on such a cross section and dragging. The active outline turns white and a two-section handle appears at its edge. To deform a different part of the object, simply click on another outline. Once you've deformed an object, you can change the number of outlines only by using the Delete tool (icon) or key while the Deform tool is active, then reselecting the Deform tool and clicking and dragging outside the object.


Sculpt and Deform Tools - Deform Navigation Panel - Dyn(amic) Div(ision)
Dyn(amic) Div(ision)

Automatically subdivides the deformed surface to avoid loss of planarity and to smooth out the deformation. Usable values lie between .01 and 1. The larger the number, the more subdivision occurs at the cost of rendering time and interactivity.


Deform Property Panel

RealTime

Handles

Outlines

Draw


RealTime

If RealTime is selected, the complete deformations are updated in real time while working with the deform tools. Otherwise, an approximation to the deformed shape is displayed while the object is being manipulated.


Handles

If enabled, Deform tool handles appear and can be manipulated independently.


Outlines

If enabled, the cross sections appear highlighted in green.


Sculpt and Deform Tools - Deform Property Panel - Draw
Draw

Click on the box to the right of Draw to display the Object/Deformed pop-up menu. The Draw option determines how the object wireframe is redrawn while being manipulated by the Deform tool. If set to Deformed, the program redraws only the parts of the object that change—the rest of the wireframe is invisible. This provides for faster feedback with complex objects. With Object enabled, the entire object is continually redrawn. This gives you a better idea of the deformation in the context of the entire object, but with complex objects feedback can be slowed down a great deal.


Start Deforming by Stand-Alone Object

This tool creates a connection between an object and a stand-alone deformation object (see Deform Primitives). First select the object or the deformation object, then select this tool, and finally select the other. Then, when the object or any part of it is inside or coincident with the deformation object, the former is subject to deformation by the latter. This technique is useful for special animation effects, because objects continually change shape as they pass through the deformation object.

Deformation objects can be assigned to deform any number of different objects, and can themselves be animated for even more unusual effects.


Stop Deforming by Stand-Alone Object

Breaks a connection created by the Start Deforming tool between an object and a stand-alone deformation object. First select the object or the deformation object, then select this tool, then select the other. Thereafter the deformation object does not affect the object.


Deform Primitives

Selecting one of these tools adds a stand-alone deform object that can be used to change the shape of standard objects dynamically, and opens the Deformation panel. A stand-alone deform primitive shows up as a semi-transparent object in a solid mode window and as an orange object in a wireframe view.

While this object does not render, it conforms in every other way to the rules outlined in the Volume Deform section of this manual. That is, its subdivision is changed by moving the mouse pointer away from the object, pressing and holding either or both mouse buttons, and dragging up or down. The only difference is that by subdividing the number of control outlines, the Deform Primitive is also subdivided so as to remain flexible. Its shape can be changed by choosing any of the Volume Deform tools from the Deformation panel. Its position, orientation and overall size can be modified with the standard Object Navigation tools. Then, when connected to an object with the Start Deforming by Stand-Alone Deform Primitive, the object conforms to the deform object's shape. Deformation on a deform primitive can also be keyframed to take place over time (see the Keyframes Monitor). Dynamic division is not possible with a deform primitive.

More:

Deform Plane

Deform Pipe

Deform Object


Deform Plane

The Deform Plane is good for animating surfaces like ripples in water.


Deform Pipe

The Deform Pipe is good for "squeezing" objects through animation like droplets of color in a lava lamp.


Deform Object

The Deform Object (Box) is good for character animation effects to a character without having to key deformations to the original object. That way you can apply the same deformations to other characters in your scene. An example of a Deform Box is shown on the previous page at the start of this section.


Boolean Operations - Introduction
Introduction

The Boolean variants allow for union, subtraction, and intersection operations on solid objects. To perform a boolean operation, first make an object current by selecting it, choose from one of the variants, (note that the cursor becomes a glue bottle) and then select a target object. The original objects are then deleted and replaced by the resulting object of the operation. Surface attributes like UV space, mapping, and materials are preserved into the new object.

Note: Boolean operations may not work reliably with objects that are imported from other programs. In case of a failed operation, both objects will be deleted. To undo a boolean operation, make sure that File Undo is enabled in the Undo property panel (right click on the Undo tool). Sometimes the program may offer advice on how to complete the operation by highlighting trouble edges.


Object Union

The Object Union tool joins the currently selected object and the target object together. Unlike the glue tools which group objects, the Object Union tool creates a new object which cannot be separated.

To perform a union operation, first make an object current by selecting it, then choose the Object Union tool, and finally select the second object.


Object Subtraction

The Object Subtraction tool subtracts a target object from the currently selected one. To perform the operation, select the first object, select the Object Subtraction tool, and finish by selecting the target object. For the illustration below, a sphere was placed directly inside a smaller cube. The white object represents the current selection and the dark object represents the target.


Object Intersection

The Object Intersection tool creates a new object from the intersecting areas of the current object and a target object. To perform the operation, select the first object, select the Object Intersection tool, and finish by selecting the target object. For the illustration below, the same sphere and cube from the previous example are used.


3D Booleans Property Panel

Access the 3D Boolean tools' property panel by right-clicking on any of the Boolean tools. This panel has three controls.

More:

Identity

Delete Edges

Keep Drill


Identity

Identity is used for adjusting the tolerance that the Boolean operations will use when performing a Boolean operation. This value is a distance in 1/100 of a millimeter for identifying near-coincident vertices. In general, the default value of 50 should be used, but this sometimes needs to be adjusted to achieve a successful result. If a Boolean operation doesn't work, trueSpace4 may notify you that adjusting this value could allow the Boolean to succeed.


Delete Edges

When Delete Edges is enabled, trueSpace4 will attempt to delete unnecessary edges in the objects to be combined. If unnecessary edges are removed, some coplanar faces that may be desired in the final model may be merged together into a single large face. If, after performing a Boolean, some of the faces which had been in the original models disappear in the resulting model, undo the operation, change this toggle and redo the Boolean.


Keep Drill

The Keep Drill switch applies only to the Object Subtraction function. Normally, after a target object is subtracted from another, the target object is deleted. When Keep Drill is enabled, however, the target object is retained.

This facility is useful for subtracting a number of identical shapes from an object. For example, you can use it to create window openings in a building.


Metaballs - Introduction
Introduction

Metaballs is a powerful feature in trueSpace4 that lets you do modeling and animation using a special set of geometric primitives: sphere, cube (rounded and sharp edge), and cylinder (rounded and sharp edge). You can combine these primitives, whose shapes "flow" into each other, into Metaballs objects by adding and subtracting them, creating objects that would be difficult or impossible to model by any other means. You can also use them to create animations wherein objects' shapes dynamically blend together and separate depending on their relative distances, like, for example, the T2 character in the movie Terminator 2 who formed himself from blobs of metal rolling on the floor.

In our ongoing effort to give you, the 3D modeler and animator, better tools, we at Caligari have gone to great lengths to seamlessly integrate the Metaballs feature with both the new Inverse Kinematics/Bones system and the Physical Simulation functions. That is, you can connect Metaballs primitives into their own hierarchical structures. You can also join Metaball primitives into Boned, Inverse Kinematics chains and animate them with trueSpace4's excellent Bones algorithms. (For more information on this, refer to Chapters 20 & 21 - Inverse Kinematics & Bones, and the Metaballs tutorial in that chapter.)

You can also assign physical attributes, such as mass and elasticity, to Metaballs primitives, as well as subjecting them to forces like wind, atmospheric and gravity, and causing them to collide with each other. And, of course, you can animate Metaballs objects and primitives via standard keyframing techniques. This extraordinary functionality gives you unprecedented animation capabilities, with which we believe you will be able to do great things.

Note: When reading the following description of how the Metaballs function works in trueSpace4, bear in mind the distinction between the two types of entities in use: You join several Metaballs primitives, or basic 3D shapes, into a composite form, called a Metaballs object.

Note: The Metaballs tool is best used for creating an object's overall shape, rather than for creating detailed features. For example, in creating a head, you could use it to create the eye hollows, and then use actual spheres to create the eyes themselves.


Working with Metaballs Primitives

Select the Metaball tool to start a new Metaballs object and open the Metaballs Edit panel. Or, to modify an existing Metaballs object, select the object, which also opens the panel. The controls on the Edit panel let you add the various Metaballs primitive shapes to your workspace; move, rotate and scale Metaballs primitives; and determine how the primitives interact with one another.

Open the Metaballs Options panel by right-clicking on the Metaballs tool; this lets you modify Metaballs objects' mesh resolution, and how they are redrawn as you work with them.

A Metaballs object must contain at least two primitives to be able to use the Metaballs features. FiveMetaballs primitives are available:

•	Sphere

•	Rounded cylinder

•	Rounded cube (actually, a flattened rounded cube)

•	Cube (sharp edges)

•	Cylinder (sharp edges)

Select an icon from the Edit panel to add the corresponding Metaballs primitive. When you add the initial shape, it is placed at the center of the trueSpace4 workspace. By default, both components are visible: the primitive shape, and the resultant Metaballs object. In Wireframe Display mode, the primitive is drawn in white, and the Metaballs shape is drawn in orange. In Solid Render mode, the currently selected primitive is drawn as a white wireframe, unselected primitives are drawn as orange wireframes, and the overall Metaballs shape appears as a rendered solid.

If you add a copy of a selected Metaballs primitive, using the Copy tool or by pressing Ctrl-C, an identical copy is added in the same location as the original, as with copying any other object in trueSpace4.

Tip: If you select the Metaballs tool with a Metaballs object selected, trueSpace4 assumes you want to edit that object (see Manipulating Metaballs, below). Therefore, to start a new Metaballs object, any existing Metaballs objects should not be selected. If there are no other objects in the workspace, you can select a light source or camera. Alternatively, you can simply add a primitive mesh object, such as a cube, and then delete it. This results in no objects being selected. Then proceed normally: Select the Metaballs tool, and then select the primitives you wish to use.

More:

Manipulating Metaballs

Animating Metaballs Objects

Metaballs Primitive Field

Edit Volume of Influence

Metaballs Options Panel


Manipulating Metaballs

You can use the Metaballs Edit panel's Navigation tools to move, rotate and scale Metaballs primitives. To manipulate a entire Metaballs object, select an Object Navigation or other object-related tool. When a Metaballs object is selected, to manipulate its primitives or add primitives, first open the Edit panel if necessary by selecting the Metaballs tool, and then select one of the panel's navigation tools. Then, if the desired Metaballs primitive is not selected, click and release on it to activate it, unless Dynapick is enabled, in which case you need simply click and drag on the primitive.

When you apply transformations to a primitive, the Metaballs shape dynamically shows the results in real time. (Conversion in the Metaballs Options panel, described later in this section, must be set to On Move for real-time refresh.) For example, as you move one primitive away from another, the connection between them gradually becomes thinner, and is eventually broken.

Tip: A Metaballs object has an axis, as do each of its primitives. The object's axis always starts out in the center of the workspace (coordinates 0,0,0). When you manipulate its primitives, the object's axis is not affected. Therefore, it's entirely possible to end up with a Metaballs object whose axis resides entirely outside of its wireframe mesh. If you find your Metaballs objects behaving abnormally (e.g., rotating on an unexpected axis), check the axis location.

Tip: If you experience slowed feedback after manipulating a Metaballs primitive for an extended, uninterrupted period of time (for example, you move it around the workspace to a number of different locations), simply release the mouse button momentarily, and then press it again to resume the manipulation.

To delete a selected primitive, press the Delete key or select the Erase tool.

You cannot apply modeling tools, such as Deform, Sculpt Surface, Point Edit, QuadDivide or Boolean operations to Metaballs primitives or objects. If you attempt to use a modeling tool with a Metaballs object, you'll be asked to confirm that you want to delete the Metaballs structure and convert it to a polyhedron. If you confirm, during this process, the Help Bar displays the message "Converting metaball" and shows the percentage done.

Similarly, you can't use any Paint tool except Paint Object with Metaballs objects. If you attempt to use Paint Face, for example, you'll be asked to confirm the aforementioned conversion, and then the object will be converted to a polyhedron, using Render Resolution (see the Metaballs Resolution section, below).

Note: By default, Metaballs objects receive planar UV mapping. To change this, use the UV Projection tool, described in Chapter 17 - Paint Tools.

Tip: Sometimes you might want to simply convert a Metaballs object to a polyhedron, without necessarily applying a modeling tool, just to reduce the object's complexity and overhead. In such a case, just select a modeling tool such as Deform Object, and then after the conversion process, select the Object tool.


Animating Metaballs Objects

You can animate a Metaballs object's shape by keyframing Navigation settings for its primitives, using standard trueSpace4 animation techniques. When you play back the animation, only the Metaballs object appears, in Navigation Resolution (see Metaballs Options Panel, below, for an explanation of Navigation Resolution), for fast feedback.

You can create hierarchical relationships between Metaballs primitives with the Glue tools, or create links with the Inverse Kinematics Add Joint tools. Building, modifying and animating compound objects with Metaballs primitives works the same way as with standard, discrete objects.

Similarly, you can apply physical attributes to Metaballs primitives using the Physical Simulation tools, and animate them using the same techniques.


Metaballs Primitive Field

These two buttons let you determine whether the current primitive has an additive or subtractive effect on nearby primitives.

Positive: This is the default mode, in which primitives add to the overall Metaballs shape.

Negative: In Negative mode, the primitive's shape is (repulsed) subtracted from any positive primitives it overlaps. This works something like the Boolean Object Subtraction function, except that edges are rounded rather than sharp.


Edit Volume of Influence

This tool lets you modulate the extent of a Metaballs primitive's influence over the Metaball object's shape. When you select it, a wireframe representation of the current primitive's volume of influence appears surrounding the primitive. Left-button drag the mouse toward you to reduce the wireframe's size, and consequently the primitive's relative influence over the Metaballs object's shape, and away from you to increase the volume influence.

Note: The volume of influence of a Metaballs primitive whose field is positive is green, while a negative-field primitive's volume of influence is blue.

While in this mode, you must use any of the Metaballs Navigation tools, although you can add new primitives. To exit, select the Volume of Influence Tool again.


Metaballs Options Panel

Open the Metaballs Options panel by right-clicking the Metaball tool. This panel lets you determine how the Metaballs object is displayed when manipulating it, and offers two settings for determining the fineness of a Metaballs object's mesh, during and after manipulation.

More:

Conversion

Navigation Resolution

Render Resolution

Use X Offset for Prims


Conversion

This combo box gives you three settings for determining the Metaballs function's level of interactivity, to accommodate for slower machines.

On Move: This is the default mode, in which manipulating a Metaballs object's primitives reshapes the overall object in real time. This offers the best feedback, but requires the greatest amount of processing power. If you require real-time feedback, but are encountering slow redraw times, try reducing the Navigation Resolution setting to create a simpler mesh (see below).

On Release: This is a compromise mode, in which the Metaballs object is redrawn only after moving a primitive object, when the mouse button is released. This gives adequate feedback without the extra computational overhead required when redrawing the shape in real time.

On Demand: This mode is suitable for slow machines and/or very complex objects. The Metaballs object is drawn only when you specifically request it by selecting a rendering tool, or an editing tool that requires converting the object to a polyhedron, or by selecting a different conversion mode and manipulating a primitive. Otherwise, only the primitives are drawn.


Navigation Resolution

This is the Metaballs object's mesh resolution used during manipulation of its primitives. If you change the setting, you must modify a primitive to see the results. The range of acceptable values is 20-250.


Render Resolution

This is the Metaballs object's mesh resolution when you render the object, or when you convert it to a polyhedron. The range of acceptable values is 20-250.

To expressly convert a Metaballs object to Render Resolution, simply select the Object tool. To return it to Navigation Resolution, select the Metaballs tool, and then select any Metaballs Navigation tool and manipulate one of the primitives.


Use X Offset for Prims

This option determines whether newly added primitives are affected by the position, orientation or scale of existing, selected primitives.

If, when this option is active, you add a Metaballs primitive of any type, the new object is placed in the workspace immediately adjacent to the first, offset in the positive X direction. If any rotation and/or scaling was applied to the original, the newly added primitive inherits the transformation(s).

If this option is not active when you add a new Metaballs primitive to an existing Metaballs object, the new object is added at the center of the workspace, using the default settings for size and orientation.


PlastiForm - Introduction
Introduction

The PlastiForm tool is a truly unique modeling feature of trueSpace4, one that lets you modify the surface and shape of 3D objects in a variety of unusual ways. Its usage is simple: By converting part of an object's surface to a "particle mesh," and then moving a spherical or cylindrical "hot" tool across the mesh, you can "engrave" the surface; or, by moving the hot tool perpendicular to the mesh, you can produce a tunnel-shaped formation into or out of the object.

PlastiForm works by temporarily treating the section of the object's surface that it's modifying as a mesh composed of particles, rather than of polygons. That way, when the surface area is increased, the tool simply adds more particles. It then converts the surface, on the fly, to the polygon mesh that you see. This technique makes it practical to perform real world-type modeling techniques, such as pushing your thumb through clay or soft plastic, that would be difficult or impossible with standard polygon-mesh methods.


Using PlastiForm

Tip: When working with the PlastiForm tool, it's usually easier to see what's going on if you use Wireframe Display mode.

It is not necessary to select the object you want to modify before using the PlastiForm tool.

Select the PlastiForm tool to open the PlastiForm panel.

More:

Selecting Faces

Selecting the Hot Tool

PlastiForm Settings Panel


Selecting Faces

First, you need to select one or more faces on the object you want to modify, which can be any in the current scene. The two icons in the right-hand column let you do this. The upper tool, Select Face(s), lets you indicate faces to be modfied with the mouse cursor, by clicking and optionally dragging. Selected faces are outlined in a violet color. To select all of an object's faces, select the lower tool, Select All Faces. To deselect any selected faces, click on them with the Select Face(s) tool active.


Selecting the Hot Tool

After selecting faces, you can pick either of two "hot" tools, a sphere or a cylinder, from the PlastiForm panel's center column. The tool appears near the selected face(s), but does not become immediately active and can be repositioned, rotated and scaled with the local navigation tools in the panel's left-hand column.

Note: At higher Density settings, the hot tool can take a while to appear. To abort this process, press the Esc key at any time.

Note: The hot tool initially appears at its minimum size; it can be scaled only up, not down. To make the hot tool smaller, start with a higher Density setting (change the setting before selecting the hot tool). However, in general, the PlastiForm tool yields superior results with the larger deformation tools.

Once the "hot" tool is in place, you can activate it using the Activate/Deactivate icon at the bottom of the center column. This causes the selected face(s) to become subdivided. When activated, you can move the hot tool by dragging the mouse, modifying nearby surface elements as you go. You can also rotate and scale it while reshaping the mesh by first selecting the appropriate navigation tool from the PlastiForm panel. To rotate or scale the deformation tool without deforming the object, or to move it and start working in a different spot, first select the Activate/Deactivate icon to deactivate it.

When you move the hot tool along the selected faces, it reshapes the surface, creating an engraving or bulge depending whether it is on the inside or outside of the object. When pushed deeper inside the mesh, new mesh elements are created to maintain the integrity of the surface.

To manipulate an object while PlastiForming an object, simply select the desired object navigation tool, use it, and the re-select the PlastiForm tool. The hot tool will be as you left it. If, however, you select the Object tool, the current deformation tool is deleted. The particle mesh structure is retained until you convert the object to a standard mesh structure (see the next paragraph), and until then you can always go back and modify it with a new hot tool you want to use.

To convert a PlastiForm object to a standard mesh object, select a Point Edit tool, or the Deform tool, and confirm the deletion of the PlastiForm structure. Certain modeling and paint operations require a polyhedra (mesh object).

Note: If you use PlastiForm with a polygon that has been scaled disproportionately, you'll find that the deformation tool is scaled accordingly. That is, the spherical deformation tool may appear egg-shaped.


PlastiForm Settings Panel

To activate the PlastiForm Settings panel, right-click on the PlastiForm tool. This panel's settings let you determine particle resolution, how much the hot tool affects the particle mesh, and how the mesh is redrawn as you work.

More:

Deform

Density

Weight


Deform

The settings available in this combo box determine what type of feedback you will get while moving the hot tool.

On Move: This is the default mode, in which manipulating the hot tool reshapes the affected surface in real time. This offers the best feedback, but requires the greatest amount of processing power. If you require real-time feedback, but are encountering slow redraw times, try reducing the Resolution setting to create a simpler mesh (see below).

On Release: This is a compromise mode, in which the particle mesh is redrawn only after moving the hot tool, when the mouse button is released. This gives adequate feedback without the extra computational overhead required when redrawing the mesh in real time.


PlastiForm - PlastiForm Settings Panel - Density
Density

The Density setting determines two important elements: the particle density, which manifests itself as the rate of subdivision of selected faces, and the starting/minimum size of the hot tool. Possible values range between 0 and 1. The greater the Density setting, the greater the particle density, and the smaller the size of the hot tool.

Important note: You must set Resolution before activating the PlastiForm tool. Once you're using the tool, changing this setting has no effect.


Weight

The Weight setting, which can range from 0 to 1.0, determines the amount of force with which particles are pushed away from the hot tool. With higher Weight settings, the radial force is higher and more noticeable, particularly where the hot tool initially contacts the deformed surface.


Nurbs - Introduction
Introduction

NURBS — the acronym for Non-Uniform Recursible B-Splines — is a modeling method which allows you to form smooth surfaces from polyhedrons.  By clicking on the NURBS tool, you tell trueSpace4 to create a Bezier surface from the original geometry (or, more descriptively, "melt" the object).  Further, you can use the object's Control Mesh (derived from the original object) to edit the NURBS surface using the standard point edit tools.  In the example below, a simple cube primitive (left) is converted to a smooth, rounded cube (right) through the application of the NURBS tool.

When you create a NURBS surface from a polyhedron, each vertex of the original acts as a control point.  Control points behave much like magnets to attract or repel the surface of the NURBS mesh.  By using the Point Edit tools to select vertices, edges, or faces, you can push or pull specific points on your object and trueSpace4 will automatically interpolate the affected faces on the NURBS surface.  In the figure below, the rightmost face of the NURBS cube has been selected and moved toward the right.  Note how the NURBS surface flows with the stretching action to create a smooth-looking surface with a minimum of modeling fuss.

You can also animate the point-edit functions of the Control Mesh to animate the NURBS surface, as you could with a normal polyhedron.  This opens up possibilities for facial and other character animation.  The figure below shows a NURBS object displayed in a real-time render mode.  By entering point-edit mode, you can manipulate the control mesh and the NURBS surface will be adjusted automatically.  For example, by pulling the vertices at the edge of the mouth area (marked A and B), you could put a smile on the character, or animate the mouth to make the character speak.

To create a NURBS surface from an object, select the object and click on the NURBS tool (either the one found on the toolbar, or the object's 3D menu).  trueSpace4 converts the polyhedron to a NURBS surface and displays the new surface in your workspace.  To view only the Control Mesh, click the NURBS tool again.  The NURBS tool will be darkened when viewing the NURBS surface, and will be bright when working with a regular object or a Control Mesh.  To remove the NURBS surface and revert your object back to its original polyhedron form, use the Destroy NURBS tool from the toolbar or the object's 3D menu.

The new NURBS surface inherits the dominant texture as well as the animation, look-at, and look-ahead constrains of the original.  You can use the Paint Object, Paint Face, Paint Vertex and Paint Over tools on the NURBS surface but not on the Control Mesh.

Note: It is recommended to complete modeling of the NURBS object prior to surfacing, as changes to the topology of the control mesh can cause painted faces to appear different in the final NURBS model.

NURBS are an ideal method for creating organic forms from simple polyhedrons.  It is possible to create smooth, intricate surfaces using NURBS after a little point-edit tinkering.


The NURBS Options Panel

Right-click on the NURBS tool to access the NURBS options panel.

More:

Build Options

On Move

On Release

On Demand

Influence

Density

Tension

Global

Local


Build Options

The Build Options let you determine when the NURBS surface is updated during point editing (face, edge, and vertex manipulation), allowing you to model according to your system's speed.  The default setting is On Move.


On Move

The NURBS surface is updated in real-time, providing instant feedback to your mouse movements.


On Release

When On Release is selected, the NURBS surface disappears when you begin point edit operations, leaving only the Control Mesh visible.  The NURBS surface reappears when you release the mouse button.  On slower systems, this can make it easier to edit the Control Mesh.


On Demand

When On Demand is selected, the NURBS surface disappears during point edit operations, leaving only the Control Mesh visible.  Clicking the NURBS tool toggles the NURBS surface between visible and invisible, allowing you to compare the Control Mesh to the NURBS surface.  The NURBS surface will only be updated when you click the Object Tool.


Influence

Use the Influence settings to determine how far-reaching the effects of Density and Tension will be.  For example, if you wish to create more detail centered around a specific face or set of vertices on your object, you can click the Local setting and increase the Density value.  Or, if you want to create a rounded cube with a flat base, you can select the bottom face, set the Tension influence to Local, and increase Tension to 1.


Nurbs - The NURBS Options Panel - Density
Density

The Density setting allows you to adjust the complexity of the underlying NURBS surface; values for Density range from .1 to 1.  A higher setting creates more faces on the NURBS surface, while a lower setting results in fewer faces.  The figure below compares a NURBS cube with a low setting of .1 (left) and a high-density setting of 1 (right).  Objects with higher values often appear smoother and more detailed, but can take longer to render.  On most systems, you will most likely want to work with values between .1 and .4.  Note: You cannot alter Density values while using the Deform Object tool.


Nurbs - The NURBS Options Panel - Tension
Tension

The Tension setting determines how much "pull" each vertex of the Control Mesh exerts on the NURBS surface, with values ranging from 0 to 1.  Lower settings result in smoother, more rounded surfaces because the points don't pull so strongly, while a higher setting produces more angular corners and points. Note how the corners of the cube in the example below behave in response to different Tensions settings: in the example on the left, with a setting of 0, the vertices exert very little pull on the NURBS surface; while on the right, the setting of 1 results in a more cube-like structure.  Note that you cannot alter values while using the Deform Object.


Global

With the Global option selected, all points on the Control Mesh adopt the currently set value, creating uniform levels of Density or Tension.  You can make Global adjustments to a selected NURBS object at any time except during deformation operations.


Local

Changes in Density or Tension values only affect the NURBS surface beneath selected faces, edges, or vertices.  You must be in Point Edit mode with faces, edges, or vertices selected before Local adjustments will affect the NURBS surface.


NURBS 3D Menu Commands

You can access NURBS commands from an object's 3D menu system: Draw Object's Mesh (display the object's Control Mesh), Draw Object As NURBS Object (creates and/or displays NURBS surface), and Destroy NURBS (create a polyhedron from the NURBS surface or object's Control Mesh).  Right click on the desired object to open its 3D menu and point your mouse to the visible NURBS tool to access these commands.

Helpful tips for using NURBS

1.	Try to use as few faces (edges and vertices) as possible on the original object before using NURBS. As their numbers increase, so will the number of polygons in the final NURBS surface.

2.	It is recommended to complete modeling of the NURBS object prior to surfacing, as changes to the topology of the control mesh can cause painted faces to appear different in the final NURBS model.

3.	"DynDiv" (dyna-divide) in Point Editing and Sculpt tools does not work for NURBS objects.

4.	Avoid using concave (non convex) faces in the control mesh. If the original object contains concave faces, these are divided into convex parts. If you make concave faces during the manipulation, this will cause that NURBS surface to be out of the control mesh, but sometimes this is desired.

5.	After a boolean operation, every face with holes or that is concave is divided into convex parts. This division may not always be the satisfied results, so you may use the erase vertices tool and draw edges to reach the desired shape.

6.	The control mesh can't contain vertices of 2 segments, and faces with less than 3 vertices. All such entities are removed from the control mesh. (These entities can be a result of the polygon draw tool.)


Polygon and Text Tools - Introduction
Introduction

These  tools  allow for several different methods of creating  flat multi-sided polygons. Freehand and Regular polygons are made of straight line segments and can interact with each other or previous spline polygons using Boolean math. The Spline Polygon tool lets you create polygons from spline curves. And the Text tools let you add vertical and horizontal text from the keyboard, using TrueType fonts.

Note: trueSpace4 also has a small library of 3D primitive shapes that you can use as building blocks for your 3D scenes. You can find more information about these in Chapter 13 - Edit Group under the heading Geometric Primitives.

More:

Drawing Polygons


Drawing Polygons

New polygons may be drawn only in the Perspective and Top views, and they are always created parallel to the ground plane. These polygons can be used as is, combined with other objects using Glue, manipulated with Deform, and can be extruded into three-dimensional shapes with the Sweep tools.

To change the type of polygon to be drawn, click on the tool, then drag the mouse slightly, until a pop-up appears. Drag the mouse to the type of polygon desired on the pop-up, then release the mouse button. With regular polygons, you can also select the type of polygon from the Polygon property panel.

Selecting the Freehand or Regular Polygon tool automatically activates the Polygon control panel and selecting the Spline polygon tool activates the Spline polygon control panel.


Regular Polygon

This tool automatically creates a polygon all of whose sides are the same length. The more sides you use, the more round it gets.

To change the number of sides in new regular polygons, use the numeric slider of the Polygon control panel.

To draw a polygon, click the left mouse button on the work area, and drag outward to specify the polygon's maximum radius. Release the mouse button to finish the polygon. Upon the creation of a polygon, the user can create more polygons, do boolean operations to the original polygon, or exit by selecting the Object tool. Finished polygons can then be manipulated with other modeling tools.


Freehand Polygon

The Freehand Polygon tool allows the user to create polygons by defining each vertex of the finished shape. To draw a freehand polygon, define vertices by left clicking in the workspace. To finish the polygon, click the right mouse button, which connects the last point with the first. Upon the creation of a polygon, the user can create more polygons, do boolean operations to the original polygon, or exit by selecting the Object tool. Finished polygons can then be manipulated with other modeling tools.


Polygon Control Panel & Boolean Modes

This property panel appears automatically when the Freehand or Regular Polygon tool is selected. These controls also apply to spline polygons after the spline curve becomes a polygon (see the Spline Polygon tool). The four buttons let you determine whether and how newly drawn polygons will interact with previously selected ones. The numeric setting lets you set the number of sides for new regular polygons only.

More:

New Polygon

Union

Subtract

Intersect

Number of Sides


New Polygon

With New Polygon enabled, a polygon is drawn in the workspace and is independent of previous drawn polygons. The remaining three options in the Polygon property panel give the user different ways of combining new polygons with existing ones.


Union

New polygons are joined to the previously selected polygon. In this case, polygons don't have to overlap to be joined. You can have a single object consisting of a number of discrete, separate polygons.


Subtract

New polygons drawn in this mode are subtracted from the previously selected polygon or group of polygons. If the new polygon overlaps the previous one, then the area of intersection is subtracted out of the first one. If there is no overlap, then the new polygon is deleted.


Intersect

A new polygon is created from the overlapping area between a polygon drawn in this mode and the previously selected one. If there is no overlap, then the new polygon is deleted.


Number of Sides

Use the numeric setting to determine the number of sides of subsequently drawn regular polygons. To change the setting, click on the double-headed arrow and drag left and right, or click in the number box, enter a new number from the keyboard, and hit return.


Spline Polygon Tool

A spline polygon is created the same way as a freehand polygon, but the polygon has curved sides. To draw a spline polygon, select this tool, then click the left mouse button on each vertex in turn. Each point you define sets a new spline node for the polygon, with an intermediate number of interpolated points or "frames" in between. New spline polygons can only be created from the Top or Perspective views, and all points are placed at ground level. While drawing a spline polygon, you can switch between adding new points and editing existing ones using the Draw and Edit controls in the Spline control panel. To close a spline polygon with a spline, click the right mouse button, which connects the last point with the first. At this point, you can edit the polygon or add the spline to a paths library for later use, but you can't add new spline points to a closed spline. Also, you can add a new spline polygon to the workspace by selecting a closed path from the Path library after selecting the Spline Polygon tool. After exiting spline mode, the shape is frozen and can no longer be manipulated as a spline in a 2D fashion.

Upon activation of the Spline Polygon tool, the Spline control panel opens. A right click in turn opens the Spline property panel.

More:

Editing Splines

Spline Control Panel

Spline Property Panel

Spline Parameters Panel


Editing Splines

A spline has four properties which you can alter:

More:

Position

Tension

Continuity

Bias


Position

Changing the position of a node in relation to its neighbors will affect the overall shape of the polygon without affecting the node's other spline properties. Positional changes to a control node will affect its immediate neighbors' spline properties. To change the position of a node, select a node and with the left mouse button pressed, move the node to a new location.


Polygon and Text Tools - Editing Splines - Tension
Tension

Tension controls how sharply the curve bends. When increasing tension, not only does the curve sharpen, but frames from either side are pushed toward that vertex, causing de-acceleration into the curve and acceleration out of the curve (although this only applies to spline animation paths). To change the tension value for a spline node or nodes, select on a control handle while holding down the shift key and drag from left to right.


Continuity

Continuity affects the way curves flow into control nodes. A continuity value of 1 causes the curve to over shoot the node on both sides. A value of -1 has the opposite effect. To change the continuity value for a spline node or nodes, select on a control handle while holding down the right mouse button and the Ctrl key and drag the mouse vertically. Continuity has no effect on acceleration.


Polygon and Text Tools - Editing Splines - Bias
Bias

Bias creates discontinuity in a curve by over shooting only on one side of a spline node. A negative bias value over shoots the curve on the left side of a node or nodes. A positive value over shoots on the right.To change the bias value for a spline node or nodes, select on a control handle while holding down the left mouse button and the Ctrl key and drag the mouse vertically. Bias has no effect on acceleration.


Spline Control Panel

When you select the Spline Polygon tool, the Draw Path control panel opens.

More:

Point Move

Draw New Spline Point

Start New Spline

Add New Spline Point

Delete Spline Point

Segments

Frames

All Handles


Polygon and Text Tools - Spline Control Panel - Point Move
Point Move

To move path points and spline handles, select this button. Draw New Spline Point and Point Move are mutually exclusive.


Draw New Spline Point

If  before closing a spline polygon, you select Point Move to modify spline points or handles, you can return to adding points by selecting this button. Note that this is different from Add New Spline Point, below, in that it allows you to continue your spline by adding points at the end.


Start New Spline

Closes the existing polygon with a sharp edge and lets you immediately start placing points for a new polygon.


Add New Spline Point

This allows you to left-click anywhere on an open or closed spline, and add a new point. Unlike Draw New Spline Point, no extra vertices are added between the new point and the spline points to either side.

Once you have added the new point, you are placed in Point Move mode for that point.


Delete Spline Point

This will delete the current point from the spline and remove the extra vertices associated with that point. You can Undo this operation should you delete the wrong point.


Polygon and Text Tools - Spline Control Panel - Segments
Segments

This setting determines the number of  vertices between spline points when drawing a polygon. Click and drag on the arrow button to change, or click on the number and enter a new value from the keyboard. The higher this number, the smoother the outline, and the greater the number of resultant polygons.


Frames

This button toggles the display of individual frames, shown as blue hash marks along the path.


All Handles

Handles are the green lines emanating from the nodes on the path. When a path is displayed, this setting determines which handles are visible. With All Handles on, all handles are drawn. Otherwise only the handles attached to the currently selected path vertex are displayed. As path vertices tend to be hard to see, this option helps locate the active vertex.


Polygon and Text Tools - Spline Polygon Tool - Spline Property Panel
Spline Property Panel

Right-click on the Spline Polygon tool to open the Spline property panel. Spline characteristics can be changed during and after the creation of a spline with the controls on this panel.

More:

Spline Presets

Interpolated Value

Local (Selected Point)

Global (All Points)


Spline Presets

The buttons in the top row contain preset combinations of spline settings for fast adjustment of all three settings at once. Also, you can access the Spline parameters panel for numeric settings by right-clicking on any of the preset buttons. The presets are detailed in the follwoing chart.

The first preset removes any smoothing, causing the spline segments to act like straight lines. The other two presets implement smoothing as described by their names.


Interpolated Value

The second row of buttons is for selecting whether the adjustments use location, rotation, or scaling values for interpolation. Normally when you edit the spline settings, you're changing how the program interpolates between the spline points' different location values. Rotation and scaling interpolation does not apply to spline polygons but rather for spline animation paths. Changing settings with either of the two buttons active does not alter the polygon's shape.


Local (Selected Point)

By default this switch is on, which means only the current node is affected by changing settings. Selecting Local turns off Global.


Global (All Points)

All spline nodes are affected by changing settings via the presets or the parameters panel. Selecting Global turns off Local.


Spline Parameters Panel

To open the Spline parameters panel, right-click on any of the Spline presets buttons in the Spline property panel. This allows numeric adjustment of path spline settings: Tension, Continuity and Bias. Change values by clicking on the numbers and entering new values from the keyboard, or clicking on the double-headed arrows and dragging left and right. While any numbers can be set, the most useful values range between -1.5 and 1.5.


Polygon and Text Tools - Text
Text

There are two variants of the Text tool: vertical text and horizontal text. Choose one with the left mouse button, then click anywhere in the workspace and start typing. To change the cursor location and start a new text object, move the mouse and click the left mouse button. When finished entering text, select a different tool to exit the text tool.

Once created, the text is a polygon that can immediately be swept by selecting the Sweep tool.

When creating text, trueSpace4  groups all the letters in a word as siblings so that they can be manipulated individually (for more on siblings see the Glue section in Chapter 13 - Edit Group). Change fonts by right-clicking on either variant.

More:

Vertical Text

Horizontal Text


Vertical Text

The Vertical Text tool is used to create vertical 2D text objects for extrusion and beveling with the Sweep tools. Enter text from the keyboard, which instantly becomes polygons in the workspace. Vertical text stands at right angles to the ground plane. The text baseline is created at ground level, parallel to the current view plane and the axes for the object is placed at the position where text was first entered.


Horizontal Text

The Horizontal Text tool is used to create horizontal 2D text objects for extrusion and beveling with the Sweep tools. Enter text from the keyboard, which instantly becomes polygons in the workspace. Horizontal text is created horizontal to the ground, at ground level. The text baseline is created at ground level, parallel to the current view plane and the axes for the object is placed at the position where text was first entered.

More:

Changing the Font


Changing the Font

To change the font, right-click on either Text tool. This opens a file dialog listing all TrueType fonts currently installed in Windows:

Select a font, style and size by clicking on the desired selections. Use the Sample window as a guide. Then click on OK to close the dialog. Click anywhere in the workspace and begin entering text from the keyboard.

Utilities Group

The Utility group contains tools for setting snap constraints,  positioning objects in relation to each other via the magnetic tool, displaying objects' axes, normalizing object rotation, scale, and location, as well as a few other extended utilities related to modeling.


Axes Tool

Selecting this tool will display the axes for the currently selected object. Once active, the axes can be moved, rotated, and scaled and any manipulation to the original object is disabled. To keep the axes visible and return to editing the object, select the Navigate Up tool or the up arrow cursor on your keyboard. To subsequently hide the axes, select the Axes tool again.

More:

Axes Location

Axes Rotation

Axes Scale


Axes Location

The location of the axes determines the way the source object rotates, scales, and follows paths regardless of the coordinates system used. For rotation, the placement of the axes is the pivot point or hinge for an object. As an example, the axes on a cube are located in the exact center of the object so rotating it on its Z axis (right mouse button) will make it spin about its center. If the axes are moved to a corner and the same operation is repeated, you'll see that the cube rotates around the new pivot point like a door. Move the axes farther out and the cube will appear to orbit the axes when rotated.

For Scaling, the axes are the source of scaling or where the object will scale from regardless of the coordinates system used. When scaling a default cube, it grows nicely from its center equally in all directions. Move the axis of the cube to the bottom edge of the cube and it will then scale from the new source or from the "ground up". Move the axis out of the cube and you'll see that the cube will not only scale from its new source but will also move away from it at the same time as the distance between source and object is scaled also.

Axes location also determine where an object's attachment point is to an animation spline and where the "hot spot" of an object is for Look At operations (see the Look At tool).


Axes Rotation

The rotation of an object's axis affects the way an object moves, rotates, and scales in the Object coordinates system only (see coordinates system). Navigating an object in the Object coordinates system restrains navigation to the local axis of an object.  It is usually not advantageous to rotate an object's axis except to satisfy the requirement of a special animation function like Look At and Look Ahead.


Axes Scale

The scale factor for an object's axis does not have any effect on the way the object is manipulated either in modeling or animation. Scaling an object's axes do make them more visible, especially when dealing with small objects.


Default Axes

Objects created from primitives haves axes that are automatically centered to the object and are oriented to the World axis. There are a few exceptions for both default placement and orientation of axes to other objects created in trueSpace4.

More:

Text

Sweeps

Cameras & Spot Lights


Polygon and Text Tools - Default Axes - Text
Text

The axes for text are placed at the bottom left corner of the object where the text cursor was first activated in the workspace. The Z axis points forward and the Y points straight up. This is true for both horizontal and vertical text. The axes for text are oriented such that Look At and Look Ahead functions can be executed automatically without first adjusting the axes of the object.


Sweeps

The axes for a swept object are located at the center of the original polygon swept regardless of how many times sweep is applied and how many transformations the shape undergoes. The axes are oriented to the World axis.


Cameras & Spot Lights

The axes for cameras and spot lights cannot be displayed or manipulated. They are located in the center of the object with the Z axis pointing straight forward towards the eye (camera eye or light target) and the Y axis facing straight up. The axes are oriented such that Look At and Look Ahead functions can be executed automatically without first adjusting the axes.


Center Axes

Moves the axes of an object to the exact center of the bounding box. The object's axes do not need to be showing for this operation to take place.


Normalize Location

The Normalize Location tool will move an object or an object's axes to the center of the World at 0,0,0. To Normalize location, first select the target object or axis then select the tool.


Normalize Rotation

The Normalize Rotation tool will orient an object or an object's axes to the orientation of the World Axis. To Normalize rotation, first select the target object or axis then select the tool.


Normalize Scale

The Normalize Scale tool will scale an object on all dimensions equally so that the target object or axes fits nicely within the workspace. To Normalize scale, first select the target object, and then select the tool.


Grid Snap

The Grid Snap tool sets navigation constraints for moving, rotating and scaling objects in adjustable increments and can be set for each different type of navigation action: movement, rotation, and scale. Select the Snap Grid tool once to enable constraints, select the tool again to disable constraints. Right click on the Grid Snap tool to open the Grid Snap property panel and to change settings. Switching from one type of navigation tool to another will update the Grid Snap property panel to reflect the different contraint settings for movement, rotation, and scale. If Dynaunits is enabled in the Object property panel (right click on the Object tool) then the grid constraints are according to the unit system of the current object. If Dynaunits is disabled, then the grid constraints are according to the World system. For example if the snap for movement is set to 1 and the current unit system is meters, then moving the object will be constrained by increments of 1 meter. If the current unit system is centimeters, then the constraints are in increments of 1 centimeter. Rotation functions are independent of the current unit system and are always displayed as degrees. To disable constraints on individual axes, deselect either X, Y, or Z in the Snap Grip property panel.


Magnetic Tool

The Magnetic tool lets you slide or roll an object across the surface of another. You can also rotate and scale an object using the location where it contacts a second object as a point of reference.

In the real world, objects collide. In other words, if you push two objects together, their surfaces automatically "know" how to act as barriers, so the objects stop when the surfaces touch. Unfortunately, this doesn't hold true in the virtual world of 3D graphics, as you know if you've spent inordinate amounts of time painstakingly aligning objects by hand so their volumes don't overlap.

Thanks to trueSpace4's Magnetic Tool feature, Caligari brings  users one step closer to reality. This tool helps in positioning one object with respect to another; you can easily do precise positioning, such as setting two touching faces to be perfectly aligned with each other, or lifting an object on its edge. This is especially useful when working in Perspective view, where alignments and contacts can be difficult to see.

To use the Magnetic tool, you designate a "magnet" object and an "anchor" object. Then, when you move the magnet object, it travels along the surface of the anchor.

Tip: This tool is particularly useful for quickly building hierarchical objects.

Note: The Magnetic tool is strictly a scene setup aid; you cannot use it for animation.


Using the Magnetic Tool

To use the Magnetic Tool, first select the "magnet" object.  Next, left-click on the Magnetic Tool, which will appear pushed in, indicating that it's active.  The mouse pointer changes into the glue bottle.

At this point, you have two options:

•	Select a face on the magnet object by clicking on it, and then select a face on the anchor. The magnet object will then "jump" onto the anchor so that the centers of the two faces are aligned.

or

•	Directly select a face on the anchor. The tool will automatically choose the face on the magnet object that is closest to the anchor.

Note: For accurate results when selecting faces to stick together, the two objects should not be overlapping when you choose the Magnetic tool, either in space or on the screen.

The default mode of moving a magnet object after sticking it onto the anchor is sliding it (you cannot move the anchor). Note that you need not be in Object Move mode before selecting the Magnetic tool. If you select any other tool, the Magnetic tool is automatically turned off. Another way to return to standard object navigation is to deselect the Magnetic tool.

As demonstrated in the tutorial, you can use the Copy tool while in Magnetic mode to reproduce the magnet object. When you copy the magnet object, the new copy becomes magnetized and can be moved, while the original remains in place, and cannot be manipulated further using the Magnetic tool. By alternatingly copying and sliding/rolling a magnet object, you can create stop-motion animation-like effects, among others.

Note: The Magnetic tool interprets motion in the current coordinate system (World or Object). If you move the mouse perpendicularly to the anchor's face to which the magnet object is attached, no motion occurs. If the magnet object seems to be stuck, changing the motion or the point of view should fix the problem.


Magnetic Mode Panel

When you select the Magnetic tool, the Magnetic Mode panel opens (see illustration above). The following controls are available:

More:

Move Magnetic Object

Spin Magnetic Object

Scale Magnetic Object

Slide on Anchor

Roll on Anchor

Snap to Faces


Move Magnetic Object

This is the default mode that lets you slide or roll the magnet object along the anchor's surface by dragging the mouse, depending on whether Slide on Anchor or Roll on Anchor mode is active.


Spin Magnetic Object

This tool lets you spin the magnet object in place by dragging the mouse. The center of rotation is the contact point between the two objects, or, if two faces are in contact, the center of the magnet's face that's touching the anchor.


Scale Magnetic Object

This tool lets you scale the magnet object in place by dragging the mouse. The center of scaling is the contact point between the two objects, or, if two faces are in contact, the center of the magnet's face that's touching the anchor.


Slide on Anchor

This is the default mode of movement after applying the magnet tool to the anchor. By dragging the mouse, you slide the magnet object over the anchor's surface, constantly maintaining contact.

Note: Sometimes unexpected results occur when sliding or spinning because what appears to be a Face-to-Face contact is actually a Face-to-Edge contact with a very small incidence angle. Use Snap to make sure that you have a true Face-to-Face contact.


Roll on Anchor

This mode lets you move the magnet object while maintaining contact with the anchor, rolling it across the surface.  The default contact type is Edge-to-Face, in which contact is maintained between magnet edges and anchor faces. You can also snap the magnet's faces to the anchor's faces with the Snap to Faces option (see below).


Snap to Faces

Turning this tool on activates Face-to-Face mode for rolling the magnet on the anchor. In this mode, the magnet object will snap onto the anchor whenever the angle between two faces is equal to or less than the specified snap angle (see Magnet Tool Control Panel below). With Snap to Faces on, it is much easier to roll objects in different directions.

Note: It is possible to move the eye without leaving the Magnetic tool. Just select one of the Eye Navigation tools in the View group (Move, Rotate or Scale); the current magnetic mode will be disabled, and mouse motions will now move the eye. To go back to the Magnetic tool, just select one of the navigation tools in the Magnetic Mode panel.


Magnetic Tool Control Panel

Right-click on the Magnetic tool to open this panel. It has one control:

More:

Snap Angle


Snap Angle

In Roll on Anchor mode, when Snap to Faces is turned on, the magnet object will snap onto the anchor whenever the angle between two faces is equal to or less than the specified snap angle. The Snap Angle setting's possible values range from 1 to 15.


Smooth Quad Divide

Smooth Quad Divide attempts to physically smooth the surfaces of subdivided objects or faces, taking advantage of the extra resolution provided by the subdivision. Whether or not this takes place at the intersection of two given polygons depends on the interior angle between them and the Smoothing Angle setting. Smoothed objects tend toward a spherical shape.

Right-click on the Smooth Quad Divide button to open the property panel, which lets you set the smoothing angle.

More:

Angle


Polygon and Text Tools - Smooth Quad Divide - Angle
Angle

This sets the internal angle between polygons below which smoothing occurs. The higher this number, the more likely that a given internal angle between polygon edges will qualify, and thus the greater the smoothing that occurs. Experiment on a simple object such as a cube with different smoothing amounts to observe the results. With very low smoothing amounts, subdivision may not occur. The default smoothing angle is 40 degrees.


Quad Divide

Quad divide subdivides selected polygons by a ratio of n to 1, where n is the number of sides in a given polygon. By quad dividing an object, you quad divide all of its faces. For example, if you quad divide a cube, the resultant object will look the same but will have 24 polygons. To subdivide faces you must be in Point Edit mode with one or more faces selected. Not all polygons can be quad divided.


Triangulate Object

This tool divides all of a selected object's polygons into triangles. Triangulating an object will sometimes eliminate rendering artifacts resulting from deformation.


Decompose

Decompose will break down surface groups in an object into separate objects. Decompose is useful for separating elements of imported objects. Once executed, the new objects are grouped as siblings and can then be removed by navigating through the hierarchy.


Polygon and Text Tools - Mirror
Mirror

The Mirror tool reverses an object's geometry, essentially mirroring the object. The object's geometry is reversed along the World XZ plane. In the default Perspective view, that's the line running from lower left to upper right. The Mirror eases construction of complex formal geometric objects. To Use Mirror, select the target object and then the Mirror tool.


Dimensioning Tool

The Dimensioning tool displays the distance between two points on an object defined by the user in the current unit system (set in the Object Info panel). To use the Dimensioning tool, select it and then select two points within the surface of an object. After you select the first point, a yellow line emanates from it, pointing away from the surface toward the outside of the object. Upon selecting the second point, another yellow line appears and a third line containing the dimension joins the outside ends of the first two. The dimension may not be immediately legible because of its angle to the screen. If so, rotate the object as necessary. As an object rotates, the dimension changes orientation to remain right-side up and reading left to right in relation to the display.

Once added to an object, the dimension measurement stays part of the object, even if deselected. If the distance between points increases or decreases as the result of modeling operations, the numerical display updates itself accordingly. To remove a dimension display, use the Dimensions panel. The active dimension, usually the one most recently added, is bright yellow, while the others are darker yellow.

More:

Dimensions Control Panel


Dimensions Control Panel

When you select the Dimensioning tool, the Dimensions panel appears, with tools for deleting one or all of an object's dimensions. If an object contains more than one dimension displayed, there are tools for setting the active dimension.

More:

Delete Active Dimension

Delete All Dimensions

Next

Previous


Delete Active Dimension

Deletes the active dimension.


Delete All Dimensions

Delete all of the current object's dimensions.


Next

Activates next dimension.


Previous

Activates previous dimension.


Polygon Reduction Tool

This tool will simplify an object by reducing the number of polygons. This can result in faster manipulation and rendering, at a cost of detail.

To simplify the current object, just left-click on the Polygon Reduction tool. Your original object remains unchanged. A new, simplified version of your object is placed at the same location in your scene.

Note: If you are in Solid Display mode, you may not see the new object since it may be inside the original object. If this happens, select the Object Move tool, and move your object in any direction until it is visible.

trueSpace4 also supports the VRML feature known as Levels of Detail, or LODs. These are special groups of objects; each sub-object object is a different version of the other. LODs allow you to use simple objects when they are far away from the viewer, and detailed objects when they are up close. This allows you to balance detail with browsing and navigational performance.

The Polygon Reduction tool offers an easy way to create LOD groupings. To do this, you must first right-click on the Polygon Reduction tool. This opens the Polygon Reduction panel. This panel and the various options it contains are described below. The two most important options for LOD groups are the Number (of levels) and the LOD Group switch.

To create an LOD grouping, make sure you have the original object selected. This will become the highest Level of Detail object. Enter in the number of additional (lower) levels of detail you want to create into the Polygon Reduction panel, making sure to press the Enter key after your input. You also need to select the LOD Group switch. (It is selected if there is an X in the small box.) This causes the individual objects to automatically be grouped together. Finally, left-click on the Polygon Reduction tool, and trueSpace4 will create the LOD representation.

Note: It will appear as if you are only left with one object after this process. This is due to the fact that LOD groups only show one component object based on the distance from your viewpoint. As you change your viewpoint (i.e., with the Eye Move tool), you will see different representations of the object. For more information on LOD groups, refer to the Levels of Detail Groups section in Chapter 13 - Edit Group.

More:

Polygon Reduction Panel


Polygon Reduction Panel

This panel contains various settings to control how trueSpace3 will simplify your objects. These settings are:

More:

Number

MinDetail

CavityDetail

LOD Group

UnionFirst

LongEdges


Number

This is the number of levels that will be created. The default is 1, and the maximum is 10. Note that the original object will be unchanged, so you will always have at least two levels.


MinDetail

This is a percentage value (0.01 to 99.9) indicating the size of the simplest level compared to the original object. If this value is low, the lowest Levels of Detail created will be much simpler than the original object. If this value is high, the simplest objects will be close in detail to the original.


CavityDetail

This value ranges from 0.0 to 1.0. The higher this value, the more likely LOD generation will preserve small concave areas.


LOD Group

This option is disabled by default, allowing you to create stand-alone simplified versions of an object. If this option is enabled, all of the sub-objects created will be grouped along with the original object into a Level of Detail grouping, suitable for VRML usage.


UnionFirst

Hierarchical objects must be combined in order to create LOD objects. This is done by the 3D Boolean Union operation. If this option is enabled, sub-objects will be combined before the LODs are created. If this option is disabled, they are combined after the LOD generation.


LongEdges

If this is enabled, a vertex that is at the end of a long edge has more importance that one on a short edge. This can help to preserve critical places on an object that are composed of small amounts of vertices.


trueSpace eXtensions

trueSpace4 supports an API for third-party developers to develop extensions that can be installed into the program. These extensions can enhance the program in a multitude of ways, including providing additional tools for modeling, scene layout, animation setup, rendering capabilities and more. For example, included with trueSpace4 is an eXtension called PrimitivesPlus that lets you automatically generate fractal terrains, rocks and other similar type objects that would otherwise require lots of time and work to create. You can find more information about PrimitivesPlus at the end of this section. Visit the tSX section of the Caligari WWW page for constant news and updated listings of available plug-ins.

Selecting the trueSpace eXtensions tool  from the rightmost pop-up in the Utilities group will produce a panel of buttons in which extensions can be installed.

More:

Displaying the eXtension Installation Panel

Closing the eXtension Panel

Installing an eXtension

Changing and Removing eXtensions

Invoking an Installed eXtension

Saving and Restoring the eXtension Configuration


Displaying the eXtension Installation Panel

Selecting the main trueSpace eXtension button will display a panel of eight buttons where individual extensions may be installed. Any extensions that have already been installed, through previous user actions, will be displayed on their respective buttons.


Closing the eXtension Panel

The panel can be closed (removed from display) like any other trueSpace4 docking panel.


Installing an eXtension

Left-click on any blank button in the extension panel to open a file dialog that will allow you to select an extension to install on that button. trueSpace eXtension files have a .tsx filename extension, and are typically found in the tsx sub-directory inside the program directory.


Changing and Removing eXtensions

Position the mouse cursor on the panel button whose installed eXtension you want to change, and then press the left mouse button and hold. This will pop up a blank button. Drag upward to the blank button and release. This will open a file dialog for selecting a new eXtension to install on that panel button.

To remove an eXtension, right-click on it and drag to the blank button, and then release.


Invoking an Installed eXtension

Left-click on a panel button to which an eXtension is installed to invoke that eXtension. With eXtensions that support this feature, right-click on the panel button to display a parameters panel or an "About" box.

Some eXtensions may be designed to stay "on" or "active," similar to some of the standard tools in trueSpace4. This will be indicated by a darkening of the extension's button. To deactivate the eXtension (i.e., exit the extension's mode), click on the Object tool button in the Navigation Group, or left-click again on the extension's button, or select another editing tool. Some tools (primarily navigation and rendering) may operate without deactivating an extension.


Saving and Restoring the eXtension Configuration

When trueSpace4 starts up, it attempts to restore the extensions that were installed on the previous exit.


Attaching a URL (Web) Link or Description

You can only attach, remove, or modify a link or description on the current object. If the object you want to work with is not active, select it with the Object tool first. Next, left-click on the Attach URL Hyperlink/Description tool

This will open a dialog, showing the current link and description, if the object has them. You can type text into one or both field, or change the existing text if you only want to edit the link or description. You can also delete any text from a field to remove that link or description.

When you are done entering or modifying the text, left-click the Attach button to attach the new link and description to the object. If you change your mind, use the Cancel button.

You can also attach links and descriptions to object hierarchies and individual sub-objects within a hierarchy. When you attach a link or description to a hierarchical group, trueSpace4 will attach this information to all of the sub-objects as well. So if you want to attach a different link or description to a sub-object, you should do it after the group's link and description is attached.

More:

HTTP Links

FTP Links

Other Links


HTTP Links

This is the most common type of link. HTTP links are mainly used to access HTML pages and VRML worlds on the Web. Although trueSpace4 (and most browsers) assumes the "http://" at the start of a URL, it is recommended that you include this in your links in case some browsers do not assume it.

An HTTP link can point to any file on the Web. If, during world browsing, trueSpace4 sees a link that does not indicate a VRML file, it will attempt to pass the link information to your HTML browser.


FTP Links

Since you can use any valid URL in a link, FTP links are allowed. However, FTP links are primarily used to indicate directories on the net for use with the Publish tool. (If you are not using the Publish tool, any FTP links accessed will be passed to your HTML browser.)

In order to use the Publish tool, you select it, and then select an object with a link to an FTP directory. In order for trueSpace4 to determine that an object's link does this, you must begin the URL with  "ftp://". Also, the link must end with a trailing slash (/).

Although trueSpace4 supports the use of a user (account) name and password in the link, it is strongly recommended that you avoid this for security reasons. If you must use this, please make sure that the link is on an object that remains on your own computer, and does not get Published.

For more information, refer to the Publishing Your Worlds section.


Other Links

trueSpace4 will allow you to use any valid URL as a link on an object. If trueSpace4 cannot determine that the link points to a VRML file, it will attempt to pass the URL to your HTML browser.

For example, you could have a MAILTO link on an object. Selecting that object while World Browsing would pass the entire URL to your HTML browser, starting its email feature, if one is available.

Links can also be a valid DOS path name. Naturally, you should only use these links when building worlds for use on your own computer.


Adding 3D Sound

3D worlds can go far beyond visual elements. To create more realistic environments, sound can be added to objects in your world. Since worlds are displayed in 3D, sounds are heard in 3D. This means that the sounds change as you move around your world. This is not just a stereo effect; sounds not only change from right to left but from far to near as well.

trueSpace4 allows you to attach Point Sounds to your objects, using the Attach 3D sound tool. These sounds can then be referenced by VRML browsers (including trueSpace4) when loading a VRML world created in trueSpace4. You can attach, modify, or remove a sound only from the currently selected object.

The Attach 3D Sound tool opens up the Point Sound Info control panel, allowing you to set various aspects of the sound. There are a number of controls in this panel, including buttons for Attaching and Removing the sound from the object.

At the top left of the panel is a button for the name of the current sound. Left-clicking on this button opens a standard file dialog allowing you to select a sound file. Directly below this is an input area for typing in the file path and directory. This is useful for sounds located on the Internet; you can type any valid URL into this input field.

More:

Play

Loop

Intensity

Minimum Range

Maximum Range


Polygon and Text Tools - Adding 3D Sound - Play
Play

The Play and Loop check-boxes control how and when the sound plays. The Play setting controls whether the sound plays at all. You can use this setting to temporarily turn off a sound.


Polygon and Text Tools - Adding 3D Sound - Loop
Loop

If Loop is enabled, the sound will repeat continuously, otherwise it will only play once when you first encounter the object.


Intensity

This setting determines the relative volume of a sound attached to an object. Possible values range from 0.00 to 1.00.


Minimum Range

If your current viewpoint is at a distance from the object less than or equal to the Minimum Range (in units), the sound is of a constant Intensity (or volume). There is no discernible origination point for the sound; it can be heard from all sides. As you move away from the object, the sound seems to originate from the location of the object it is attached to.


Maximum Range

The intensity of the sound will slowly drop until you reach the Maximum Range, where the intensity reaches 0.


Fix Bad Geometry

This tool attempts to fix objects with incorrect geometry, such as overlapping faces, etc. These are typically created in point editing, with the Bevel tool and by importing objects from other formats. In particular it is easy to create self-intersecting faces with Bevel tool, which then show up as artifacts when ray-traced. The Clean Up Geometry tool will attempt to correct those problems on the selected object.


Flip All Normals

This tool reverses all the normals of an object. Some objects that are imported show up inside out while in a solid mode view. This tool attempts to correct the problem by reversing all the normals.


Edit Group - Introduction
Introduction

The Edit group implements the Edit menu's most commonly used functions as tool icons.  Within the Edit group are also the Glue tools which can create complex grouping relationships known as hierarchies. You'll also find tools for adding geometric primitives, cameras and light sources to your scenes.


Undo Tools

The Undo Tool reverses previous operations.  Undo remembers not just the last operation, but several operations back.  Repeated clicks on Undo lets you continue to "back up" as far as you like.  Undo has the option to save a temporary file in order to reverse destructive operations like delete and booleans.  To enable this option, make sure that "File Undo" is enabled in the Undo settings panel (right click on Undo). The Undo property panel that allows you to have some control over the un/redo process. From the pop up, you can now specify that you want un/redos to only be those that apply to objects and not the viewpoint. This is handy when changing the view on a model while editing it. This option is called "Un/redo object only", while the other option which is identical to the previous un/redo scheme is called "Un/redo previous action."

Note: When used with the PlastiForm and 3D Paint tools, Undo can be used only once. The first time it's used, it will back up to the previous operation. If used again, it will jump to the scene status before the tool was invoked.

The Redo tool repeats the last operation undone by Undo.  Repeated clicking on Redo after an Undo causes the operation to be applied cumulatively as many times as the button is clicked on. For example, move an object, then click on Undo.  It moves back to its original position.  Click on Redo.  It moves back to where you placed it.  Click on Redo again.  It moves an equal distance past that point, and so on.


Erase

Normally, selecting this tool deletes the currently selected object.  However, if you're working with Point Edit or Deform, Erase exits the selected tool first and upon a second click, deletes the current object.


Edit Group - Copy
Copy

This tool makes an identical yet independent copy of the currently selected object.  The new copy initially occupies the same space as the original, and should be moved to distinguish the two.  Animation paths are passed on from the original object but not animated deformations.  In this case, the copy assumes the shape of the deformed object at the frame it was copied.


Glue Tools

These tools are used not just for grouping together objects but also for defining relationships between objects in a hierarchy format.  These relationships define how the individual objects in a group behave during animation.  Once constructed, a hierarchical object can be edited as a whole with other tools of trueSpace4 (point editing, deform, painting, etc...) but can also be navigated through to edit individual sub-objects.  Hierarchies can be dismantled with the Unglue tool.

Each simple object (those having no sub-objects) has a symbolic node associated with it.

The glue tools differ in the way they attach a sub-object to an existing hierarchy:

You can glue a sub-object to any part of the complex object's hierarchy.


Split hierarchy into IK branches

This tool will unglue all parts of a hierarchy, leaving them in their current positions. This allows you to break up a hierarchy into individual objects without having to unglue them one at a time.

This tool can be used as a starting point for Inverse Kinematics, described in Chapter 20, Inverse Kinematics. Once a hierarchy has been broken up, you are ready to add joints to the various objects.


Unglue tool

To unglue parts of a hierarchy, the desired members must be first isolated by scrolling through the hierarchy either with the hierarchy navigation tools in the Navigation group or with the up and down arrow keys on your keyboard. When working in wireframe display, selected hierarchical objects are white and un-selected are brown. In solid mode, the 3D cursor changes to local axes only for the selected parts of the hierarchy. Once a member or group of members is isolated, select the Unglue tool and they are detached from the hierarchy.


Geometric Primitives

Primitives are the basic building blocks of 3D design. trueSpace4 has six built-in geometric primitives available from the tool variant icon menu.

Each of the six primitives has a property panel that you access by right-clicking on the icon of the primitive. Using large values for resolution, latitude or longitude will make the object more complex in terms of redraw response time during manipulation (for both wireframe and solid modeling), rendering time, and processor resources. Selecting or left-clicking on a primitive's icon creates an instance of it located at the center of the XY grid and just above it. Once created, a primitive can be manipulated in trueSpace4 like any other object.

More:

Plane

Cube

Cylinder

Cone

Sphere

Torus


Plane

The plane primitive has a single property setting, called Resolution. The Resolution value squared is the number of subdividing squares that make up the plane. The default Resolution value is 1.


Cube

Like the plane primitive, the cube has a single Resolution setting. This determines the number of subdivisions in each side of the cube.


Cylinder

You can utilize the properties of this primitive to create not only cylinders, but also cut (truncated) cones. The cylinder has three settings: Latitude, Longitude, and Top Radius.

The Latitude setting determines the number of cross-sections or floors along the cylinder's length. The value can be as low as 2 (cylinder top and bottom) and as high as memory permits.

The Longitude setting determines the number of polygons around the cylinder's circumference. The higher the Longitude value, the smoother around the cylinder will be. The Longitude setting can be as low as 3 (creates a triangular prism) and as high as memory permits.

Top Radius values can range between 0.01, to create a (nearly) sharp cone, and 1.00, to create a cylinder.


Cone

The cone's Latitude and Longitude values work analogously to those of the cylinder. The cone primitive is perfectly sharp, sharper than a cylinder with a top radius of 0.01.


Sphere

Latitude is the number of horizontal circles that make up the sphere. Longitude is the number of vertical circles that make up the sphere. Larger values for both Latitude and Longitude create a finely divided sphere suitable for smooth sculpting, and precise point editing.


Torus

The Latitude value determines the roundness of the torus cross section, its minimum value is 3. The Longitude determines the roundness of the torus itself, its minimum value is 3. The outer Radius of the torus is fixed so manipulating the inner radius changes the size of the cross section, thereby increasing or decreasing the thickness of the torus.


Camera

This adds a new camera to the scene. The camera can be moved, and rotated but not scaled. To change the zoom factor of the camera eye, select Object Scale and drag on the camera. A scene may contain as many cameras as you wish. To change a view to a camera's viewpoint, select the camera, then access the window's View pop-up and select the Camera icon.

Note: The eye of a camera can be automatically constrained to look at an object or to always look forward with the Look At and Look Ahead tools in the Animation group.


Lights

These are the six different types of lights that can be used in trueSpace4 . Before adding any lights, the default lighting in the workspace consists of several default light sources which can either be colored or not (set the default lighting in the Preferences panel).To add a light source select on the desired light type and release the mouse button. Adding or selecting a light opens its control panel with settings for color, intensity, and shadows. Lights, cameras, and free-standing objects for deformation are always displayed in the workspace by default. Right click on any of the Light tool variants to open the Visibility control panel. There you may disable the display of lights, cameras, or free-standing deformation objects.

More:

Infinite Light

Local Light

Spot Light

Light Control Panel

Shadow Property Panel


Infinite Light

The infinite light source's only controllable setting is direction or rotation. It can be moved and scaled for viewing purposes in the workspace, but neither has any effect on lighting. The rays of light from this source cover a scene uniformly, all moving in the indicated direction. Its wireframe representation looks like a straight line with a four-sided cone at one end. The tip of the cone indicates the light's direction. As the light is infinite, its falloff cannot be constrained.


Local Light

A local light, also known as a point source or omni, has position but no direction or size. It radiates light uniformly in all directions. Its wireframe representation resembles a star.


Spot Light

A spotlight has direction and position. It resembles a cone, and creates a cone-shaped beam of light. You can adjust the cone angle with the Object Rotate tool and the intensity of the cone's hot spot by clicking and dragging on the green circle at the base of the cone with either Object Move or Object Scale. You can also open the aperture of the cone by selecting on the cone itself with Object Scale.


Light Control Panel

Light Color

Light Intensity

Constant Falloff

Linear Falloff

Squared Falloff

Shadow

Volumetric

Project

Sky


Light Color

Set the light color by clicking on the color hexagon. Right click on the Light control panel to set the hue numerically.


Light Intensity

Set the light intensity by clicking and dragging on the slider. Drag upward to increase the light's intensity, or downward to decrease its brightness. To set the intensity numerically, select the panel with the right mouse button.


Constant Falloff

The default falloff setting for new lights causes no falloff at all. The light's intensity does not diminish with increased distance. This setting does not apply to Infinite lights.


Linear Falloff

The light's intensity diminishes at a direct ratio to its distance. For example, if the light illuminates an object with a given intensity at a given distance, its intensity is half at twice that distance, and a fifth at five times that distance. This setting does not apply to Infinite lights.


Squared Falloff

The light's intensity diminishes at a direct ratio to the square of its distance. For example, if the light illuminates an object with a given intensity at a given distance, its intensity is one fourth at twice that distance, and 1/25th at five times that distance. This method is the closest to the way lights in the real world work. This setting does not apply to Infinite lights.


Shadow

To cause a light source to cast shadows, click on the Shadow button. Shadows are created only when rendering the entire scene, not individual objects.All lights can cast ray traced shadows or shadow maps. Right click on the Shadow tool to set shadow properties.


Volumetric

This toggle enables volumetric lighting calculations for the currently selected light.


Project

This field contains the name of the image or animation to be used as the projected image in a Projector Light. It's often desirable to use Volumetrics with Projector lights.


Sky

This control specifies how the illumination is distributed over the sky – overcast sky means that the brightest part of the sky is directly overhead while the clear sky means that the brightest part will follow the sun around the sky.


Shadow Property Panel

Ray

Map

Shadow Map Size Low/Med/High

Image Dependent

Shadow map Sharpness Low/Med/High


Ray

The selected light will cast ray traced shadows. The scene must be raytraced for the shadows to be seen. Raytraced shadows are sharper  and are properly cast through transparent object.


Map

This is the default shadow type for lights. Shadow mapping works without the necessity of ray tracing and it can be considerably faster. A shadow map is actually a sort of rendered image, and can be quite large in size. The map file is written temporarily to the disk before being applied to the scene.


Shadow Map Size Low/Med/High

Size in this case refers to the amount of memory used by the shadowmap, not the physical size of the shadow and does not apply to ray traced shadows. Smaller shadowmaps are faster to render and use less disk space (or memory). However, larger shadowmaps are sharper, and they look better because they are anti-aliased. For most purposes, Med(ium) is the optimum setting.


Image Dependent

The Image Dependent option creates a shadow map in proportion to the final output resolution. In this case, setting the Map size to Low creates a map 1/16 the final resolution. Setting it to medium creates one at 1/4 the resolution and setting it to High, 1:1.


Shadow map Sharpness Low/Med/High

This sets the shadowmap's "fuzziness." The lower the sharpness, the fuzzier the shadow. This helps obscure graininess in smaller shadowmaps.


Rendering - Introduction
Introduction

The trueSpace family of products has always been known for a great interface that makes the program easy to use.  Caligari brings you a 3D modeling program that is not only intuitive, but will allow you to create professional-looking images like never before.  TrueSpace4 provides such features as volumetric lighting, snow, projector lights, and radiosity rendering.  You also have increased flexibility in adjusting the quality of your renderings with enhanced antialias settings, wireframe and hidden line rendering, and a choice between scanline and raycast rendering.


The Render Options Panel

Right-click on any of the Render tools (Render Current Object, Render Scene, etc.) in any viewing window to display the Render Options Panel.  Using the Render Options panel, you can select any of the following options:

Quality: Select from Wireframe, Hidden Line, Low, Medium or High.

Visibility: The render mode used. Select either Scanline or Raycast.

Antialias: The settings that sample the pixels of your rendered image to eliminate the jittery, stair-step effect.  Select Draft, None, Adaptive (available only in High quality mode),  2x, 3x, or 4x.

Raytrace: Click this button to toggle raytracing on and off.  Right-click to display Ray Trace Options panel.

Foreground: This popup menu selects foreground shaders for the effects you desire.  Here, your options are None, Volumetric, Environment, Depth Cue, Fog, and Snow.

Background: Use the Background popup to fill in those pixels not occupied by polygons.  Select from Color, Image, Clouds, or Graduated.

To select or modify any of these options, click and hold on the visible setting to display a popup menu.  Move your cursor to the desired option and release.


Rendering - Render Tools
Render Tools

The Render pop-up menu is the second from the left of each window's tools group, except for the main window, where it appears in the seventh position from the left end. These tools let you render the current object or all objects in a scene to the window from where the tool was selected. The scene may also be rendered to disk. Rendering can be stopped anytime by pressing the Esc key or by a double right click on the mouse button. Access the Render Options panel by right-clicking on any Render tool.

Note: When rendering a scene (not just the current object), you can apply Adobe Photoshop-compatible image-processing plug-ins, also known as filters, to all or part of the scene. You'll find an in-depth discussion of this facility in Chapter 8 - Rendering.


Area Rendering

The Area Render tool, found with the other Render tools in the Main viewing window, enables you to render a portion of the screen simply by clicking and dragging out a rectangular area.  This is a handy, time-saving way to check for the final aspect of details (including raytraced reflections and shadows) without having to wait for the entire scene to render.  You'll immediately discover that area rendering is especially useful when dealing with complex scenes.

To use area rendering:

1.  Click on the Area Render tool (shown above).

2.  Move your cursor to the portion of the screen you wish to render.

3.  Click and drag to select a rectangular area.

When you release the mouse button, trueSpace4 immediately begins rendering the selected portion of the screen, filling in the rectangle.  Area Rendering stays active until you click the Area Render tool again.

4.  To render another portion of the screen, simply click and drag to define a new area.

5.  To disable Area Rendering, click the Area Rendering tool and edit your scene normally.

Note that you can also render a partial area to a file.  To do so, hold the CTRL key during the area selection process. The render to file dialog appears, allowing you to set your output options. You can select all 2D output formats, including animation; you may even choose advanced rendering effects such as motion blur, and field rendering.

Special note: There are a couple of limitations to area rendering, noted below:

·	Although it is possible to change the output resolution for the rendering to file, the resolution of the output is always determined from the size of the selected area.

·	2D plugins are not supported for partial rendering.


Render Current Object

Renders the current object to the display which may be either a wireframe display or a solid view. If a camera, light, or a deform primitive is selected, nothing happens. Shadows are not rendered.


Render Scene

Renders all objects to the display, using the Render Options panel settings.


Rendering - Radiosity
Radiosity

This special type of rendering is explained in Chapter 15 Radiosity.


Rendering - Render Scene to File
Render Scene to File

This tool renders the scene to a file on disk. The render can be a current frame or a sequence of frames. The possible file formats are Targa (.TGA), Windows Bitmap (.BMP), JPEG (.JPG), Flic (.FLC), or Video for Windows (.AVI). Selecting Render Scene to File opens the Render to File dialog. Settings in the dialog include file name, file type, resolution, animation file parameters, motion blur, field rendering, and depth of field.Render to File Dialog

More:

File Name

List Files of Type

Resolution

Animation

Frame Rate

Pixel Aspect Ratio

Effects and Settings

Render


File Name

Enter a file name with the proper extension in this box: .tga, .jpg, .bmp, or .dib (same format as .bmp) for still files or the two choices for animation formats: .flc and .avi.


List Files of Type

To view available file formats and their file name extensions, click on the box under "List Files of Type:". Specifics for available formats are documented in the Appendix.


Resolution

Renderings can be output at any resolution up to 8,192 x 8,192 pixels. Select Window to render at the same size as the current active window, whose resolution is shown. To render at a different size, select Other and set the desired frame size in pixels in the Width and Height boxes. There are also many preset resolutions available from the Preset drop down box.


Rendering - Render Scene to File - Animation
Animation

Select Current Frame Only, All Frames, or a specific range of frames. To render a range, select From and enter a frame range in the boxes to the left and right of the word To.


Frame Rate

trueSpace4 uses a frame rate of 30 frames per second internally but this can be changed in the Animation property panel. If you choose to render at a lower frame rate, then trueSpace4 will skip frames to output at the correct rate. (i.e. if you choose 15 frames per second, then only every second frame will be output.) When saving AVI-format animations the frame rate is recorded in the file so the playback will occur at the correct speed.


Pixel Aspect Ratio

The Pixel Aspect Ratio setting is used primarily in desktop publishing applications to match the setting required by certain software. If an image created with trueSpace4 that is loaded into another application appears out of proportion, this setting may require adjustment. Consult the application's documentation for the proper ratio value.


Effects and Settings

Motion Blur and Depth of Field are grouped together in the Render to File dialog box. They share one parameter, the Blur/Depth field. This field functions the same for both (allowing them to be used together).

More:

Motion Blur

Depth of Field

Field Rendering


Motion Blur

The motion blur is a global control for the entire scene. Everything will be blurred that has motion including reflections, shadows, ray-traced effects, etc. The length field controls how much animation time will be displayed in a single image. A value of 1.0 means that there will be a blur representing time from where each frame begins until the time when the next frame begins. A value of two will cause the blur to span the time of two frames, etc. You can even display the entire animation in a single frame by putting the length equal to the number of frames in the animation.

The frames field controls the quality of the blurring and should be used in conjunction with the length field. This value is equal to the number of frames that will be rendered and combined together to form a single motion blurred image. If you have a very short length value, then you can also probably use a small frames value. Likewise, a long length will require a large number of frames. In the example below, where all the motion will be displayed in one image, if you set the frames equal to the number of frames in the animation, then you will not only see the entire motion, but also at the exact frame positions for all of the objects. A frame value of one effectively turns off motion blur.

Note: Since you are blurring objects in motion, if everything in the scene moves, you may be able to turn off anti-aliasing and only use the blurring to anti-alias.


Depth of Field

The buttons in the Depth of Field section function as follows: The on/off radio buttons enable and disable depth of field functionality respectively. The Focus field is used to set the sharpness of the image. Larger values result in images which are blurrier the further polygons are from the focal point. The F. Dist field sets the distance from the current eye/camera position to the focal point of the image. This distance goes straight into the screen Z axis and follows the World units. If the current frame has a Look At key, then the focal point will be the axes of the object being looked at and the Focal Distance field will be ignored

.


Field Rendering

Enabling field rendering causes trueSpace4 to render two separate frames (or fields) for each frame of actual animation: one frame with the even scan lines and the other with the odd. This option makes for smoother output when creating animations for broadcast or video.


Render

Select this button to render and save the select frame or frames. During this time the mouse pointer turns into an egg timer to indicate the computer is busy. You should also see your hard disk busy light activate. When rendering is finished, the hard disk busy light goes out and the mouse pointer returns to the shape of an arrow. If trueSpace4 is minimized while rendering, it will beep to alert you that the rendering is finished.


Wireframe/D3D Preview

Clicking on the Preview Animation tool, found with the Render tools in each viewing window, allows you to capture a wireframe or D3D preview of your animated scene to an .AVI file.  No longer do you have to render an entire animation to file to ensure that you've got the movement the way you want it!

More:

Using the Preview Animation tool

Changing Preview Settings


Using the Preview Animation tool

To use the Preview Animation tool, simply click on this tool in the desired viewing window.  This brings up the AVI Compression window, where you can choose compressor type and level of compression.  By default, trueSpace4 generates a file called preview.avi, which is placed in the current directory.  trueSpace4 then cycles through your animation, capturing the contents of the selected window to file.

Important note: Preview only works correctly in Wireframe and D3D display modes.  3DR does not support direct access to the rendered surface, and can cause some problems such as placing overlapped windows in the preview animation.

It is also important that you do not switch to other applications during the preview process, since this may leave you with unwanted results.


Changing Preview Settings

Right click the Preview button to open up the Preview Settings panel.  From here, you can select your preferences for the preview animation.

Choose preview preferences in the Preview Settings control panel.

Change Name: To change the path and filename of the preview animation, click the Change Name button and select the new folder and filename.

Change Player: Set an external AVI player.

All Frames: To define the starting and ending points of your preview animation, either select All Frames (which previews the entire animation) or enter values in the From and To fields.

Step: Set the Step value to determine how many frames are skipped during the preview process.  For example, setting a step value of 2 skips every other frame; a value of 3 renders every third frame, and so forth.

Grid: Click in the Grid box to toggle the grid on and off during the preview.

D3D in Wireframe:  Turning D3D in wireframe ON or OFF.


Foreground Shaders

One of the more exciting possibilities offered by trueSpace4 is the ability to incorporate advanced special effects into your scene without resorting to post-processing or compositing.  Foreground shaders can be selected from the Foreground popup.  To adjust properties for the selected shader, right-click on the visible shader option to bring up that shader's properties panel.  To disable foreground shaders, select None from the popup.

Note that in the current release of trueSpace4, it is not possible to mix different types of foreground shaders; you may only select one at a time.  However, you can switch between different types of foreground shaders at any time while constructing your scene.


Volumetric Lights

Volumetric lights allow you to simulate the scattering of light as it passes through the atmosphere, adding a new dimension of realism to your scene.  The volumetric shader uses true volume sampling to generate accurate and consistent results, including volumetric shadows.  You can move light sources, objects, or your camera through a volumetric scene for animation purposes; volumetrics also work in conjunction with projector lights for added flair.

You can enable volumetric lighting through the Volumetric setting on the Foreground shader.  Once you have selected Volumetric as your foreground shader, right-click on the Volumetric setting to display the Volumetric options panel.  Note: In order for light sources to be volumetric, you must select the light source and check the Volumetric setting on the Lights options panel (described below).  In addition, to cast volumetric shadows, you will need to ensure that your light source is set to cast raytraced shadows.

Volumetric lights might require some practice and fine-tuning to your particular scene to create the effects you desire.  In addition to the parameters for the volumetric scene, you need to take your light sources into account as well.  Brightness, color, and falloff contribute significantly to the overall volumetric effect.  Because of the high amount of calculations required to simulate scattering in the atmosphere, note that volumetric effects take time and patience to render.  However, the results of using the volumetric foreground shader can result in truly breathtaking images.

Fog Density: This setting controls the overall particle density of the fog. The default value is 1.0.  Increasing the Fog Density value results in a brighter, more visible atmosphere, while decreasing this value leads to more subtle volumetric effects.  The fog density is consistent throughout a trueSpace4 scene; therefore, some adjustment of this value may be necessary.  For larger-sized scenes, for example, you may need to increase this value significantly.

Samples: This value allows you to determine how many calculations are done per ray from each light source.  A higher Sample value will result in more accurate shadow-casting in the atmosphere, but will also result in a longer rendering time.  Lower sample values will render more quickly but may not result in as much precision in volumetric shading.

Source Attenuation:  Attenuation is the reduction of light energy over distance.  Source attenuation controls how light falls off (fades) as the light leaves the light source.  The larger you make this value, the quicker the beam fades away as you travel from the light.  Sometimes, when light sources overwhelm the objects in your scene, you might try increasing this value to tone down the volumetric scattering.  In cases where you would like to enhance the scattering, try lowering this value.

Surface Attenuation:  Surface attenuation controls the darkening of the surfaces of objects according to the distance from the eye or camera view.  In more technical terms, the light projected from a solid object is attenuated by the fog between the intersection point and the eye.  As the Surface Attenuation value increases, objects farther away from the eye will appear darker. Beware that if you use a very high surface attenuation value, all the geometry under the pixel will be black, since the fog will strongly absorb almost all the light reaching the eye from the object surfaces. The default value is 0 (no attenuation).

Volume attenuation: Volume attenuation controls the falloff of scattered light, as measured by the distance from the scattering point to the camera or eye view.  In other words, adjusting this value controls how bright or how dim far-off scattering effects will appear.  With higher volume attenuation values, beams of light will only be visible when located very close to the camera, and they will get progressively dimmer and dimmer the farther away from the camera. The default value is 0 (no attenuation).

A Special Note On Attenuation: The exact amount of attenuation to use in different scenes depends mainly on scene size. You will want to experiment with the settings until you achieve the desired effect. Make subtle changes to these attenuation controls, starting with low values such as 0.01 and slowly increasing to around 0.1 or 0.5.

Noise Amplitude: This adjusts the presence of fractal noise particles into the volumetric scattering.  Using noise, you can simulate wisps of dust or smoke hanging in the air for enhanced realism. Higher noise amplitude settings result in more visible perturbations to the volumetric scattering.  At a setting of 0, no noise is introduced to the volumetric lighting in the scene, which results in faster rendering times.

Noise scale: Noise scale controls how large or small the perturbations appear in scattered light.  Smaller values result in smaller, more granular bits of noise, while larger values will give you much larger puffs.  Here again the effect of noise scale will depend on scene size.  Note that if Noise Amplitude is set to 0, this value does not affect scene rendering.

Noise gain: This value acts as sort of a "noise contrast" control, with values ranging from 0 to 1. High values result in sharper definition between brighter and dimmer areas of the noise, while low values result in a more gradual fading. A value of 0.0 turns the noise perturbation off.  The default value is 0.5, which bypasses noise gain altogether.  Suggested values would be between .2 and .8.


Global Environment Shader

As with previous versions of trueSpace, you can use environment maps to simulate reflections from a surface without using the more time-consuming raytracing option.  After choosing the Global Environment foreground shader, right-click to bring up the Global Environment panel.  Click on the File button to choose the file you wish to use as the global environment map; when your scene is rendered, the image appears "reflected" from all surfaces that meet reflection criteria.

Global Env: Click in this box to toggle global environment mapping on and off.

File Button: The button in the center of the panel allows you to choose the global environment map image file.  You can use any file format supported  by trueSpace4.

Animate: If the selected environment map is an animated file or sequence, clicking the Animate box will cycle through each frame of the animation.


Depth Cue Shading

Depth cue shading works similar to the fog function of previous versions of trueSpace.  Surfaces that are farther along the Z axis from the camera or eye view will gradually fade to the background color, resulting in a gradual blending of foreground and background.  Right-click on the Depth Cue button to bring up the Depth Cue panel:

Near: The starting point, in units, from the camera where depth cue shading begins.  The lower the value, the sooner objects will be depth cue shaded.  For example, setting a value of 10 means that all objects beyond 10 units from the camera start to receive this shading.

Far: The distance that all objects are completely shaded by the background color.  Any object outside this range will not be visible until the camera moves within the Far range.


Fog

Fog allows you to add a "haze" to your scene that works much like depth cue: The farther away a surface is from the camera, the more it is washed out by fog.  This can heighten the realism of scenes that depict smoke-filled environments, or large outdoor scenes. One important difference with the trueSpace4 fog shader is that the fog color does not affect background shading — only surfaces in the foreground.  This makes it possible to use fog in conjunction with a background mask for compositing purposes.

TrueSpace fog now comes in two flavors: regular fog, which applies a consistent haze over the entire scene, and ground fog, which creates a haze that fades with height (as in the example below).  You can adjust fog parameters by right-clicking on the Fog button:

Fog Type: Choose between Regular and Ground.  As mentioned above, ground fog is thickest at ground level, then gradually fades with altitude.  The fade speed is controlled by the Height parameter.

Distance: The value in this field determines how far from the camera the fog reaches 100% opacity.  Set higher values for a thin fog that stretches for long distances, or low values for very thick fog that obscures nearby objects.

Height: The Height value is the ceiling for the height of ground fog.  As you increase this value, the upper limit of the fog also increases.  Use lower values for a misty fog that clings to the ground, or higher values for a fog that envelops more scenery.

Fog Color: The overall color of the fog is determined by this control.  Clicking on the color block opens up a color cube which you can use to set the fog color.  To change the base fog color, click on the desired portion of the color cube.  To change the brightness, click and drag on the slider to the right of the cube.

Note: Light sources will not become visible when using the Fog shader.  If you wish to cast a beam of light from a light source, use the Volumetric shader instead.


Snow

The Snow shader allows you to simulate snow falling from the sky for use in still images.  Snow consists of two elements: Nearby flakes, which appear larger and are sparsely scattered, and far flakes, which are smaller and more numerous. At this time, trueSpace4 does not support animated snow.

However, each time you render the scene with the Snow shader active, the snow is computed differently, which can result in a scattered falling snow.

Near Scale: This parameter adjusts the size of the nearby flakes.  Increase the value for larger nearby flakes, or decrease the value to decrease the nearby snowfall.

Far Scale: Adjusting the Far Scale changes the size of the farther flakes.  As with the Near Scale, larger values will result in larger size flakes.

Fl(ake). Density: The Flake Density parameter allows you to control how many snowflakes are packed into the scene when you render.  Use smaller values to simulate a light snowfall, or larger values when you want a blizzard condition.

Flake Color: Clicking on the Flake Color block brings up a color cube which allows you to set the color and brightness of the snowflakes.


Background Shaders

The background shaders fill in every portion of your trueSpace4 scene that is not occluded by polygons.  In other words, the background you choose is what will be seen in an empty area.

Background shaders are ideal for providing a good backdrop for still images as they allow you to select a variety of color schemes or image maps.  Note that background shading remains static even though your camera might move through a scene during an animation.  For example, if you use the Clouds background shader and move your eye view around your 3D world, the clouds will appear to remain in place.  To avoid this, we suggest creating a sphere and painting the cloud or image texture onto the surface.  Then, use Object Scale to enlarge the sphere so it envelops your entire scene.


Color

The Color option allows you to choose a simple, solid color as your backdrop.  Right-click on the Color option to bring up the Background Color panel.  To select your background color, click on the appropriate color area of the color cube.  To adjust the brightness of the color, use the slider immediately to the right of the color cube.


Image

Using the Image setting, you can choose any bitmap image supported by trueSpace4 as your background.  Instead of creating a whole city scene, for example, you could create just one block of the city and use a photograph of a skyline as your backdrop — saving both modeling and rendering time.

Right-clicking on the Image button brings up the Background Image file.  To select a file as a background image, click on the button at the center of the panel to bring up the Get Texture Map dialog box.  Use the browser to choose the appropriate image, then click Open to select.  If the background image is an animation file, or a series of sequentially-numbered still images, you can put an 'X' in the Animation box to animate the background.  When rendered, trueSpace4 will advance the animation one step per frame.


Clouds

The Clouds shader offers you the ability to select a two-color fractal cloud scheme as your backdrop.  With this shader at your command, you can simulate different cloud conditions to create large, puffy clouds or veined, striated formations.  Use the following settings to adjust your cloudy sky:

Scale: This setting controls how large or how small the individual clouds in your background will appear.  Larger scale values result in larger clouds that fill up more of your sky, while smaller settings result in more concentrated cloud formations.  Values for Scale range from 0 to 10.

Detail: The Detail setting controls the definition around the edges of cloud formations.  Lower Detail settings result in smoother, rounder-looking clouds, while a higher Detail setting brings more wisps and curls around cloud borders.  Values for Detail range from 0 to 10.

Background: Click the color block next to the Background setting to set the background (sky) color of your scene.

Clouds: The Clouds color control is used to determine the color of the clouds.  For different variations on cloud formations, you might want to experiment by switching the background and cloud colors.


Graduated

The graduated, or gradient, shader allows you to choose two colors that blend into each other from top to bottom.  Right-click on the Graduated button to open the control panel that selects the two colors.  As with other color options, click on either of the colored blocks to open the selectors for top and bottom colors.


Rendering - Render Options
Render Options

At various points of the construction of a trueSpace4 scene, you might want to adjust the render quality for a faster preview, or perhaps kick in the full power of the LightWorks engine when you're ready for final output.  Use these options settings found in the Render Options panel to choose between various quality and antialiasing modes.


Quality Settings

Use the Quality popup menu to determine how polished you would like your scene to appear during a render.  Depending on the stage of construction of your scene, you may want to use each of these settings to get a general idea of how object position and lighting interact with each other using lower quality values, then proceed to higher quality as you near the final render.

Wireframe: All objects are rendered as wireframe meshes.

Hidden Line (Figure A): Similar to Wireframe, except that hidden surfaces will not be visible.  (Note:  This is not available if a radiosity solution is present.)

Low (Figure B): Displays the base surface color of all objects in a scene (including shading), minus texturing and transparency effects.

Medium (Figure C): Includes all shading and texturing, though without alpha channel filters.  You will, however, have base transparency available using the Raycast rendering mode.

High (Figure D): Production-level quality; includes all raytraced shadows and reflections (only in the case of raytracing switched ON), transparency, and alpha channel filters.  The High quality setting also enables you to choose adaptive antialiasing (described below).

Note that wireframe and hidden-line rendering are not available when rendering to File.


Visibility Mode

Scanline: The direct visibility of objects within a camera's view range is determined via scanline rendering. Note that using Scanline rendering, you will not see transparency effects when the rendering quality is set to Medium.

RayCast: The direct visibility of objects within a camera's view range is determined by casting a ray from the camera to the objects in the scene.

Scanline mode is generally faster than raycasting when dealing with simpler scenes (those with a low polygon count).  However, more complex scenes or models may benefit from raycasting.  It is suggested you try using Scanline render with Medium quality setting for object rendering and for simple scenes without transparency.  If transparency is essential, choose Scanline rendering with High quality; then, when ready for a final render, we suggest switching to Raycast mode with a High quality for the best possible results.

More:

Antialias Settings


Antialias Settings

Antialiasing is a method of averaging (or sampling) the pixels in a rendered image, thereby rendering the jagged, stair-step effect that can make edges seem blocky and unnatural.  The available modes are:

Draft: Output is rendered at half resolution, resulting in much speedier rendering times.  Best used to preview your scene.

None: Regular render mode with no antialiasing.

Adaptive: Available only through the High quality setting.

2X, 3X, and 4X: Supersampling with 4, 9, and 16 samples per pixel respectively.  Be aware that the more samples you select, the longer it will take to render your image.  (Not available with the High quality setting.)

Note: The High quality method should be used with at least Adaptive antialiasing for final renderings as it can cause artifacts if used with None antialiasing – that option is available mostly for preview of transparent scenes as medium scanline does not support transparency.


Radiosity - Introduction
Introduction

Radiosity rendering is a method for calculating the distribution of all the light energy in an environment by applying the conservation of energy at every surface. In the real world, many surfaces in an interior environment are not lit by direct illumination at all, and are visible only by light reflected diffusely from other surfaces (for example, sunlight filtering through a window will cast a bright square of illumination onto the floor, which then bounces onto the walls and furniture within the room).


Radiosity Rendering

The advantage of radiosity as a technique is that it accurately models the type of environments where there are surfaces which diffusely reflect light in all directions, and onto other matte surfaces; the inside of a building is a very common example of such an environment. Also, a surface illuminated indirectly may appear to be a different color than it would appear if lit directly, since color from one surface can 'spill' or 'bleed' onto another, particularly if bright colors are placed next to more subdued hues.

Normally, when using scanline or raytrace rendering, only the light entering the camera is calculated. Radiosity, however, simulates the light distribution throughout the scene, taking into account all diffuse interreflections. The process of calculating this diffusion is known as generating a radiosity solution.  Although generating a solution can be a time-consuming process, a solution need only be generated one time per scene, and can be saved or loaded independently of the scene itself. Once the light distribution has been generated, images can be rendered using standard visibility and shading algorithms.

The general idea of a radiosity algorithm is to simulate the path that light travels throughout the environment from the light sources. Since many surfaces in the real world are diffuse, there is no mirror direction and therefore ray-tracing cannot truly simulate such effects. Instead, radiosity depends on subdivision of the scene into small patches (a process called meshing) which can store the illumination information in 3D object space. Once the light distribution in the environment is computed the images can be rendered by traditional rendering methods (scan-line or ray-tracing).


Hybrid Radiosity and Raytraced Rendering

trueSpace4 incorporates what is known as hybrid radiosity-raytrace rendering. Stand-alone radiosity is well known for being a very accurate method for reproducing diffuse energy transfer around a scene; however, it cannot handle specular effects (such as reflections and specular highlights). Ways exist, though, to integrate radiosity and ray-tracing to provide a combination of both diffuse (radiosity) and specular (raytracing) energy transfers. trueSpace4 allows for such a combination – once the radiosity solution has been generated, the user can activate raytracing to evaluate the effects of primary light sources; specular effects (including reflections) are then added.

The amount of diffuse  versus specular reflection of energy is specified by the Mirror coefficient of the material – high mirror values mean a high amount of light bounced from the surface; thus the surface doesn't have any significant effect on the radiosity simulation but it can exhibit all specular effects (highlights, reflections, and so forth). A good example of such a material would be a polished floor. On the other hand, objects like walls in a room can be painted with little or no Mirror coefficient to reflect most of the light diffusely (adding more greatly to the radiosity solution) without showing any reflections.


Using Radiosity

To calculate a radiosity solution, it is necessary to select the Radiosity tool from the Render tool variants found on the main toolbar.  Right-clicking on this tool opens up the Radiosity panel, from which you can adjust the parameters that determine the overall quality of radiosity calculations.

When you click this tool, trueSpace4 begins calculating the radiosity solution for the scene, taking the necessary surfaces into account. During the radiosity simulation, light sources can be set to cast either raytraced or mapped shadows (accessible in the Lights options panel).  Raytraced shadows are automatically taken into account during radiosity computations, regardless of whether raytracing is enabled in the Render Options panel.

As it calculates the solution, the results are shown in the last viewing window you were working with, very similar to the way trueSpace4 renders during a scanline or raytrace output.  You will notice that the initial passes will be very dark; this is because the light energy still needs to be distributed.  But as the radiosity simulation progresses, each step adds more light energy to the overall scene, bringing out the diffusion in object surfaces.

The Help bar will show you the progress of the radiosity calculations, displaying the number of steps calculated (the number of passes), along with a percentage toward completion of the final solution.  trueSpace4 renders the scene after reaching the number of steps specified in the Iterations field (see Iterations below), and unless aborted by the user, will continue to calculate the solution until it reaches the percentage specified in the Convergance field.  (To abort the calculation of a radiosity solution, press the Escape key or double-click the right mouse button.)

The number of steps required to calculate a solution depends on the following factors:

1) Number of lights.  The more lights you add to your scene, the more calculations trueSpace4 must process.

2) Quality setting.  A higher Quality value — either for the entire scene, or a selected object — requires more comprehensive sampling of object surfaces.

3) Number of polygons.  The more complex your scene is, the more surfaces trueSpace4 must include in its radiosity calculation.

Please note that because of the way radiosity works, any changes you make to an object's geometry or texture will require a re-computation of the radiosity solution.  However, you can use the Exclude Object flag in the Object Render Options panel to enable you to combine radiosity and animation.  See the section on the Object Render Properties for more details.

The output seen will depend on the quality settings you have chosen from the Render Options panel.  This can have a dramatic effect on both the calculation and rendering of the results.  You will find that you can speed up the solution considerably by selecting either Medium or Low quality settings; also, you might consider using the Draft antialias mode when calculating a solution in a more polygon-heavy scene.  These settings will not affect the final quality of the radiosity solution.  Raising the Iterations value can also speed up progress, because trueSpace4 will not pause as often to render the scene.

Lowering the Quality can also speed up the radiosity calculations; however, as explained below, this will come at a cost of accuracy in the radiosity modeling.

Note:  The calculation of light diffusion becomes much more accurate once the solution reaches around 80% complete.  Sometimes you might not notice diffusion at all until the solution reaches this level.  The best results come from being very patient, so keep this in mind while calculating a radiosity solution for your scene.

Special Note On Visual Quality. If you have lower quality than the mesh (used for storing the illumination information on the surface of the object) and is not dense enough then you will get artifacts with light reaching outside from below the object (called light leak), shadows  doing the same (shadow leak) or just light intensity interpolation across the surface of the object which is not smooth enough.

Shadow Leaks – If the mesh is not dense enough, some patches of the mesh are partially covered by the cube on the floor – these patches are dark (covered by the cube) but they are partially visible and the color interpolation will cause darker spots close to the edge of the object.


Radiosity - Radiosity Options
Radiosity Options

Right-clicking on the Radiosity tool opens up the Radiosity Options panel.  Use this panel to specify how you want trueSpace4 to go about computing a radiosity solution for your scene.

More:

Quality

Tone mapping

Iterations

Converged

Deleting a Radiosity Solution

Saving A Radiosity Solution

Loading A Radiosity Solution


Quality

The Quality setting acts as a global control for the resolution of the radiosity solution.  The higher the Quality setting, the more samples taken from each object's surface, and the more accurate the diffuse light will be modeled.  Values for this parameter range from 1 (low sampling rates) to 9 (highest quality possible).

By default, all objects in the scene are set to a Quality level of 5.  You can set the quality of individual objects using the Object Render Properties panel; however, objects that have not been set using the Object Quality control fall under the Quality setting found here.

For further examples on the Quality setting, refer to the Object Quality section further on in this chapter.


Tone mapping

Tone mapping acts as an overall "brightness" control for a radiosity solution. Very briefly, higher values will make the scene brighter, while lower values make it dimmer.  Values for this parameter range from 0.01 (low brightness/closed iris) to 10 (high brightness/maximum iris).

Tone mapping is meant to simulate the iris of the human eye or a camera. If the human eye concentrates on a area brightly lit by sunlight, it automatically accommodates for this range of intensities; if you enter a  dark room afterwards, it takes some time for your eye to adjust in such a way that small differences in illumination are perceivable.

When very bright light is involved, then the values could be very large (leading to a washout of underlying surfaces). If, on the other hand you are simulating moonlight, the values might be very small (leading to understated diffusion of the light). Tone mapping can be the solution to this problem, as it allows you to linearly map the resulting radiosity values to a range that the eye (or perhaps a real-life camera) would adjust to.

The sample below demonstrates the difference in the tone map settings.  The room was constructed with a large doorway (perhaps a sliding glass door) modeled into one side of the wall.  One shadow-casting infinite light source acts as the sun.

In the first example, the solution was calculated with a Tone Map setting of 1.  Although there is a suggestion of light diffusion around the walls inside the building, it is very subdued.  Note also that the wood texture deck outside shows some contrast.  A real-world parallel would be a human eye with its iris contracted, a photographic camera set for a low exposure, or a video camera with a lower iris setting.  A setting of 1 is a good starting point to use when modeling outdoor scenes or brightly-lit indoor environments.

The next sample shows the same scene, with a Tone Map setting of 3 applied.  Here, the iris of your camera or eye has been opened, allowing for more brightness to enter.  Note how it is much easier to see the effects of diffusion on the walls and ceiling of the structure.  Note also, however, that the deck outside is also exposed a great deal more.  As is the case in real life when shooting with film or video, you will need to consider where you want the focus of the attention in the scene to occur. By raising the Tone Map setting, you can achieve more dramatic results of light that filters in from the outdoors.  However, with indoor illumination, you will want to start with values between 1 and 1.5 and work your way up.


Iterations

The Iterations parameter specifies how many steps are performed between each rendering of the scene during the radiosity simulation. When calculating a radiosity solution, trueSpace4 does not update the viewing window with each pass; it will do so only after the number of Iterations steps specified. Increase this value to speed up the radiosity calculation, especially if you are not concerned about seeing the progress of the simulation visually.

Note that an Iterations value of 0 has a special meaning – no rendering is performed during the simulation at all; thus, the simulation is not hampered by any rendering (although you will not be able to see the progress of the solution).  After calculating a solution with 0 iterations, you must request the rendering explicitly after finishing (or interrupting) the simulation.

In case of a "Lights only" step the iteration is implicitly set to 1 to display the effects of each light on the scene.


Converged

The Converged parameter specifies the percentage that trueSpace4 will calculate the radiosity simulation.  Often you will find that it is not necessary to wait until 100% of the energy in the scene is accounted for, since the visual impact of those last bits of energy is usually not significant.  By adjusting this value, you can tell trueSpace4 to abort the process at any time from 1% to 100% completion.  Beware of setting this value too lower, however; as mentioned above, sometimes your scene might require up to 80% or more completion for more satisfying diffuse reflections.  Note that you can also abort the radiosity simulation at any time by pressing the Escape key.


Deleting a Radiosity Solution

Clicking the Delete button erases the current radiosity solution.  This is necessary when you have made changes in the position, geometry, or texture of an object, so that trueSpace4 can re-compute radiosity to reflect the adjustments.

If you have made no changes to any object or radiosity settings, then clicking the Radiosity tool will re-commence calculating the solution at the percentage it left off at before.  Deleting the solution will allow you to get a fresh start at recomputing the solution.

Additional Note: If you modify objects/materials in the scene and attempt to render (or run radiosity) you are informed that the change in scene occurred and you are asked whether it is OK to delete the solution (need for deleting the solution explicitly was thus removed).


Saving A Radiosity Solution

Once you have computed a radiosity solution for a scene (even a solution which is not 100% converged) you can save this solution as a Lightworks .lwr (LightWorks Radiosity) file.  To save a solution, use the Save command on the Radiosity panel.  Choose the desired file name and directory from the Save Radiosity Solution dialog box and click Save to write the .lwr file to disk.  If no solution exists for the scene, trueSpace4 will remind you that a solution must be loaded or computed first.

Using the Save Scene command saves only the scene geometry, and not the solution; thus, if you want to re-use a solution between trueSpace4 sessions, you must save the radiosity solution separately.  However, the advantage of separate radiosity data means that you can save and load several solutions and re-apply them to a particular scene to simulate different lighting conditions.  Or, you can interrupt a solution in progress and continue computing the solution at a time that is more convenient.

Note also that a radiosity solution is not standalone – it is related to a particular geometry for a given scene.  Thus, you should not calculate a solution, create a whole new scene, and try to apply the saved solution to the new scene, as this will lead to unpredictable results. When loading a radiosity solution you should ensure that it sure you have an appropriate scene loaded in trueSpace4.


Loading A Radiosity Solution

Once a radiosity solution has been saved as a .lwr file, it can be re-loaded and applied to the same scene by clicking the Load button on the Radiosity panel.  trueSpace4 then presents you with a Load Radiosity Data dialog box.  Use the file browser to select the desired .lwr radiosity file, and click Load to import the solution.  You can then render your scene with the new radiosity solution in place.

It should be noted that loading a radiosity solution will overwrite any existing solution.  To avoid losing a solution that has been previously calculated, use the Save command in the Radiosity panel.


Object Render Options

Because of the complex nature of radiosity rendering, it is sometimes necessary to specify radiosity parameters for individual objects.  For example, you might want to reduce the number of calculations performed on very complex objects, or exclude them from the radiosity solution altogether (especially when animating in a radiosity-enhanced scene).  To adjust object-specific radiosity parameters, it is necessary to open the Object Render Options panel.  To access this panel, right-click on the Object Tool.  Then, click the Render Properties button in the lower right corner of the Object Info panel.

More:

Adaptive Meshing

Exclude Object

Object Quality


Adaptive Meshing

The Adaptive Mesh toggle allows you to control the type of sampling used to simulate light diffusion.  When this option is enabled, trueSpace4 creates an invisible, triangulated mesh across the object's surface that allows for much greater accuracy of diffuse reflections during radiosity calculations. Adaptive meshing should normally be used on large, flat surfaces, such as walls and floors, because these often exhibit the greatest effects of diffused light.

The need for adaptive meshing is there especially if the particular object should receive significant shadows – to capture those shadows accurately the dense mesh is required. In order to get dense mesh there are 2 options – either increase quality setting (will create uniform dense mesh) or use adaptive meshing – that will refine the mesh only in the area where it is necessary.

When the Adaptive Mesh option is disabled, trueSpace4 uses the object's existing geometry to map the radiosity diffusion, speeding up the radiosity computation for that particular object.  However, this method does not simulate the light quite as accurately.  For more complex objects, however, the effects will not be as noticable; therefore, you may wish to disable Adaptive Meshing on objects with many polygons.


Exclude Object

This option allows you to determine whether an object is included or excluded from radiosity computations.  Because radiosity data can be very complex to calculate, and because a radiosity solution can only involve static (non-animated) objects, you can use the Exclude Object command to tell trueSpace4 to ignore the currently selected object during radiosity computations. However, once the solution has been calculated, you can render the object within the scene using regular scanline or raytrace rendering.

There are two situations in which you would probably want to exclude an object from a radiosity simulation:

* The object contains a large number of polygons, slowing the radiosity simulation significantly (but on the other hand it is not casting any significant shadows). In such a situation, the object can be marked as being excluded from radiosity solution (speeding computation up significantly) but the object will appear in the final rendering as required.

* The object is animated and thus cannot be included in the radiosity solution.  You will want to use this flag to exclude any animated objects from the radiosity computation; when rendering the animation, the surroundings will be enhanced by radiosity effects, while the animated object can move freely throughout the animation.

Note that as the object is not being treated by radiosity simulation you have to take extra care when lighting the object – otherwise the object might not blend properly with the rest of a scene.


Object Quality

The Object Quality setting is similar to the overall Quality setting found in the Radiosity panel; however, this value allows you to specify the mesh sampling for a specific object, independent of the overall scene.

Values for Object Quality can be set from 0 to 9.  A lower setting means that trueSpace4 performs fewer radiosity calculations on the surface of the object, resulting in quicker computation for that particular object.  However, lower quality settings can result in artifacts (in the shape of triangles) that appear where shaded and non-shaded areas can meet.  As you increase this value, trueSpace4 increases the density of the adaptive mesh; at the highest setting of 9, these artifacts disappear, although the solution will take longer to compute.

Special Note: Zero means object doesn't have per object quality assigned and thus is affected by global radiosity quality setting – this is needed in order to be able to switch per object quality off for particular objects – simply set it to 0.

An indirect benefit of the triangle artifacts can actually be observed with Quality settings between 3 and 6.  Instead of the sharp definition between the lit and shaded areas, the differences in the meshing can often produce a softer, more realistic shadow when viewed from far off.

You can adjust this parameter at any time prior to calculation (or re-calculation) of a solution.  When setting up a scene, you can set the quality lower for faster previewing of your radiosity computations.  As you draw nearer to the final rendering, you can increase the quality

In the example below, the far wall, the floor, and the table by the opening were rendered with an Object Quality setting of 1.  Note that the low-quality settings leave visible ragged edges where shadows are cast on the walls and floor.  The table, however, does not exhibit these symptoms quite so drastically.

Now look at the same scene, calculated with Object Quality settings of 9 for the wall and floor.  Note how the shadows on the wall and floor are sharpened to be much more accurate; also, the corners where the wall and ceiling meet exhibit better shading.

It should be noted that with quality settings increased to maximum, the radiosity simulation took hours to compute, as opposed to a few minutes.  Much of the time increase was a result of the calculations necessary on the table.  As a rule, try to avoid overly high Quality values on high-polygon models.


Radiosity-Specific Light Types

The Sky and the Area light sources have been designed specifically to work with Radiosity rendering for greater realism in lighting effects.  Each offers wide-area lighting that would otherwise be difficult to achieve using other light types.  Although you can also use the Area Light during normal scanline or raytraced rendering, you will derive the most benefits from using it during a radiosity simulation.

More:

Sky Light

Area Light


Sky Light

The Sky light source is used to simulate illumination from the sky during radiosity calculations. The sky is modeled as an unseen half-sphere of infinite radius positioned above the center of the current scene. The position of the sun is determined by the direction of the arrow that points from the disc at the end of the light object.  By changing the color of this light source, you can adjust the mood of your scene to reflect different times of day.  (Adding a reddish-orange hue, for example, is a good way to simulate a twilight setting.)

It is important to remember that the sky light only simulates the illumination from the sky, not from the sun itself.  The sky light is best used when accompanied by an infinite light source.

The Type setting, accessible from the lights panel, specifies how the illumination is distributed over the sky.

Overcast: An overcast sky means that the brightest part of the sky is directly overhead (at the scene zenith), no matter the direction of the arrow.

Intermediate: An Intermediate sky offers illumination that is partially determined by the direction of the sun, but also party directly at the zenith.

Clear: The Clear sky setting means that the brightest portion of the sky is determined by the position of the sun (directional arrow).

Note: Although you can enable shadow-casting with the Sky light type, it is recommended that you avoid doing so, as the computation time involved will slow down radiosity calculation dramatically.


Area Light

The area light simulates illumination emitted from a square or rectangular area, as opposed to a single point.

In wireframe mode, the area light appears in your scene as a plane with a single line emerging perpendicular to the plane.  This line represents the direction that light is emitted from the area light.  Using one of the real-time render display modes, the area light appears as a rectangle; the bright surface on its underside gives you real-time feedback on the color of the area light.  The light can be rotated into position, much like a spotlight; further, the light source can be scaled to widen the effect of the area light.  The sample below shows the area light in both wireframe and solid-render modes.

Area light sources are also supported during the standard scanline-raytrace rendering, although with several simplifications in order to speed up the computation of its effects (the penumbra, for example, is not computed properly during raytracing or scanline/raycast rendering).

In the case of radiosity simulation area lights are treated basically as any other surface radiating light energy; they are subject to the same Object Quality settings that apply to standard polyhedrons.  One important difference with area lights, however, is that they are only accounted for after several steps of the radiosity computations.

When using shadow-casting with area lights, the size of the area light is an important consideration for rendering time. Area lights of increased scale will take longer to compute due to the increased distribution of shadows.  However, this can also soften the harshness of the resulting shadows, offering more realistic diffusion.

Although area lights produce good results both in radiosity and normal rendering modes, be warned that adding raytraced shadows to an area light will mean significantly longer rendering times due to the shadow calculation.  However, the results are also much more realistic than those achieved through single-point light sources.

Note: Visibility of area lights – Unlike the other light sources they are always visible in the rendered image.


Shaders - Introduction
Introduction

TrueSpace4 now offers an enhanced set of tools that take advantage of the LightWorks rendering engine to create more intricate surfaces on your objects.  In addition to ambience, shininess, roughness, transparency, and refraction parameters, the user now has access to diffusion, mirroring, and transmission controls.  In addition to enhanced procedural textures such as brick, polka dots, stripes, and wood, it is now also possible to create layered textures using bitmapped images.

You have the choice of using the tried-and-true texture tools found in previous versions of trueSpace; however, you will find the Material Shaders give you greater power to control surface textures.  To enable the Material Shaders group, select File->Groups->Material Shaders from the main menu.

The base surface of any object in tS4 can be defined as a combination of four shaders: color (including image maps or procedural textures), reflectance (the shine of a given surface), transparency, and displacement (or bump mapping).

More:

Selecting Shaders

Selecting Shader Properties


Selecting Shaders

To select the desired shader type for each of these settings, click on the appropriate test sphere to bring up a dialog box.  Select the desired option from the box; you will note that the target sphere is updated to reflect your new selection.  Right-clicking on the selected shader brings up


Selecting Shader Properties

Right-click on the visible shader sphere to invoke a Properties panel for those shaders with adjustable parameters.


Color Shaders

The Color attribute allows you to select the base color of the shaded surface.  Although you may select a plain color, you also have access to a variety of new procedural textures (in other words, textures generated by trueSpace4).

Click on the Color sphere to open up the Color dialog box pictured below.  Once this box is open, click on the desired color shader to select.  Use the scroll bar on the right side of the box to view more selections.

After selecting a color shader, right-click on the Color sphere to bring up a dialog box to set the shader parameters (for those shaders that have them).

A brief description of the available color shaders follows.  At the time of this writing, many of the color shaders are still under development.  Therefore, not all the shaders listed here will be completely documented.  However, since most of the parameters are fairly self-explanatory, we encourage you to experiment with the various shaders to texture your objects. Note that some texture options, especially procedural textures, may take somewhat longer to render than normal due to the number of calculations necessary to display the surface.

More:

Blue Marble

Chrome

Cubes

Layered Colors

Marble

Plain Color

Simple Wood

Solid Clouds

Solid Polka

Texture Map

Wrapped Checker

Wrapped Diagonal

Wrapped Grid

Wrapped Polka

Wrapped Textured Brick

Wrapped U Stripe

Wrapped V Stripe


Blue Marble

As its name implies, this is a Marble procedural texture that uses pre-set shades of blue.

More:

Scale

Detail


Shaders - Blue Marble - Scale
Scale

Use the Scale setting to adjust the overall size of the marble structure.


Shaders - Blue Marble - Detail
Detail

Adjust the Detail setting for smoother or grainer surface.


Chrome

The Chrome color is a procedural texture that simulates the highlights of a shiny surface using directional blending.  Right-click to bring up a dialog box for Chrome parameters.

More:

Phong


Shaders - Chrome - Phong
Phong

This setting determines the color of the specular highlight.


Cubes

The Cubes color paints a procedural cubed pattern on your objects.  Right-click to adjust the size and color of the cubes.

More:

Odd Color and Even Color

Size


Shaders - Cubes - Odd Color and Even Color
Odd Color and Even Color

These select the alternating colors used to color the cubes.


Shaders - Cubes - Size
Size

Increasing the Size value ups the scale of the cube pattern.


Layered Colors

TrueSpace4 supports layered materials, allowing you to mix and match various procedural or texture maps. Up to 8 layers can be used for the layered color shader.

In order to create layered textures, you need to set some kind of transparency in the overlying surfaces to reveal the colors underneath.  You can use an alpha mask (based on the pixel brightness of the mask image) to determine transparency, or use an overall opacity setting to reveal the underlying textures.  Right-clicking on the Layered Colors sphere brings up the Layered Colors panel, from which you determine the order and settings of individual color shaders.

More:

Base Color

Layers

Transp.(arency)

Image Mask


Base Color

The button at the top left of the Layered Colors panel is used to choose the base color shader.  From that point on, textures you choose in subsequent layers will be overlaid on top of this base layer.  Click on the Base Color button to choose the desired color shader; right-click to choose the properties for that color shader.


Layers

Choose color shaders for subsequent layers the same way as the Base Color. In addition to choosing the base color, it is imperative to specify some type of transparency to allow the base color (and preceding layers) to show through.

Note: It is best to avoid skipping a layer, since interceding layers with no values set will produce a null (black) surface over all layers.


Transp.(arency)

You can use this setting to apply uniform transparency to the selected layer. Set the Transparency value (in percentage) for each layer using the spinner next to the layer button.  A value of 0 means makes the layer 100% opaque, completely obscuring the previous layer, while setting Transparency to 100 will cause the selected layer to be fully transparent.  Values in between blend the two textures onto one surface.


Image Mask

To select an image map as a transparency filter, click on the image button on the far right of the layer row to open a file dialog box for selection.  This creates a surface that is transparent according to the brightness value of the pixels in the image.   White areas completely mask the previous layer or Base Color, while black layers will become transparent. Click on the check box next to the image button to activate the image map as a straight blend function; you can always switch to plain transparency value by unchecking the button.


Marble

The Marble shader is a procedural texture that allows you to simulate a stony, veined surface.  Right-click to access the Marble properties panel, where you can adjust the smoothness and detail of the marble surface.

More:

Ground Color and Vein Color

Scale

Detail

Vein Contrast

Grain

Grain Scale


Ground Color and Vein Color

Use these color selectors to choose the Ground (base) color and the Vein (striated) color of your marble texture.


Shaders - Marble - Scale
Scale

Adjusts the size of the overall marble surface.


Shaders - Marble - Detail
Detail

The Detail setting controls the amount of noise (perturbations) between the ground and vein colors.


Vein Contrast

Controls the darkening that occurs between ground and vein textures.  Lower values provide a smoother blending, while higher values produce sharper definition.


Grain

Controls the visibility of random, grainy bits that dot your marble surface.  Use higher values for a more pronounced grain, or lower values to subdue the grain.


Grain Scale

Use this to adjust the size of the grain; larger values produce larger-sized grain.


Plain Color

Use to select a simple base color for your object.  Right-click to bring up a color cube used to select the plain color value.


Simple Wood

Similar to the Wood procedural texture in previous versions of trueSpace.  Right-click to select the colors, direction, and turbulence of the wood grain.

More:

Light and Dark Wood

Scale

Point

Direction

Noise


Light and Dark Wood

Use these color selectors to adjust the colors of the wood base and grain.


Shaders - Simple Wood - Scale
Scale

The Scale setting sizes the wood texture across the object's surface.  Use smaller values for more rings (or repetitions), and higher values for larger strokes of grain.


Point

Controls the "knottiness" of the woodgrain texture in the X, Y, and Z directions.


Direction

Controls the scale of the wood grain along the individual X, Y, and Z directions of the grain flow.


Noise

The Noise value controls the amount of irregularities that occur between light and dark woods.  Higher Noise values produce a more distorted wood grain.


Solid Clouds

Ideal for creating a sky sphere for a cloudy outdoor scene. Right-click to adjust the scale, colors, and turbulence of the cloud pattern.

More:

Scale

Back Color and Clouds Color

Detail


Shaders - Solid Clouds - Scale
Scale

Scale adjusts the overall number of clouds seen on the surface.  Smaller values produce more clouds, while larger values produce larger, puffier cloud formations.


Back Color and Clouds Color

Use these color selectors to select the colors of the sky and clouds, respectively.


Shaders - Solid Clouds - Detail
Detail

The Detail setting controls the turbulence that occurs between the cloud and sky colors.  Higher Detail settings bring more wisps around the outlines.


Solid Polka

The Solid Polka shader allows you to create a procedural polka-dot texture on your surfaces.  Note that in contrast to the Wrapped Polka texture, the Solid Polka shader does not adhere to an object's UV projection.  Right-click to adjust the scale, size, separation, radius, and blending of your polka dot pattern.

More:

Back Color and Spot Color

Separation

Radius

Edge Softness


Shaders - Solid Polka - Back Color and Spot Color
Back Color and Spot Color

Use these selectors to choose the colors used in the polka dot pattern.


Shaders - Solid Polka - Separation
Separation

The distance between the polka dots.


Shaders - Solid Polka - Radius
Radius

The radial size of the individual polkas.


Shaders - Solid Polka - Edge Softness
Edge Softness

This parameter controls the blending between the polka dots and the base pattern.  Use smaller values for sharply defined dots, or large values for more blending.


Texture Map

Use the Texture Map shader to apply an image onto the object's surface according to the object's UV space (see UV space). To select an image file, right-click on the Texture Map color shader to open the Texture Map panel.

To load an image for texture mapping, select the box in the panel's upper left corner, then use the file selector that appears to select an image file. Currently the program supports these file formats: .BMP (Windows bitmap), .TGA (Targa),.JPG (JPEG), .PNG, .TIF, and .AVI (Video for Windows) for animated textures. The new texture is immediately mapped onto the example sphere in the Material preview panel.

More:

Overlay

Anim(ate)

U Repts

V Repts

U Offset

V Offset

Wrapped Brick

Scale

Brick Width

Brick Height

Mortar Size

Brick Color and Mortar Color


Overlay

If a Targa image file contains transparency information (or alpha channel), keeping this box unchecked means that light is transmitted through transparent surfaces.  When overlay is turned on, transparent areas revert to the object's base color.


Anim(ate)

For animated textures, trueSpace4 allows for sequentially numbered files or an .AVI file. If Animate is enabled, the program will cue up each frame of the animated texture map for each frame of actual animation. If the file is an .AVI, then the rate at which the frames are cued is according to the base rate of the .AVI file. For example, if the base rate is 15 fps (frames per second), then each frame is repeated twice for the texture in the final animation (assuming 30 fps for final render). If there are more frames in the animation than in the texture, the texture will loop. The same occurs if there is a break in sequentially numbered files.


Shaders - Texture Map - U Repts
U Repts

Sets the number of times the image is repeated in the horizontal direction up to 100 times. Images can be repeated by fractional amounts.


Shaders - Texture Map - V Repts
V Repts

Sets the number of times the image is repeated in the vertical direction up to 100 times.  Images can be repeated by fractional amounts.


Shaders - Texture Map - U Offset
U Offset

Sets the amount by which the image is offset horizontally from the start of the UV mapping space. The U offset value ranges from 0 (left edge) to 1 (right edge).


Shaders - Texture Map - V Offset
V Offset

Sets the amount by which the image is offset vertically from the start of the UV mapping space. The V offset value ranges from 0 (top edge) to 1 (bottom edge).


Wrapped Brick

The Wrapped Brick shader allows you to simulate a brick structure procedurally.  Right-click to adjust the size, width, and height of the brick and mortal structure.


Shaders - Texture Map - Scale
Scale

The overall size of the brick structure; use smaller values for more repetitions of the brick pattern.


Brick Width

The horizontal size of the individual bricks.


Brick Height

The vertical size of the individual bricks.


Mortar Size

Use this value to adjust the size of the mortar that lies between the bricks.  Larger values produce more mortar.


Brick Color and Mortar Color

Use these color selectors to adjust the two colors of your brick structure.


Wrapped Checker

Similar to the Cubes texture, except the surface is composed of an alternating pattern that adheres to an object's UV surface.  Right-click to adjust the colors and sizes of the checker pattern.

More:

Odd Color and Even Color

Size


Shaders - Wrapped Checker - Odd Color and Even Color
Odd Color and Even Color

These color selectors are used to create the alternating colors of the checkered pattern.


Shaders - Wrapped Checker - Size
Size

The Size parameter adjusts the overall scale of the checkerboard pattern.  Use smaller values to create more repetitions.


Wrapped Diagonal

The Wrapped Diagonal shader allows you to add stripes that run diagonally to your object's U/V projection.  Right-click to adjust the colors, scale, and width of the stripes.

More:

Back Color and Stripe Color

Size

Width

Fuzz


Shaders - Wrapped Diagonal - Back Color and Stripe Color
Back Color and Stripe Color

Use these color selectors to choose the colors in your striped pattern.


Shaders - Wrapped Diagonal - Size
Size

The overall scale of the stripe and background patterns.  Use smaller values to create more repetitions.


Shaders - Wrapped Diagonal - Width
Width

The Width parameter adjusts the relative width of the stripes.  Use larger values to create fatter stripes.


Shaders - Wrapped Diagonal - Fuzz
Fuzz

Use the Fuzz setting to control the blending between the stripes and the background.  Lower Fuzz values create a sharper definition between the stripes and the background.


Shaders - Color Shaders - Wrapped Grid
Wrapped Grid

The Wrapped Grid shader applies criss-crossing lines onto the surface of your object, according to its U/V projection.  Right-click to set properties for the scale of the texture, height and width of the grid lines, and foreground and background colors of the grid pattern.

More:

Grid Color and Back Color

Scale

Width

Height

Grid Size


Grid Color and Back Color

These two color selectors choose the colors of the grid and its background, respectively.


Shaders - Wrapped Grid - Scale
Scale

The Scale parameter determines the overall size of the grid pattern.  Use a lower Scale setting for more repetitions.


Shaders - Wrapped Grid - Width
Width

Use the Width parameter to adjust the number of horizontal repetitions in the grid pattern.  Lower values bring more narrow columns.


Shaders - Wrapped Grid - Height
Height

The Height parameter increases or decreases the number of vertical repetitions in the grid pattern.  Lower values shorten the distance between the "floors" of the grid.


Grid Size

Grid Size makes the individual grid lines wider or more narrow, according to the setting.  Smaller values bring thinner grid lines.


Wrapped Polka

Similar to the Solid Polka, except that the Wrapped Polka is adjusted to conform to the U/V projection of the object's surface.  Right-click to adjust the overall scale, dot size, dot color, and falloff of your wrapped polka pattern.

More:

Back Color and Spot Color

Separation

Radius

Edge Softness


Shaders - Wrapped Polka - Back Color and Spot Color
Back Color and Spot Color

Use these selectors to choose the colors used in the polka dot pattern.


Shaders - Wrapped Polka - Separation
Separation

The distance between the polka dots.


Shaders - Wrapped Polka - Radius
Radius

The radial size of the individual polkas.


Shaders - Wrapped Polka - Edge Softness
Edge Softness

This parameter controls the blending between the polka dots and the base pattern.  Use smaller values for sharply defined dots, or large values for more blending.


Wrapped Textured Brick

The Wrapped Textured Brick shader functions very much like Wrapped Brick, but with more controls to introduce different colors and irregularities into the brick structure.  Right-click to adjust the overall scale of the bricks, brick height, brick width, and roughness parameters.

More:

Scale

Width

Height

Size

Rough Scale

Rough Ampl.(itude)

Brick1 Color, Brick2 Color, and Mortar Color


Shaders - Wrapped Textured Brick - Scale
Scale

The overall size of the brick structure; use smaller values for more repetitions of the brick pattern.


Shaders - Wrapped Textured Brick - Width
Width

The horizontal size of the brick and mortar structure.  Decrease this value for more narrow structures, or increase to widen.


Shaders - Wrapped Textured Brick - Height
Height

The vertical size of the brick and mortar structure.  Decrease to create flattened brick patterns, or increase to make brick layers taller.


Shaders - Wrapped Textured Brick - Size
Size

Increasing the Size value widens the mortar filling between the bricks.


Rough Scale

The Rough Scale parameter increases the number of "waves" that occur through areas where brick meets mortar.  Decrease this value for a noisier-looking mortar area, or increase to make more flowing waves.


Rough Ampl.(itude)

The Roughness Amplitude setting determines how far the mortar noise reaches into the brick structure.  A setting of 0 creates mortar with straight edges; as the value increases, so does the reach of the mortar.


Brick1 Color, Brick2 Color, and Mortar Color

Use these color selectors to adjust the colors of your brick structure.


Wrapped U Stripe

The Wrapped U Stripe shader creates stripes that course along your object's U (horizontal) space.  Right-click to adjust the overall scale, color, and size of the stripes.

More:

Back Color and Stripe Color

Size

Width

Fuzz


Shaders - Wrapped U Stripe - Back Color and Stripe Color
Back Color and Stripe Color

Use these color selectors to choose the colors in your striped pattern.


Shaders - Wrapped U Stripe - Size
Size

The overall scale of the stripe and background patterns.  Use smaller values to create more repetitions.


Shaders - Wrapped U Stripe - Width
Width

The Width parameter adjusts the relative width of the stripes.  Use larger values to create fatter stripes.


Shaders - Wrapped U Stripe - Fuzz
Fuzz

Use the Fuzz setting to control the blending between the stripes and the background.  Lower Fuzz values create a sharper definition between the stripes and the background.


Wrapped V Stripe

This shader behaves much like the Wrapped U stripe, except that the stripes are arrange along the object's V space (vertical projection).

More:

Back Color and Stripe Color

Size

Width

Fuzz


Shaders - Wrapped V Stripe - Back Color and Stripe Color
Back Color and Stripe Color

Use these color selectors to choose the colors in your striped pattern.


Shaders - Wrapped V Stripe - Size
Size

The overall scale of the stripe and background patterns.  Use smaller values to create more repetitions.


Shaders - Wrapped V Stripe - Width
Width

The Width parameter adjusts the relative width of the stripes.  Use larger values to create fatter stripes.


Shaders - Wrapped V Stripe - Fuzz
Fuzz

Use the Fuzz setting to control the blending between the stripes and the background.  Lower Fuzz values create a sharper definition between the stripes and the background.


Reflectance Shaders

The reflectance shader control, found in the lower left corner of the Shaders panel, is where you can select from several pre-set attributes that determines how light passes through or bounces off the surface your object.  Using these presets, you can simulate a variety of surface reflection attributes including metal and glass; further, you now access to aniostropic reflectance shading, which will be described below.

To choose a Reflectance shader, click on the Reflectance attribute preview sphere and select the desired shader from the list box.  The preview spheres will be updated according to your selection.  Some reflectance shaders will have additional options or settings you can choose (see the descriptions below for qualifying shaders); these can be invoked by right-clicking on the Reflectance preview sphere.

It is worth noting that in order to achieve raytraced reflections and refraction, you will need to choose a reflectance shader that supports these functions (such as Caligari Metal or Caligari Phong).  A definition of supported raytrace features is included with the shader descriptions below.

Depending on the type of reflectance shader you choose, you will want to make adjustments in the Shader Attributes panel for best results.  For example, to achieve a good-looking glass texture using the Glass shader, you might use a lower Diffusion setting, a high Shine value, and appropriate mirror, transmission, and refraction values.  Refer to the following description of the Reflectance shaders for suggested settings.

Note that several of the Reflectance shader settings are designed to work with the Raytrace setting (enabled through the Render Options panel).  Therefore, the material you see in the Material Preview panel may not be an accurate depiction of the selected surface.  (Glass and metal textures, for example, require a raytraced render for special effects such as reflection and refraction; they can often appear overly dark in the Material Preview window or when rendered through the Render Current Object tool.)  For best results, you might want to place your object in your scene and use the Area Render tool to see how your texture will appear.  Use the Draft antialias setting for speedier previews.

A quick description of the various reflectance shaders follows.

More:

Caligari Metal

Caligari Phong

Chrome 2D

Conductor

Constant

Dielectric

Glass

Matte

Metal

Mirror

Phong

Plastic

Translucency

Translucent Plastic

Wrapped Anisotropic

Note that anisotropic effects require a moderate amount of calculation to simulate this scattering, so it will be slower to render than most. Wrapped Circular Anisotropic


Caligari Metal

Caligari Metal gives your object a metallic surface that includes specular highlights, reflection, and refraction.  When using Caligari Metal, it is suggested that you use a brightly colored surface or texture with a high Diffuse setting, a high Shine setting, medium to low Roughness setting, and a medium to high Mirror Coefficient (as seen below).


Caligari Phong

Easily one of the most versatile all-around Reflectance shaders available, the Caligari Phong shader offers specular highlights, reflection, and refraction, with a surface that responds readily to the Diffusion and Shininess settings.  Right-click to bring up a panel that allows you to choose the color of the specular highlight (phong).


Chrome 2D

The Chrome 2D reflectance shader generates a series of procedural light and dark areas that envelop your object's surface.  The shader operates much like an environment map, meaning that the reflected surface will appear to shift as your object moves or rotates.  One example of a good use of the Chrome 2D shader would be a logo that spins in place; as the logo rotates, the shader casts highlights and lowlights across the logo's surface.  When using this shader, try using a medium Diffusion setting, high Shine setting, and medium to low Roughness settings.


Conductor

The Conductor shader offers specular highlights and reflections when used with raytracing.  Somewhat similar to normal Phong shading, with properties that tend somewhat toward metal.  Suggested settings vary according to surface type, but the Conductor shader is very responsive to the Diffusion setting (low for more metallic, high for more plastic).


Constant

The Constant reflectance shader applies a flat-shaded surface onto your object, giving it a uniform brightness that is unaffected by light sources in your scene.  This texture is ideal for simulating objects that provide their own illumination in the real world.  With the Constant shader applied, all other shader attributes such as shine and diffusion are disabled.


Dielectric

Dielectric reflectance, which supports refractive surfaces, creates textures with higher specularity along surfaces angled away from the camera or eye view, according to the diffusion and transmission values you set.

Use higher diffusion values to increase the visibility of the outer edges of the object; increase the Transmission value to increase the overall visibility and transparency of the object..  Dielectric reflectance requires that Raytracing be enabled to be seen properly.


Glass

As its name implies, the Glass reflectance option allows you to simulate a glassy surface.  Glass supports specular highlights, reflection, and refraction when Raytracing is enabled.  One important note is that it is not necessary to define a separate Transparency value when using the Glass shader; transparency can, in fact, dampen the highlights of your glass surface.  Use the Transmission value instead.

A good rule of thumb when working with the Glass shader is to use a high Shine value with a low to medium Roughness setting; use a Mirror setting of between .3 and .7 to create reflective glass, and use increased Transmission values for increased visibility of background objects (including refracted surfaces).  A good value for Index of Refraction lies between 1.5 and 2.


Matte

The Matte shader provides a surface that is shaded by light sources but is free of specular highlights.  When using Matte shading, you need only concern yourself with the Diffusion setting on the Shaders panel: use higher diffusion for a brighter shade of your base color, or lower diffusion to dim it.  Matte shading is ideal for landscapes or other rough surfaces.


Metal

The Metal shader is similar to the Caligari Metal option, except that it does not support reflection.  Specular highlights, however, can be heightened by adjusting the Shine and Roughness values.


Shaders - Reflectance Shaders - Mirror
Mirror

This self-explanatory shader employs reflectivity and specularity to allow you to create a highly reflective surface when raytracing a scene.  Bring the Diffusion slider to low or mid-range settings for a good mirror-like surface; increase Shine to brighten specular highlights; move the Roughness slider toward the top to create a glassier surface; and for reflections, increase the value of the Mirror Coefficient to your heart's content.


Shaders - Reflectance Shaders - Phong
Phong

Phong reflectance is an easy-to-use, general purpose shader that provides specular highlights to your object's surfaces.  Unlike the Caligari Phong option, Phong shading does not provide reflection or refraction; however, this has the benefit of being quicker for trueSpace4 to calculate and render.

Phong shading responds to Ambience, Diffusion, Shininess, and Roughness sliders in the Shader Attributes panel. Right-click on the reflectance sphere to select a color for the specular highlight of your phong-shaded surface.


Plastic

The Plastic shading option is similar to Phong surfacing in that it responds to ambience, diffusion, shine, and roughness; however, Plastic surfacing demonstrates somewhat more subdued specular highlighting.

For a bright, shiny plastic as would be found on a mouse, choose a medium-high Diffuse setting with a high Shine, and move the Roughness slider all the way up (as seen in the example below).  For the kind of plastic found in a take-out container, use high diffusion, low shine, and raise the Roughness setting.


  Translucency

The Translucency reflectance shader applies an opaque surface that appears to reflect more light from the inside of an object, as opposed to from without.  For example, assume you have a spotlight pointing directly down onto a sphere with translucency applied.  When rendered, the bottom half of the translucent sphere will be much brighter than the top.

Translucent reflectance responds only to the Ambience shader parameter; all other settings are ignored.  Right-click on the Translucency shader sphere to bring up a panel to adjust the contrast between illuminated and non-illuminated internal surfaces.  The sample sphere below has an Ambience value of 0 and a Translucency value of 3.75 applied.


Translucent Plastic

The Translucent Plastic setting behaves much like straight Translucency, except in addition to ambience, you also have access to diffusion, shininess, and roughness settings.  Right-click on the Translucent Plastic shader sphere to open its properties panel; from here, you can select the specular color as well as the translucency factor.

The Translucent Plastic sample below uses a medium Ambience setting, low Diffusion, medium Shininess, and Roughness slider pushed to the top.


Wrapped Anisotropic

Anisotropy is a phenomenon found in metals and certain rocks, whereby an object's surface can actually reflect light differently when viewed from different angles. This shader has the effect of adding vertical marks or streaks on an object's surface that cause such a scattering; such streaks are applied according to the object's UV projection.

The Wrapped Anisotropic shader has a parameters panel that can be accessed by right-clicking on the Reflectance sphere.  Use the Cylinder Distance parameter to adjust the scale of the streaks; lower values provide fewer cuts, while higher values bring more.  The Floor Height value increases the contrast between cuts; lower values provide more pronounced cuts, while higher values soften the effect.  You can also select the color of the specular highlight from this shader's properties panel.

Wrapped Anisotropic reflectance responds to the Ambience, Diffusion, Shine, and Roughness settings.  It allows for specular highlights, but no raytraced reflections or refraction.  As anisotropic reflectance is often found on metallic surfaces such as brushed metal, try using this shader with a medium Diffusion setting, high Shine value and low Roughness.

The effects of this shader are most pronounced when your camera or eye view moves around the surface it is applied to.  In the figure below, the eye moves from three-quarters position to ground level; note how the front face of the cube shows a good deal more reflectance in this new position.


Note that anisotropic effects require a moderate amount of calculation to simulate this scattering, so it will be slower to render than most. Wrapped Circular Anisotropic

Similar to Wrapped Anisotropic, the Wrapped Circular Anisotropic reflectance shader applies cylindrical highlights on the surface of your object that simulate brushed metallic highlights.  These highlights appear as concentrated points with radial gradients emanating from the center.

The Wrapped Circular Anisotropic properties panel, accessed by right-clicking on the reflectance sphere, holds the same values found in the Wrapped Anisotropic panel, with additional Width and Height settings to adjust the scale of the vertical and horizontal cuts.  Use lower Width and Height values to create more streaks, and higher values to produce fewer.


Transparency Shaders

There might be times when you wish to make the surfaces of your object partially or wholly invisible, and that is when you will turn to the Transparency shaders.  These shaders allow you to define how an object's surface transmits light; in addition to straightforward transparency, you can also choose procedural transparency (generated fractally by trueSpace4) and image-based transparency.

In previous versions of trueSpace, it was necessary to use a mask (or alpha channel) to create transparency with a bitmapped image.  However, the new shaders in trueSpace4 make it possible to adjust the overall opacity of an image-based texture.  Further, you also have the option to create a color-based filter that eliminates all areas of a particular RGB value.

As with the other shaders, most of the Transparency shaders allow you to right-click on the Transparency preview sphere to adjust the parameters of the selected shader.

It is important to remember that to use transparency, you must select the High quality setting in the Render Options panel.  For faster previewing of transparent textures, use the Draft antialias setting.

A rundown of the available transparency types follows.

More:

Eroded

Filter

None

Plain Transparency

Wrapped Filter

Wrapped Grid

Wrapped Mask


Eroded

The Eroded transparency option is a procedural shader that adds spotted invisibility to the surface according to the parameters you set.

Use the Scale option to adjust the overall size of the eroded and opaque surfaces (0 creating smaller patches, to 10, resulting in large patches).

Adjust Coverage to control the amount of transparent material on the object's surface.  Values range from 0 (all surfaces transparent) to 1 (all surfaces opaque).

Use the Fuzz control to define the boundaries between the transparent and opaque material.  Values range from 0 (hard contrast between surfaces) to 1 (smooth blending).


Filter

The Filter option adds transparency to an object's surface based on a predetermined color value.  For example, if you have an image of an object against a black background, you can make the black portions transparent by setting the Transparency color to RGB (0,0,0).  This works for any other color value as well.

With Filter transparency selected, right-click on the Transparency sphere to bring up the color cube that selects the filtered color.


None

Select None to remove all transparency from the current texture.


Plain Transparency

Plain transparency, the most straightforward of the transparency options, applies a uniform opacity value to the texture.  Right click on the Transparency sphere to open the Opacity setting panel.  Values range from 0 (fully transparent) to 1 (fully opaque).  The sphere in the example below uses a midrange transparency value of .5.


Wrapped Filter

The Wrapped Filter option allows you to select an image map as your transparency mask.  TrueSpace4 adjusts the transparency according to the pixel brightness values of the image.  Brighter areas will appear more transparent, while darker areas appear more opaque.  Right-click to select the image used for the Wrapped Filter option.


Shaders - Transparency Shaders - Wrapped Grid
Wrapped Grid

Using the Wrapped Grid transparency shader applies a transparent surface intersected by criss-crossing lines, much like a net or a wire fence.  Right-click to bring up a parameters panel.

Adjust the Scale setting to set the proportions of the grid filter.  Use smaller Scale values for more overall grid lines, and larger values for fewer.  Values range from 0 to 10.

The Width and Height values control the size of the transparent areas between grid lines.  Use smaller values to make these areas more narrow, and larger values to increase the area between the lines.  Values for Width and Height range from 0 to 1.

The Grid Size parameter is used to adjust the width of the grid lines.  Values range from 0 (thin lines) to 1 (very thick lines).

Finally, you can use the Transparency setting to adjust the opacity of the grid lines.  Values range from 0 (opaque) to 1 (fully transparent).


Wrapped Mask

The Wrapped Mask transparency shader works much like the Filter setting, except that the brighter areas actually become more opaque, while darker areas are more transparent.  Right-click to select the image used as a mask filter.


Displacement Shaders

Displacement shaders offer you a method for simulating bumps, cracks, creases, folds, dents, or other perturbations on your object's surface without adding polygons.  Displacement shaders will accurately cast specular highlights, reflections, and refraction, allowing you to portray an object's surface realistically.

Click on the Displacement sphere in the lower right corner of the Shaders panel to open a listbox, from which you can select the desired displacement.  Right-click on the sphere to bring up the properties panel for the selected Displacement shader.

More:

Bump Map

Casting

Rough

Wrapped Dimple

Wrapped Knurl

Wrapped Rough


Bump Map

When a bump map is applied to an object's surface, trueSpace4 uses the pixel brightness to simulate bumpiness. The brighter the pixels, the higher the apparent bumps, and vice versa (although this can be reversed using negative Amplitude values). To select the image file, right-click on the Bump Map sphere and select the desired image from the Bump Map panel.  In the example below, an image of a brick texture has been applied to the target sphere.

Once loaded, the bump map is immediately mapped onto the example sphere in the Material and Shader preview panels.

More:

Amp(litude)

Animate

U Repts

V Repts

U Offset

V Offset


Amp(litude)

Determines the bump height (positive numbers) or depth (negative numbers). A value of 0 disables the effects of bump mapping. Click on the white box and enter a new value from the keyboard, or click on the arrow spinner to its left and set a new value by dragging the mouse sideways. Bump mapping is usually best used subtly; start with values between .05 and .1 and work upwards for starters.


Animate

For animated bumps, trueSpace4 allows for sequentially numbered files or an .AVI file. If Animate is enabled, the program will cue up each frame of the animated texture map for each frame of actual animation. If the file is an .AVI, then the rate at which the frames are cued is according to the base rate of the .AVI file. For example, if the base rate is 15 fps (frames per second), then each frame is repeated twice for the bump map in the final animation (assuming 30 fps for final render). If there are more frames in the animation than in the bump map, the bump map will loop. The same thing occurs if there is a break in sequentially numbered files.


Shaders - Bump Map - U Repts
U Repts

Sets the number of times the image is repeated in the horizontal direction up to 100 times. Click on the white box and enter a new value from the keyboard, or click on the double-headed arrow to its left and set a new value by dragging the mouse sideways. Images can be repeated by fractional amounts.


Shaders - Bump Map - V Repts
V Repts

Sets the number of times the image is repeated in the vertical direction up to 100 times. Images can be repeated by fractional amounts.


Shaders - Bump Map - U Offset
U Offset

Sets the amount by which the image is offset horizontally from the start of the UV mapping space. The U offset value ranges from 0 (left edge) to 1 (right edge).


Shaders - Bump Map - V Offset
V Offset

Sets the amount by which the image is offset vertically from the start of the UV mapping space. The V offset value ranges from 0 (top edge) to 1 (bottom edge).


Casting

This procedural displacement shader contains two separately controllable bump surfaces: a more subtle base bumpiness, coupled with knobby protrusions called dents.  Right-click to select parameters for Casting displacement.

Casting is one of the more interesting displacement shaders in trueSpace4; you are encouraged to experiment with the settings just to see the kind of results you'll get.

More:

Scale

Casting Amplitude

Dented Amplitude

Dented Scale

Dented Threshold

Detail


Shaders - Casting - Scale
Scale

Adjusts the number of repetitions of the overall casting pattern.  Use smaller values for more surface dents and tighter casting bumps.


Casting Amplitude

Adjusts the bumpiness of the base casting pattern.  Increase this value to enhance the visibility of the base cast.


Dented Amplitude

Controls how high the larger dents appear to protrude from the object's surface.  Use higher values for more pronounced bumps.


Dented Scale

The Dented Scale value adjusts the relative size of the individual dented surfaces.  Smaller values decrease the size of the large dents.


Dented Threshold

Controls how much space occurs between the dents.  Use larger values to increase the separation between dents, or smaller values to pack them in more tightly.


Shaders - Casting - Detail
Detail

Use the Detail setting to control the amount of noise generated along the casting surface.  Higher values bring higher definition to the casting surface.


Rough

The Rough displacement shader applies a surface that can resemble an orange peel or tree bark.  Note that this particular displacement shader works independently of an object's U/V projection.  Right-click to bring up a parameters panel for this shader type.

More:

Scale

Amplitude

Detail

Sharpness


Shaders - Rough - Scale
Scale

The overall size of the Rough displacement.  Larger values bring larger-sized bumps.


Shaders - Rough - Amplitude
Amplitude

The apparent height of the roughness.  Use smaller values to subdue the bumps, or larger ones to enhance.


Shaders - Rough - Detail
Detail

This parameter controls the presence of scattered nooks and crannies throughout a Rough-shaded surface.  Smaller values increase the smoothness of rough bumps, while larger values bring more crags.


Shaders - Rough - Sharpness
Sharpness

The Sharpness value controls the blending of the rough surfaces.  Use smaller values for heightened contrast, or larger values to smooth out the roughness.


Wrapped Dimple

Wrapped Dimple displacement creates a tiled pattern of bumps along the object's surface, much like a golf ball (except that the bumps protrude outward instead of in).  Right-click to adjust the parameters of this shader.


Wrapped Knurl

The Wrapped Knurl displacement shader is similar to Wrapped Dimple, except that the displacement occurs in a diamond-tiled pattern.  In addition, you can adjust the amplitude for both positive and negative settings to create knurl bumps that poke in or out of the object's surface.  Right-clicking on the displacement sphere brings up a properties panel for the Wrapped Knurl shader.

More:

Scale

Blend

Amplitude


Shaders - Wrapped Knurl - Scale
Scale

This adjusts the overall size of the Wrapped Knurl texture.  Use smaller values to create more knots across the object's surface.


Blend

The amount of smoothing that occurs between the knots.


Shaders - Wrapped Knurl - Amplitude
Amplitude

The apparent height of the knurled surface.  Higher values create increased protrusions, while lower values subdue the effect.  Negative values turn the knurls into dents, as seen in the sample figure.


Wrapped Rough

This displacement shader is similar to the Rough option, except that the displacement is mapped according to an object's U/V projection.

More:

Scale

Amplitude

Detail

Sharpness


Shaders - Wrapped Rough - Scale
Scale

The overall size of the Rough displacement.  Larger values bring larger-sized bumps.


Shaders - Wrapped Rough - Amplitude
Amplitude

The apparent height of the roughness.  Use smaller values to subdue the bumps, or larger ones to enhance.


Shaders - Wrapped Rough - Detail
Detail

This parameter controls the presence of scattered nooks and crannies throughout a Rough-shaded surface.  Smaller values increase the smoothness of rough bumps, while larger values bring more crags.


Shaders - Wrapped Rough - Sharpness
Sharpness

The Sharpness value controls the blending of the rough surfaces.  Use smaller values for heightened contrast, or larger values to smooth out the roughness.


Shaders - Shader Attributes
Shader Attributes

The Shader Attributes panel offers seven slider controls that allow you to adjust the surface properties of an object.  Here, you have control over an object's ambience (or relative brightness), diffusion (how light is scattered across the surface), shininess (the brightness of the specular highlights), and roughness (the glossiness of a surface).  When using raytracing, some shaders also allow you to adjust the mirror coefficient (the brightness of reflections), the transmission coefficient (the brightness of objects behind a transparent or refractive surface), and refraction index (or how much light is bent as it passes through an object).

Each option is shown as a column of five spheres showing the range of effects available with the current shader selected. A vertical slider shows the current setting. To change the setting for any Shader option, simply move the slider to a new setting. All values can be set numerically by right clicking on the panel.

In order of presentation, the attributes are:

1)	Ambience

2)	Diffusion

3)	Shininess

4)	Roughness

5)	Mirror Coefficient

6)	Transmission Coefficient

7)	Index of Refraction

More:

Ambient Light

Diffusion

Shininess

Roughness

Mirror Coefficient

Transmission Coefficient

Index of Refraction


Ambient Light

This setting simulates indirect lighting by setting the amount of illumination on an object not provided by actual light sources. Low ambient illumination is used for stark, dramatic shading effects. For most objects, little to no ambient lighting is sufficient. The bottom end of the scale represents 0% ambient lighting, and the top end of the represents 100% ambient lighting.


Diffusion

The Diffusion setting allows you to control how much light is scattered across an object's surface.  An object with a low diffusion, such as a billiards ball, directs most light back to the source, while a highly diffuse surface (such as a piece of white paper) scatters more light across the surface.  Lower Diffusion settings are good for many types of glass and metal textures, while higher diffusion is ideal for rough surfaces such as dirt.


Shininess

This setting determines the intensity of specular reflections when used with compatible shaders. The bottom end of the represents 0% shininess, and the top end represents 100% shininess.


Roughness

This setting determines the relative size of specular highlights on faces with phong shading. The bottom end of the scale represents low specularity with large highlights, and the top end of the scale represents high specularity with small highlights. The smaller the highlight, the glossier the surface appears. The larger the highlight, the rougher the surface appears.


Mirror Coefficient

The Mirror Coefficient is used to control the level of reflection seen on an object's surface.  Note that in order to use this setting, you need to enable Raytracing in the Render Options panel, and you also need to choose a Reflectance shader that supports raytraced reflections (such as Caligari Metal, Caligari Phong, or Glass).  A low Mirror Coefficient setting produces very subtle reflections on an object's surface, while increasing this value produces more intense reflection.


Transmission Coefficient

This setting determines how raytraced light passes through refractively shaded surfaces.  A higher Transmission value means that the refracted images will appear brighter.  Note that you must select a Reflectance shader that supports raytraced refraction (such as Caligari Metal, Caligari Phong, or Glass) to enable the transmission coefficient.


Index of Refraction

This setting determines the index of refraction, a property of transparent substances such as glass, crystal and liquids that causes light to bend as it passes through them. This creates visual distortions that can be accurately rendered in trueSpace4 when raytracing is enabled. If a transparent object is set to an index higher than 1 (at the bottom of the scale) and the scene is raytraced, light rays that pass through the object are bent, causing objects behind it to appear distorted.


Paint Tools - Introduction
Introduction

The Render group contains tools for setting the texture mapping projection space, creating Material rectangles and materials, and painting objects.


Paint Tool Variants

The Paint tool variants let you create and modify Materials and apply them to objects. Materials determine a surface's color, texture, shininess, transparency, bumpiness, and other attributes. When you select any Paint tool except Paint Object, all Materials panels—Material preview, Color, Attributes and Shader Attributes—open automatically. These panels can also be opened with a right click on any Paint tool variant.  Shaders are explained in detail in Shaders.


Paint Face

The Paint Face tool applies the current material to a face on an object. To paint a face, select the Paint Face tool then select the desired faces. Each painted face is rendered instantly. The precision of the paint face tools depends on how finely the object is subdivided. The more subdivisions, the greater the control. When you select the Paint Face tool all Materials panels open automatically so that settings may be changed while painting. To temporarily change the Paint Face tool to the Inspect tool, press and hold the Shift or Control key before clicking. The mouse cursor changes to a lens to indicate Inspect mode. While the cursor is still in Inspect mode, click on a face to make its material settings current. Paint Face does not paint over a material rectangle. If you hold down the Shift key while painting, then the painted face colors will be removed.


Paint Vertices

The Paint Vertices tool paints a radial gradient centered on a face's vertex. Like the Paint Face tool, the precision of the Paint Vertices tool depends on how finely the object is subdivided. The only property inherited from the current material is its base color and all other attributes like texture, smoothing, shininess, etc... are ignored. To paint vertices, select the Paint Vertices tool then select on each vertex in turn. To remove the paint on a vertex, hold down either the Shift or Control key and click on each vertex with the Paint Vertices tool.


Paint Tools - Inspect
Inspect

Like Paint Face, Inspect works on a polygon-by-polygon basis. But instead of applying color, it determines the face's color, attribute and texture values and sets them to current in the Material property panels. To use the Inspect tool, select the tool then click on any object. The current Material is set to that of the polygon under the mouse pointer when you clicked. All Material panels change to show the new material settings. The Inspect tool has a second function which is to show the keyframes set for a material's properties. These keys are shown in the Keyframe Monitor panel.


Paint Over

The Paint Over tool applies the current material over a target material which may cover all of an object or just faces. To use Paint Over, select a new material to replace an old one, select the Paint Over tool, then click on the material to be replaced. The object is rendered instantly to show the changes to the object. Paint Over does not change the material of a material rectangle nor does it change the areas painted with the Paint Vertices tool. To temporarily change the Paint Over tool to the Inspect tool, press and hold the Shift or Control key before clicking. The Paint Over tool also has a second function for animation. Painting over a material at a frame other than 0 will create a keyframe for that material. See the Keyframe Monitor for more details.


Paint Object

The Paint Object tool paints all of the selected object with the current material. To paint an object, click on the Paint Object tool. The selected object is rendered instantly to show the new material.


Material Property Panels

Painting objects and faces uses the current material, which defaults to a dull white. Newly created objects also use the current material. Once created, a material can be saved to a materials library (see the Libraries Group chapter) for later use. When you select any Paint tool except Paint Object, all Materials panels—Material preview, Color, Attributes and Shader Attributes—open automatically. These panels can also be opened with a right click on any Paint tool variant.


Material Preview

This panel lets you instantly view the results of material changes. Whenever you change a material setting with the other material property panels, this material preview is automatically re-rendered with the new settings. By default the material is displayed rendered on a sphere but to see the effects on a square, click once on the material preview. Click on the rendered square again to return to a sphere. When saved to a material library, the material will be displayed in the same mode as when it was saved.


Color Property Panel

The base color for the material can be chosen with either RGB or HSV color systems. HSV stands for Hue, Saturation and Value. In the HSV color property panel, the color spectrum ROYGBIV (red-orange-yellow-green-blue-indigo-violet) is spread around the sides of a hexagon. The colors around the edges represent hues at full saturation, with saturation decreasing as you travel toward the center. As saturation decreases, the amount of white added to the color increases. The slider bar next to the hexagon determines the Value for the color. Right click on the property panel to open the RGB sliders. The RGB color system works by combining red, green, and blue color values ranging from 0 to 255 for each component. If the material has a texture map, then the base color will only show in areas of texture transparency (see Image Utilities and Texture Overlay). The base color can be keyframed (see the Keyframe Monitor) to change over time.


Paint Tools - Shader Attributes
Shader Attributes

Shader Attributes are described in full detail in Shaders.


3D Paint Tool

Texture mapping in 3D graphics is one of the best ways of enhancing your objects' appearances. For instance, to make a human face look more realistic, you'd add texture maps for the eyes, perhaps the teeth, plus facial hair such as a eyebrows and maybe a Groucho-like mustache. You might also want to add bump maps for facial wrinkles in the forehead and cheeks. In most 3D graphics applications, this is easier said than done, because the process of adding texture maps to object surfaces is not fully interactive, and requires a great deal of trial and error. Now, however, you can avoid all that painstaking work, thanks to trueSpace4's 3D Painting feature, which allows you to paint colors and bumps in real time on the surface of an object.

Note: When painting in 3D, you needn't be in Solid Render display mode; the program automatically switches to a comparable mode, using Caligari's photorealistic renderer method. This enables painting bump maps onto object surfaces, which isn't supported by 3DR or Direct3D.


Using 3D Paint

To use 3D Paint, select an object to paint on, and then the 3D Paint tool. The Paint tool is initialized and the object is rendered, which may take a few moments when painting on complex objects. Then the Material panels (described earlier in this chapter) and the 3D Paint Attributes panel are opened, and the mouse pointer changes to a paint brush.

To use 3D Paint on a hierarchical object, built either with the Glue tools or the IK tools (or both), first select a single sub-object of the hierarchy.

Use the Material panels to set the current material attributes. You cannot paint with textures, only with solid colors. Click anywhere on the object to be painted and drag the mouse to move the 3D brush across the surface of the object (you may find you get more consistent results by dragging slowly). After painting a stroke, when you release the mouse button, the program re-renders all faces you painted on, during which the mouse pointer turns into an hourglass. When it turns back into a paintbrush, you can click on another area of the object to begin painting there.

You can move, rotate and scale objects while painting them with this tool. Select the appropriate object navigation tool, and then perform the manipulation (e.g., rotate the object). When you release the mouse button, the 3D Paint tool is reactivated, as indicated by the mouse cursor turning back into a paintbrush.

To exit the 3D Paint tool, select the Object tool.


3D Paint Textures

trueSpace4's 3D Paint and 3D Bump tools work by creating a separate texture for each face you paint on. While working in trueSpace, these textures are stored in a sub-directory called temptex in your ts4 folder.

Since each 3D Painted (or bump mapped) face has it's own texture, you can easily wind up with a large number of files for an object. trueSpace4 manages these files by creating a unique name based on the object's name, a unique flag (in case of similarly named objects), and an index (face) number. These files have a special .NDL extension. The object's unique prefix (name and flag) are shown in the Paint Draw Type panel, described later in this chapter.

When you save an object or scene, all of these textures are saved in a more permanent location. This is a sub-direcotry within the same folder as the object or scene. The sub-directory's name is derived from the object's name plus "tex". This sub-directory will be created as needed.

For example, if you 3D Paint a cube and save it to c:\myobjs\, the textures may be stored in c:\myobjs\cubetex\. Similarly, if you save a scene as d:\work\office.scn, the textures would be saved into the d:\work\officetex\ directory.

If you want to move your object or scene to another computer, you need to move its texture sub-directory along with it.


Helpful Tips for 3D Paint

The information below applies to both 3D Paint and 3D Bump Maps.

•	If you load the same 3D Painted object into a scene two or more times, and then change the textures on one of the objects, it may affect the textures on the other objects. Conversely, if you load an object that has not been 3D Painted  more than once and then start to 3D Paint one of them, it will not affect the other objects. The unique texture name is generated when you first start 3D Painting.

•	You cannot 3D paint an object that contains any textures (aside from the ones that 3D Paint itself applies). If you attempt to do so, a warning appears indicating that you should remove the textures. Conversely, if you paint any material onto an object that has been 3D bump-mapped, the bump mapping is deleted.

•	The 3D Bump tool supports only one bump height per polygon. So if you use the tool on an object, and then change the bump height, and paint over any 3D Bump mapped polygons on the object, the existing 3D Bump mapped areas will change to display the new height.

•	3DR supports a total of 125 textures per scene. If 3D paint is applied to more than 125 faces, faces 126 and beyond are displayed in the object's material color. However, these faces still have their 3D Painted textures, which will appear in photorealistic renderings.

•	Because of the texture-per-face technology used, if you 3D paint long, thin polygons (such as those on a cylinder's side), the result is pixels that are elongated in the direction of the face's long side. For best results, subdivide such faces before applying 3D paint (e.g., before adding a cylinder, set Latitude to 8 or more). For example, the two cylinders below were created with Latitude settings of 2 and 8, respectively. The upper image shows their wireframe structures, and the lower image shows the result of using the same 3D paint and 3D bump brushes on both. If you look closely, you can notice some "streaking" on the left cylinder, while the lines on the right cylinder are a bit cleaner.

•	When you select the 3D Paint tool, any non-coplanar faces are automatically triangulated, as are any faces with more than four sides. If you exit 3D Paint and then later re-select 3D Paint, this triangulation is not repeated.

•	Because of the unique mapping method used for a 3D-painted object's multiple textures, for best results do not apply geometry-altering tools that change the object's shape, such as Boolean and PlastiForm, after 3D painting an object. You can apply the QuadDivide, Smooth QuadDivide and Triangulate tools, but you cannot then apply additional 3D paint strokes.


3D Paint Attributes Panel

3D Paint uses a circular brush. There are two types of brushes, as indicated by the upper two icons on the panel's left-hand column. The top-most icon is the Fill brush, which creates a solid line (or spot). The middle icon is the Airbush, which has a feathered edge. You can adjust the density of the airbrush using the first slider in the 3D Paint control panel. The second slider in this panel controls the size of the brush. The third slider controls the transparency of the color painted.

The third tool, in the panel's lower-left corner, is an eraser. You can use it to erase your brush strokes at any time, even after loading the object from a disk file. The eraser does not affect 3D Bump mapping. You can use the Brush Size slider to modify the eraser's area.


3D Bump Tool

Just as trueSpace4 lets you paint colors directly onto a 3D surface, it lets you paint bumps onto an object. As with standard bump mapping, the bumps you create this way are not part of the object's mesh structure, but simply a way of simulating changes in the surface normal that appear at render time. Therefore, they don't create projections in the object's profile when seen from the side. Similarly, you cannot create cumulative effects by painting over the same area several times; you can only adjust the bump height (or depth) using the left-hand slider in the attributes panel.

The 3D Bump Attributes panel lets you use any of three different brush shapes: cube, sphere and cylinder. You can adjust the bumps height using the first slider in the panel. The top half of the slider lets you create indentations, and the bottom lets you create bumps that appear to be higher than the object's surface. The amplitude value ranges from -50 to 50. The second slider can be used to scale the brush.

To exit the 3D Bump tool, select the Object tool.


The Paint Draw Type Panel

Right-click on either the 3D Paint or the 3D Bump tool to open the Paint Draw Type panel. This panel contains radio buttons that let you elect to draw in Free Draw mode or in Line Draw mode. In Free Draw mode, you drag the mouse in any direction to paint. In the Line Draw mode, you click on two endpoints on the object surface, and the program draws a straight line between them, using the current settings.

The Connect option applies only to Free Draw mode. When selected, the program interpolates between sampled points as you drag the mouse while painting, creating a continuous line no matter how fast you go. If you turn Connect off, the program applies paint or bumps only to sample points as you paint. If you drag quickly, the result is a series of paint dabs or bumps separated by varying distances.

The Name shows the unique prefix that 3D Paint  assigns to the textures it creates. This is described earlier in this chapter, under the 3D Paint Textures section. You cannot edit this name, but you can click in the box and use the arrow keys to scroll through the entire name field.


Material Library

Once created, materials can be stored in a special graphic list called a material library, which can be saved to and loaded from disk.

Selecting this icon opens the Material Library. It automatically loads the Material Library named simple.mlb if it is present. Otherwise the Material Library panel is empty when first opened.

The panel displays up to eight at a time of the current library's materials in a horizontal graphic list as sample spheres or planes. If there are more materials in the library than can fit in the panel, use the scroll bar to scroll through the rest. To set the current material used by the Paint tools to one in the panel, select the new material from the panel with the mouse (a red bar indicates the current material in the panel). To rename a material, select it, then enter a new name in the material name field in the lower right corner and press return.

More:

Add

Delete

File Functions


Add

Clicking on this icon adds the current material to the library.


Paint Tools - Material Library - Delete
Delete

Clicking on this tool deletes the currently selected material from the library.


File Functions

If a Material Library was loaded or saved previously during the current session, this box shows the file name of the current library. Click on the box to display a pop-up menu of file functions:

More:

New

Load

Save

Save As...


Paint Tools - File Functions - New
 New

This tool clears any materials from the current library.


 Load

Permits loading of a Material Library previously saved. When the Load Material Library file dialog appears, select the file to load, then click on OK.


Paint Tools - File Functions - Save
Save

This command saves the Material Library currently in memory to the file from which it was loaded or last saved. If no library was loaded or saved previously during the current session (that is, the File Functions box is blank), this command works the same way as Save As.


Save As...

Save As permits saving the current library to disk. When the Save Material Library file dialog appears, select the file to save over, or enter a new file name, then click on OK.


UV Projection Tool

When you use images as components of materials, the images are mapped to the object according to the UV space assigned. UV space is assigned to an object by different modes of projection: planar, cylindrical, and spherical. The term UV space comes from a mathematical way of describing any point on an object's surface with the parameters U (horizontal distance around the object from a given point) and V (vertical distance around the object from a given point). Objects made in trueSpace4 are assigned default UV space but imported objects usually lack projection so textures do not apply correctly. When you select the UV tool, a new UV space, depicted as a wireframe, appears over or around the object and the UV Projection panel opens with the various choices. Note that this is not the object's current or default space, which can't be depicted once set. The brown edge on the projection is the seam where the texture wraps around. UV projection can be rotated with Object Rotate. Cylindrical and Spherical projections can also be moved with Object Move. To exit UV mapping mode and save the current mapping space, click on Apply. If any textures were previously applied to the object, they are automatically remapped using the new UV space.

More:

Planar

Cylindrical

Spherical

Cubic U/V Projection

Default UV Mapping


Planar

Specifies a rectangular image space. Use Object Rotate to reposition the mapping plane, which is squashed and stretched to match the object's cross-section as it is rotated about the object. The image is projected "through" the object, and appears on the "front" and "back" sides.


Cylindrical

Specifies a cylindrical mapping space, much like the label on a can of food. This space can be moved as well as rotated.


Spherical

Specifies a spherical mapping space. This space can be moved as well as rotated.


Cubic U/V Projection

To apply cubic mapping, click on the UV Projection tool to access the UV Map panel, and select Cubic mapping from the far right.  The resulting UV space is a six-sided (cubic) direct projection on every face of the selected object.


Default UV Mapping

Default UV space can be replaced with a new UV projection but cannot be manipulated. An object cannot be re-assigned to its default UV space.

When you use Sweep to create a 3D object, a default UV mapping is automatically applied. Flat UV mapping is applied to the object's flat ends, while its length is mapped with a type of cylindrical mapping that conforms to the object's shape.

When you use Lathe to create a 3D object, a different type of default UV mapping is automatically applied. If you lathe a shape 360 degrees with Helix set to 0, which means the object has no ends but is a continuous circle, the default UV mapping is applied cylindrically, but is then bent around to match the object's circular shape. If the lathed shape has ends, a flat UV mapping space is applied to each end.

A primitive cube has a planar projection that is bent around the six faces to cover the shape properly.


Material Rectangle

This tool lets you place an isolated material rectangle on an object's surface. It is superior to painting faces in that the rectangle can be freely moved and scaled around the surface of an object. Up to eight rectangles can be placed or "stacked" on an object. Material rectangles can be deleted, moved, or sent to the front of the stack.The bump map property of the object's base material is inherited in all the placed rectangles.

The material rectangle moves and scales around the object comforming to the object's UV space and will disappear into the projection's seam (see UV projection). If the object has a planar projection, then the rectangle will be applied to both sides of the object. Selecting the Material Rectangle tool opens its control panel. Both position and scaling of material rectangles can be animated as well as the material for each rectangle. For more information on animating material rectangles, see the section covering the Keyframe Monitor in Chapter 18 - Animation.

Note: trueSpace4 does not permit applying material rectangles to objects that have been 3D painted. Similarly, if you attempt to 3D paint an object that has one or more material rectangles applied, the program notifies you that you must first remove the material rectangles.

More:

Material Rectangle Control Panel


Material Rectangle Control Panel

New

Del

Move

Scale

< / >

Paint

Inspect

Material Rectangle to Front


Paint Tools - Material Rectangle Control Panel - New
New

Creates a new Material rectangle, and displays it on the object's surface. Up to eight Material rectangles can be added to an object.


Del

Deletes the current Material rectangle.


Move

Lets you move the Material rectangle interactively around the object's surface by dragging the left mouse button. Horizontal and vertical mouse movements translate respectively to U and V movement. Right click on Move to constrain movement either to U or V space.


Paint Tools - Material Rectangle Control Panel - Scale
Scale

Lets you scale the Material rectangle interactively by dragging the left mouse button. Horizontal and vertical mouse movements translate respectively to U and V scaling. Right click on Scale to constrain scaling either to U or V space.


< / >

These two buttons cycle through an object's Material rectangles, if there are more than one.The material preview does not update to show the material on the current rectangle.


Paint

Left click to paint the material rectangle with the current material.


Paint Tools - Material Rectangle Control Panel - Inspect
Inspect

Left click on Inspect to see the current material rectangle's material displayed in the Material preview panel if it is open. Right click to open all Material property panels.


Material Rectangle to Front

When an object has multiple Material rectangles that overlap, select this tool to bring the current Material rectangle to the "top of the stack". Normally when rectangles overlap, the topmost is the last created.


Animation with the Keyframe Editor and Function Curves - Introduction
Introduction

The Animation group contains tools for creating and modifying 3D animations.

This chapter describes the basic animation tools in trueSpace4. Physical Simulation and Inverse Kinematics/Bones are described separately in Chapters 19 and 20.


Animation Control Group

By default, trueSpace4 places the Animation Control group on your toolbar when you start the program.  Here, you will find a variety of VCR-like controls for playing animations, recording key frames, and moving between animation frames. Unlike traditional animation techniques (such as cel drawing and stop-motion photography), where one must draw every frame to create motion, in trueSpace4 you define the important points in time where actions take place (known as keyframes) and the program then draws all the in-between frames. Many types of actions can be keyframed, including movement, rotation, scaling, deformations, camera zooms, look at and ahead constraints, shader and material attributes, edge/vertex/face translation, and Inverse Kinematics/Bones manipulation. To set a key frame for an object, simply move to that frame and manipulate the object; to keyframe texture changes, select the desired frame number, make changes to your shader settings, and use the Paint Over tool to apply the modified surface. When used in conjunction with the Object Move tool, creating keyfames for position also creates an animation path for the object which can then be displayed with by selecting the Animation Path tool.

More:

Return to Start

Reverse to Previous Keyframe

Play

Advance To Next Keyframe

Record Key

Start (or Continue) Physical Simulations

Rewind Simulation

Current Frame Number

Frame Jog

Animation Parameters Panel


Animation with the Keyframe Editor and Function Curves - Animation Control Group - Return to Start
Return to Start

Jumps to the animation's first frame, or to the first keyframe of the selected object.  If a specific animation parameter (such as Move) is selected, clicking this button jumps to the first keyframe in that parameter.


Animation with the Keyframe Editor and Function Curves - Animation Control Group - Reverse to Previous Keyframe
Reverse to Previous Keyframe

Clicking this control jumps the Current Frame Number to the previous keyframe for a scene or object. If a specific animation parameter is selected, clicking this button jumps to the previous keyframe for that parameter, ignoring other animation tracks.


Animation with the Keyframe Editor and Function Curves - Animation Control Group - Play
Play

Plays the animation to screen in wireframe or solid mode depending on the current screen mode acoording to the settings in the Play property panel.


Advance To Next Keyframe

Jumps the Current Frame Number to the next keyframe for a scene or object.  If a specific animation parameter is selected, clicking this button jumps to the next keyframe for that parameter, ignoring the other animation tracks.


Record Key

Sets a key frame for animated parameters for the current object at the current frame. The type of key set depends on the current tool active. There are two modes for the Record Key tool and are set by a right click on the record tool. With Autorecord enabled, a key is set every time an object is manipulated at a frame other than 0. If Autorecord is disabled then the Record Key must be selected each time to create a keyframe.


Start (or Continue) Physical Simulations

Begins the calculation of a physical simulation from the frame number entered in the Current Frame Number box.


Rewind Simulation

Resets the Current Frame Number to 0 for running a new physical simulation.


Current Frame Number

Displays the current frame number. Set the current frame from the keyboard in the numeric field, or by dragging the mouse horizontally on the left-right arrow.


Frame Jog

This double-arrow acts to shuttle back and forth quickly between keyframes.  Click and drag right to advance forward in the animation, or click and drag left to reverse.


Animation Parameters Panel

Right-click on the Play tool to open the Animation parameters panel. Settings here include the animation start and end frame, whether the current object or the entire scene is animated, looping controls, and base rate controls.

More:

Draw Object/Scene

Base Rate

Loop

Toggle

Start/End


Animation with the Keyframe Editor and Function Curves - Animation Parameters Panel - Draw Object/Scene
Draw Object/Scene

This determines whether the current object or the entire scene (all objects) is animated when the Play button is activated. If two or more windows are open, including the main view, Object animates in all windows. Scene animates only in the active window.


Base Rate

The rate at fps (frames per second) that the animation will play at. The choices are 30 fps for NTSC, 25 fps for PAL, and 24 fps for film.


Animation with the Keyframe Editor and Function Curves - Animation Parameters Panel - Loop
Loop

Loops the animation during screen play back only. The Esc key or the double right click interrupts play back. It can be combined with Tog.


Toggle

Plays the animation forward then backward.


Start/End

These values show the current start and end frames for animation preview. By default Start is set to 0, the first frame, and End is set to the last frame in which animation for the currently selected object ends. Change either value by clicking on the numbers and entering new values from the keyboard, or by clicking on the double-headed arrows and dragging left and right. You can also change these in the Project window.


Keyframe Editor

Click on the Keyframe Editor tool to open the Keyframe Editor (also known as the KFE for short), which combines all the trueSpace4 animation functions within one window.  In addition to giving you complete control over all aspects of your animation, this powerful utility gives you the ability to edit your scene in much the same way you would use Windows Explorer to manage your hard drive.

When you open up the Keyframe Editor, you'll notice it's divided into four parts:

The toolbar (across the top of the KFE), which contains a row of icons for editing, managing, and previewing your scene's animation;

The Object Tree (the left pane below the toolbar), a hierarchical display of the objects in your scene;

The Track Pane (to the right of the Object Tree), which contains a timeline of all animation in your scene; and

The Status Bar (across the bottom of the window), which displays information on the current frame number, including running time and total number of frames of animation in your scene.  When moving your cursor over the Toolbar, the Help field to the far left displays the name of the tool your cursor points to.

The Keyframe Editor behaves in every way like a standard Windows 95, Windows 98, or Windows NT window.  To resize the Keyframe Editor, click and drag on any of its four corners. To minimize, maximize, or close the Keyframe Editor, click on the appropriate buttons in the title bar.  To resize the Object Tree or Track Panes, click and drag on the divider which separates these panes.  By right-clicking on any object in the Object Tree, you can rename, copy, delete, or render the selected object. (If you've used Windows Explorer, you'll probably catch on to these conventions quickly. See "The Object Tree" for more information.)

Note that when you minimize the Keyframe Editor, it's nestled into the main title bar of trueSpace4. You can restore the Keyframe Editor by either by clicking on the Restore button or the Keyframe Editor tool.

More:

The Toolbar

Keyframe Editor Animation Controls

The Object Tree

Scene Keyframes

The Track Pane

Timeline

Setting and Editing Keyframes and Actions


The Toolbar

Here in the toolbar, you will find all the tools necessary for editing keyframe locations (such as Copy, Paste, and Delete).  You will also find controls to manage the contents of the Track Pane.

More:

Object Filter

Cut

Copy

Paste

Refresh

Delete

Expand / Collapse Tree Control

Zoom Track

Fit Zoom

Repeat

Reverse

Reverse Repeat


Object Filter

Clicking on the Object Filter button opens up the Filter dialog box.  Use this box to determine which objects appear in the Object Tree and Track Pane.  Select from the following options:

Display: This field allows you to select which objects show up in the Keyframe Editor. Choose between All Objects, or Animated Objects Only.

All Objects: When selected, the Keyframe Editor displays every object in your scene.

Animated Objects Only: This option restricts the information in the Keyframe Editor to only those objects which are animated (contain keyframes).

For relatively simple scenes, it's a good idea to select All Objects to give you easy access to all the objects in your scene.  However, with more complex scenes containing large amounts of animation, consider selecting Animated Objects Only so you don't have to hunt through the Keyframe Editor for a specific object.

Animation Tracks: The options in this field let you select which animation properties are displayed in the Track Pane. Choose between Show all, Show only no empty tracks, or Show none.  (For more detailed information on the information displayed, see the section titled "The Track Pane" later on.)

Show All: Displays the complete range of animatable properties for all the objects in your scene, even those properties not currently keyframed.

Do not show empty tracks: Restricts the Keyframe Editor display to only those properties which are animated.  (For example, if an object is set to rotate in your animation, the Keyframe Editor will only display rotational keyframes, and ignore other properties such as movement and scaling.)

Show None: When this option is selected, only the objects (and sub-objects) in your scene are displayed in the Object Tree.  All actions associated with that object are combined into one action bar in the Track Pane. (For example, even if you set both movement and rotation for an object, you will see only one action bar to the right.)

Display Objects: The check boxes in this field let you determine whether lights, cameras, or plugins will be visible in the Keyframe Editor.  Click in the appropriate boxes to toggle visibility on and off. (A check in the box indicates that the object or plugin will be visible, whereas an empty box means it is hidden.)  Click the All button to the right to select all three, None to deselect all three, or Invert to reverse your current selections.

If your scene contains animated light sources, cameras, or plugin filters, then by all means, check those boxes.  This will give you maximum control over these components.


Cut

The Cut button removes the currently selected keyframe(s) from the Track Pane and places them into the Keyframe Editor clipboard.  Cut keyframes may be Pasted into the same animation track later.  See "Using the Track Pane" for more information on selecting keyframes.


Animation with the Keyframe Editor and Function Curves - The Toolbar - Copy
Copy

Clicking this button copies the currently selected keyframe(s) and places them into the Keyframe Editor clipboard.  The selected keyframes remain in place.  Copied keyframes may then be Pasted into the same animation track later. Note that if you select an object instead of a keyframe, the Copy command makes a copy of the entire object (in essence duplicating the function of the Copy tool).


Paste

Clicking the Paste button pastes keyframes from the Keyframe Editor clipboard into the currently selected animation track.  Note that you can Paste keyframes of the same type from one object to another — for example, you can paste a Move keyframe from one object into the Move track of a second. The pasted keyframes appear at the point of the Current Frame marker found at the top of the Track Pane.


Refresh

Refresh updates the Object Tree and Track Pane with the most current information in your scene.  This button is especially useful after making a number of changes to your scene or animation.  When clicked, it collapses the Object Tree down to the Scene level.  Use the Expand/Collapse control to view all objects in the Object Tree after using Refresh.


Animation with the Keyframe Editor and Function Curves - The Toolbar - Delete
Delete

The Delete button serves three purposes.  If you have selected an object in the Object Tree, clicking the Delete key erases the object itself. If, on the other hand, you have selected an animation parameter from the Object Tree, the Delete key wipes out all keyframes in the currently selected animation track.  Finally, if you have selected keyframes from within the Track Pane, clicking the Delete button will delete these keyframes and leave unselected ones intact.

For example, to eliminate all movement in an animated object, click on the object's Move parameter in the Object Tree, then click the Delete button. The track is cleared, allowing you to start from scratch.


Expand / Collapse Tree Control

Click this button to toggle the Object Tree and Track Pane between Scene view (all objects and keyframe parameters scrunched into Scene level) or fully expanded (all objects and animation parameters made visible).


Zoom Track

Use the Zoom Track tool to expand or shrink the contents of the Track Pane.  To use this tool, click on it, then click and drag left and right within the Track Pane.  When the button appears pressed in, this means that the tool is active.  Dragging left causes the timeline to collapse, showing a greater number of frames within the Track Pane; dragging right expands the contents, allowing you to focus in on a specific segment of your animation.

To disable the tool and re-enable editing of keyframes and objects, click on the Zoom Track tool again.


Fit Zoom

The Fit Zoom function expands or collapses the Track Pane window to contain fully the animation track of the selected object, object parameter, or scene parameter.  To make best use of this tool, first select the desired animated object from the Object Tree, then click the Fit Zoom tool.  The Track Pane is immediately re-sized so that the selected animation track fits completely within its borders.


Repeat

The Repeat button repeats the action of the currently selected keyframe(s) or action, starting at the frame number of the last keyframe.  You can choose to Repeat only certain actions (such as movement, rotation, or scaling) by selecting the desired action from the Object Tree — or you can repeat all actions for that object by selecting the object itself from the Object Tree.


Reverse

Clicking the Reverse button flip-flops the action selected in the Object Tree.  If you've selected the object itself, all of the object's keyframes are reversed.


Reverse Repeat

Clicking the Reverse Repeat button combines the above two tools to create a "ping-pong" effect for the selected action.  This tool is a great way to bring an object "home" after making it wander around your scene.


Keyframe Editor Animation Controls

The row of buttons on the far right of the Keyframe Editor are a VCR-style set of controls for browsing keyframes or previewing your animation. Many of these buttons are also found in the Animation tool group on your toolbar, but they've been incorporated into the Keyframe Editor for enhanced ease of use.  Apart from the exception noted below, these controls work just like they do in the Animation Panel.

Note: It's good to be aware of the different functions of the Advance to Next Keyframe and Reverse to Previous Keyframe buttons.  Whereas you can still jump through all keyframes on the currently selected object with each click by selecting the object itself from the Object Tree, you can also home in on a specific action and use these buttons to jump through those specific keyframes.

For example, say you've keyframed both movement and Inverse Kinematics (IK) actions on your object. By clicking on the Kinematic parameter in the Object Tree, the Advance to Next Keyframe and Reverse to Previous Keyframe buttons will only cycle through the Kinematic keyframes.  This is an extremely handy way to focus strictly on those properties that need your attention.  See "Using the Object Tree" for more specific information.

Additionally, the Record function can also be used to record keyframes for specific actions by selecting the appropriate action in the Object Track.

To choose whether trueSpace4 updates only the selected object or the whole scene, right-click on the Play button to bring up the Animation Parameters panel, and choose either Object or Scene.  With the Object option selected, the Advance, Reverse, and Play buttons affect only the selected object.  If, on the other hand, you choose Scene playback, trueSpace4 updates the entire scene as you advance or reverse.  Scene playback makes it easier to see how all your objects interact with each other; however, for more complex scenes, you may find it easier to work with only the selected object until you're happy with your results.

More:

Record

Return to Start

Reverse to Previous Keyframe

Reverse to Previous Frame

Current Frame Number Box

Play

Advance to Next Frame

Advance to Next Keyframe

Advance to End


Record

Clicking the Record button records a keyframe at the current frame number.  If you've selected the object itself in the Object Tree, all animated parameters are recorded.  If you have only selected one parameter in the Object Tree, trueSpace4 records a keyframe for that parameter and no others.

Note: You can also enable the Autorecord function, which sets keyframes automatically every time you make a change.  Right-click on the Record button to open the Set Keyframe panel; here, you can toggle AutoRecord on and off by clicking in the box. An 'X' in the box indicates that AutoRecord is enabled, whereas a blank box means AutoRecord is turned off.


Animation with the Keyframe Editor and Function Curves - Keyframe Editor Animation Controls - Return to Start
Return to Start

Clicking the Return to Start button sets the current frame number to 0.  Its twin, Advance to End, shoots the current frame number to the last set keyframe in your scene.


Animation with the Keyframe Editor and Function Curves - Keyframe Editor Animation Controls - Reverse to Previous Keyframe
Reverse to Previous Keyframe

Jumps the Current Frame Number to the next previously-set keyframe for a scene or object.  If a specific animation parameter is selected, clicking this button jumps to the next keyframe for that parameter, ignoring the other animation tracks.


Reverse to Previous Frame

Steps the Current Frame Number back by one frame.


Current Frame Number Box

Nestled between the Reverse To Previous Frame and Play buttons is the Current Frame Number box.  The value in this box represents the number of the current frame.  To change this value, type a new number into the box, or click and drag the Frame Marker at the top of the Track Pane.


Animation with the Keyframe Editor and Function Curves - Keyframe Editor Animation Controls - Play
Play

Click the Play button to preview your animated object or scene.  You can restrict playback to certain frames by clicking and dragging the Start and End frame markers at the top of the Track Pane, or by setting numerical values in the Animation Parameters window (brought up by right-clicking the Play button).


Advance to Next Frame

Increases the Current Frame Number by one.


Advance to Next Keyframe

Clicking the Advance To Next Keyframe button shifts the current frame number ahead to the next keyframe of your selected object or action. The currently selected keyframe will light up in the Track Pane.


Advance to End


The Object Tree

The Object Tree, found in the left pane of the Keyframe Editor, is a hierarchical representation of all your scene's objects and their associated animation properties.

As you work with the Object Tree, you'll find that it's the ideal way to manage the objects in your scene — whether they're animated or not.  The expandable and collapsible tree control makes it easy to view hierarchical information, and narrow in on the object or animation parameters you wish to edit.  The scene tree works along the same conventions found in Windows 95 and Windows NT, allowing you to make changes by right-clicking on your target, or using drag-and-drop techniques to glue and unglue these objects.

More:

Expanding and Collapsing Branches

Viewing an Object's Animation Tracks

Richt-Clicking for Other Keyframe Editor Functions

Gluing and Ungluing


Expanding and Collapsing Branches

When you first open the Keyframe Editor, you may notice only the Scene (root) icon in the Object Tree.  Click on the small box with the plus (+) sign inside to expand the Scene tree and view all the objects in your scene.  This box is your Expand/Collapse Branch control button.  Whenever Expand/Collapse Branch button contains the + sign, clicking the button reveals all sub-objects or animation parameters.  If, on the other hand, the control button contains a minus (-) sign, clicking it hides the underlying branch.  Load any sample scene and take a few moments to expand and collapse various branches to get a feel for navigating the Object Tree.

In an animated scene, some of the lines in the Object Tree represent objects themselves, while others represent animation information.  You'll be able to tell which is which by examining the icon to the left of the object or animation name. Click on any object or sub-object in the Object Tree to select it.


Viewing an Object's Animation Tracks

All animated objects in your trueSpace4 scene contain an Animation branch, represented by a small icon resembling a filmstrip. To the right of the Animation branch is an action bar, which represents a collection of one or more keyframed properties.  The action bar manages all of your object's animated properties at once; manipulating this bar affects all keyframes under this branch.

Click on the Expand/Collapse Branch control button in any Animation branch to view more detailed keyframe information for a specific object.

To select an action, click on the name of the action in the Object Tree.  Now, when using the Advance To Next Keyframe or Reverse to Previous Keyframe button, the Keyframe Editor will only cycle through the keyframes set for that specific action.

To discover how to manage keyframes for your objects, see "Using the Track Pane" later in this documentation.


Richt-Clicking for Other Keyframe Editor Functions

Right-clicking on any object or action in the Object Tree brings up a popup menu which allows you to choose from several options for that object, including copying, deleting, renaming, rendering, or applying the Repeat/Reverse functions.

While most of these functions can be applied to both objects and actions, the Copy command from the popup menu will make a copy of the currently selected object, and not the selected action.


Gluing and Ungluing

You can use the Object Tree in place of the Glue As... tools found in the main group tools. To glue two objects together, click and drag the first object over to the second, and release the mouse button. (in other words, "drag and drop"). This creates a glued hierarchy which can be managed normally from the Object Tree. To unglue an object from the hierarchy, drag and drop the object back into the scene icon.


Scene Keyframes

Scene keyframes include plug-ins, fog, ray tracing, backgrounds, and global environments. To enable the Scene keys, be sure that "scene" is enabled in the Animation Parameters panel (right click on the play button). Scene keyframes are set by changing global scene parameters at a frame other than 0.

More:

Fog Keys

Background Keys

Global Environments

Ray Tracing Keys


Fog Keys

Color, fog extents, and maximum percentage can be keyframed as well as the on and off state.


Background Keys

A background bitmap may be keyframed on and off as well as changed during an animation. Changing image files does not create a smooth transition. Background color can also be keyframed.


Global Environments

An environment bitmap may be keyframed on and off as well as changed during an animation. Changing image files does not create a smooth transition. Environment color can also be keyframed.


Ray Tracing Keys

Ray Tracing may be keyframed on and off during an animation. The reflect value can also be keyframed.


The Track Pane

The Track Pane is a timeline which gives you an overview of all animation information of the objects in your scene.  Here, you have the ability to view or manage entire actions, or dig in and record or edit individual keyframes (or groups of keyframes).

In the next section, you'll find an overview of ways to use the Keyframe Editor to achieve more specific goals; in the meatime, here's a quick overview of the components you can see in the above figure:


Timeline

The timeline, found at the top of the Track Pane, measures your scene's time in frame numbers.  To compress the timeline (in other words, to view more frames within the same space), click the Zoom Track View tool in the KFE toolbar, point your mouse into the Track Pane, and drag left.  To expand the timeline (focus in on a specific segment of the timeline), drag your mouse to the right.  The timeline is colored white between the Starting and Ending Frame markers, and gray outside.

More:

Current Frame Marker

Starting/Ending Frame Markers

Action Bars

Keyframes


Current Frame Marker

The downward-pointing arrow at the bottom of the Timeline is your Current Frame marker.  A purple vertical line shooting down from this marker helps you determine the relative position of your individual keyframes.


Starting/Ending Frame Markers

Click and drag the Starting and Ending Frame markers to set the begin and end limits for previewing your animation via the Play button. This duplicates the function of setting these limits numerically in the Animation Parameters panel.


Action Bars

Action bars extend to the right of the Scene line, animated objects, and/or glued objects. They are bookended by two blocks which indicate the starting and ending time of that particular action. You can shorten, lengthen, or delay the timing of the action by clicking and dragging on these blocks. You can also shift the entire action to occur sooner or later by clicking and dragging on the bar itself. By modifying the action bar of the Scene line, you affect the timing of all animated objects.


Keyframes

The diamond-shaped markers in the Keyframe tracks represent individual keyframes. No doubt you're going to find it much easier to edit these keyframes using the wide array of options now available to you.  You can easily shift the position of keyframes on the timeline by clicking and dragging left and right; you can also cut, copy, and paste these keyframes using the tools in the Keyframe Editor toolbar. Selecting keyframes is a relatively simple affair; click on a keyframe to select it You can also select groups of keyframes by clicking and dragging a rectangular area withing the Track Pane.  Selected keyframes are highlighted in white, while unselected keyframes are colored gray.


Setting and Editing Keyframes and Actions

The Keyframe Editor offers an enhanced set of tools for editing keyframes you've set, giving you a visual overview of all individual animation parameters.  In this section, you'll discover a few ways to animate your objects and edit those actions later on.

More:

Recording Keyframes

Selecting Keyframes

Moving Keyframes

Cutting and Copying Keyframes

Pasting Keyframes

Erasing Keyframes

Re-timing Actions


Recording Keyframes

To animate an object:

1)	Set the current frame number for your target location. You can see the current frame number in one of two ways:

a) By typing the number in the Current Frame Number box and pressing ENTER, or

b) by dragging the Current Frame marker at the top of the Track Pane to the desired frame on the timeline.

2)	Place your object in its new position. In other words, move, rotate, scale, deform, point-edit, or use Inverse Kinematics so your object ends up where you want it. (Note that to animate an object's material, you must use the Paint Over tool to apply the new surface.)

3)	If the AutoRecord feature is turned off, you must hit the Record key to set the keyframe manually.


Selecting Keyframes

In its collapsed state, an object's Animation line only allows you to decrease or increase the time taken to perform the action, or shift the action to occur sooner or later in your animated scene. (More on that below.) To select an individual keyframe, you must first expand the Animation branch of your object (the icon that looks like a filmstrip).  This opens up the keyframe lines which contain the individual keyframes.

As you move your cursor over the keyframes and action bars, note how it changes shape depending on where you're pointing.  This helps give you a visual indication of what will happen if you click and drag at that particular point.

To select an individual keyframe, click on the diamond-shaped marker which represents the keyframe.  It should now turn from gray to white.  To deselect a keyframe, click anywhere in the white space of the Track Pane, and the marker reverts to gray.

To select multiple keyframes, hold down the Ctrl key and click on the desired keyframe(s).  Alternately, you can click and drag out a rectangular area which encompasses the keyframes you'd like to select.  Start your selection away from the keyframes themselves — your cursor should appear in its normal, unaltered state.  Otherwise you may inadvertantly drag the keyframes themselves to a new position on the timeline.

Your selected keyframes may now be shifted left and right by clicking and dragging, or copied to the clipboard using the Cut or Copy buttons.  You can also unset these keyframes by pressing the Del key on your keyboard.


Moving Keyframes

Simply click and drag on any selected keyframe to move all selected keyframes forward or back on the timeline.


Cutting and Copying Keyframes

Once keyframes are selected, you may move them from the animation track to the clipboard by clicking the Cut button.  Or, you can leave the keyframes in place and simply copy them to the clipboard using the Copy button.  As with many other Windows applications, these commands are complemented by the Paste button (which just happens to be the topic of the next section).


Pasting Keyframes

Use the Paste button to insert keyframes into an animation track.  You can paste keyframes into the same object from which they were copied, or into another object entirely.  One hitch: You can only paste the same type of keyframe into any keyframe track.  (For example, if you have a series of Scale keyframes sitting in the clipboard, you can only paste them to a Scale track.) If you've selected an object line in the Object Tree, the keyframes will automatically nest in their proper tracks. Here's the best method for making sure pasted keyframes end up in the right place:

1.	Select the proper object or keyframe track in the Object Tree. If the particular track isn't visible on the target object, expand the Animation line on that object using the Expand/Collapse control button.

2.	Click and drag the Current Frame marker to the frame number you want to paste the keyframe(s). If you've copied a series of keyframes, the position of the Current Frame marker is where the first keyframe in the series will be pasted.

3.	Click the Paste button to place the keyframes into the selected object or track. The keyframes now show up where they've pasted them.  (You may not see them right away; click the Refresh button to update the display in this case.)

Special note on Bones or Inverse Kinematics Objects: When pasting Inverse Kinematics keyframes from one object to another, it's important to make sure that your objects are constructed exactly alike.  Dissimilar joint assemblies can result in wildly unpredictable results.  The most reliable way to copy an IK action is to paste actions into a copy of the original.


Erasing Keyframes

Selected keyframes can be removed — unset, deleted, zapped from existence — by pressing the Del key on your keyboard.


Re-timing Actions

As mentioned earlier, an action is a collection of keyframed parameters.  The Keyframe Editor represents actions with a solid bar (known as an action bar) in the Track Pane.  If, for example, you've animated an object that both moves and rotates, manipulating the Action Bar controls both movement and scaling.  There's even an action bar at the Scene level which allows you to re-time actions for everything in your trueSpace4 world.

To make an action occur sooner or later, click and drag anywhere on the bar itself to slide it left and right, using the timeline as your guide.  (Before dragging, make sure your cursor has turned into a double-arrow that points left and right.)  This is perhaps the best way to delay the start of an object's animation.

To stretch out or compress an action (in other words, shorten or lengthen the amount of time it takes), click and drag on either of the blocks which bookend the action bar, using the timeline as your guide. (Your cursor will turn into a line with an arrow pointing left or right as your cursor hovers over the blocks

If you happen to drag an action so that it extends beyond the last frame of animation, trueSpace4 automatically updates the Scene action bar and the End Frame marker to reflect these changes.


Function Curves

The Function Curves tool, found at the far right of the Keyframe Editor toolbar, toggles the Track Pane into a function curve editor to allow you to fine-tune movement, scaling, and rotation keyframes for animated objects.

When you click this button, the Track Pane disappears and is replaced by the function curve editor. The Function Curve editor remains in the Track Pane until the next click on the Function Curves button.  Note that you can also toggle Function Curve editing by pressing <Ctrl><Tab>.

While in Function Curves mode, the Object Tree remains much the same, except that additional X, Y, and Z values are accessible for movement, scaling, and rotation.  While in Function Curves mode, use the Expand/Collapse icons next to the object name to access these X, Y, and Z values.  (Note that these will be easier to find if you use the Keyframe Editor filter to omit objects that are not animated.)

Below is a sample shot of the Function Curve mode of an object that has had movement keyframes assigned to it.  In this example, the squares at frames 10, 20, 30, and 40 represent movement keyframes for the cube object.  The line that connects the keyframes is known as the function curve spline.

The spline curve represents the rate at which the object approaches the keyframes over time. The meter at the left side of the Track Pane displays the range of values for the keyframes.  In the example above, the cube object has an X value of slightly greater than 3 at frame 10, just below 0 at frame 20, and so forth.

More:

Editing Function Curves


Editing Function Curves

You have several options for the editing of function curves.  Briefly, you can click and drag the keyframe to change its vertical position (thereby changing the value of the selected parameter); holding the Control key while you click and drag allows you to move the keyframe horizontally (thereby adjusting the frame number of the selected keyframe); or, you can double-click on the keyframe to bring up control handles to adjust the tension, bias, and continuity of the spline curve at the selected keyframe.

More:

Adjusting Keyframe Value

Adjusting Keyframe Time

Keyframe Properties

Adjusting TBC Values Visually


Adjusting Keyframe Value

You can change the value of a keyframe, or multiple keyframes, by selecting the keyframe(s) and dragging up or down within the Function Curve editor.  The meter on the left side of the Function Curve editor represents the floating point value of the keyframe.

In the following example, we have an object that rises very quickly toward the middle of the animated sequence, "spiking" at frame 20.  In the screen shot below, the Path command was used to make the animation path visible.  Note the hump toward the middle of the path. The goal is to make the up-and-down motion more gradual over the course of the animation, turning the path into an arch.  The first step is to select the keyframes immediately before and after frame 20.  This is done either by using the <Ctrl> key while clicking on each keyframe, or clicking and dragging a rectangular area within the Function Curve editor.  Note how the keyframes are highlighted white.

With the keyframes thus selected, it is now possible to drag them further up to create a smoother curve going in to frame 20.  As seen in the sample figure below, the path now takes a less dramatic up-and-down motion.

If no keyframes exist at points you would like to smooth, you can add additional keyframes by right-clicking at the desired frame position to bring up a menu window.  Select "New" from this window, and the keyframe is added at the appropriate point on the spline curve.


Adjusting Keyframe Time

Sometimes, in order to create a smooth function curve, it is necessary to shift the frame number of an existing keyframe.  To do this, hold down the Control key while dragging on a selected keyframe.  Drag the mouse right to advance the keyframe to its new position, and drag left to move it back.  Note that this also affects the position of the keyframe in the other two axes.


Keyframe Properties

Right-click on any keyframe to bring up the Keyframe Properties panel.  Here, you can enter keyframe values manually, as well as set the standard Sharp, Smooth, and Very Smooth spline corner settings.

KF: This represents the frame number of the currently selected keyframe.  Note that this field can only display one keyframe at a time; in the case of multiple keyframe selection, the most recently-selected single keyframe number is displayed.  The arrows to the right of the KF field allow you to jump from keyframe to keyframe.

KF Value: The Keyframe Value displays the movement, scaling, or rotational value of the keyframe at the frame number displayed in the KF field.  The arrows to the right of the KF Value field allow you to decrease or increase the Keyframe Value; you can also enter numbers directly into the box for a specific value.

Tension, Bias, and Continuity: These values determine how smooth or how sharp the function curve spline eases into or out of the specified keyframe.  Note that changes in these values will affect movement, translation, or scaling along all axes.  Tension/bias/continuity can also be adjusted by double-clicking on a keyframe and using the control handles that appear (see below).


Adjusting TBC Values Visually

Double-click on a keyframe to bring up control handles that work similar to those found in Spline Edit mode.  Using these handles, you can change the shape of the curve as it enters and exits the selected keyframe.

Please note that adjusting tension, bias, and continuity for one axis can have dramatic effects on the other two.  Because only one axis is shown at a time, it is a good idea to check the other two occasionally to see how your changes affect them.

The handles are colored two different shades of gold.  The bright gold handle controls the shape of the spline curve as it exits the keyframe, while the dark gold handle directs the shape of the curve as it enters the keyframe.

Changing the orientation of a handle adjusts the bias value for the selected animation parameter — in other words, use handle direction to adjust the angle of the entry and exit trajectories for the selected keyframe, as shown below.

Changing the length of the handle (by dragging the handle bar closer to or farther from the keyframe) controls the tension value for the selected parameter.  In other words, use this value to adjust how quickly or how slowly the rate of movement, scaling, or rotation changes as frame numbers approach the selected keyframe.  Lengthening the handles means that movement, scaling, or rotation occurs at a more rapid rate around the keyframe, while shortening the handles slows this rate.

Note: Because adjusting Tension, Bias, and Continuity values can often lead to over-dramatic variations along other axes, it is a good idea to right-click on a keyframe to open the KF Properties panel.  By clicking on the Sharp, Smooth, or Very Smooth parameters, you can easily rectify problems that can occur when editing TBC values.


Animation Path

An animation path is created the same way as a spline polygon. To draw an animation, select the target object and then select the Animation Path Tool. Click the left mouse button in the workspace on each vertex in turn. Each point you define sets a new spline node for the path, with an intermediate number of interpolated frames in between (there are thirty frames per second of animation). New spline paths can be created from any view. Points drawn in either Perspective or Top view are placed flat on the grid. While drawing a spline path, you can switch between adding new points and editing existing ones using the Draw and Edit controls in the Spline control panel. Spline paths are edited in the same way as spline polygons (see the Spline Polygon tool). To close a spline polygon click the right mouse button, which connects the last point with the first. At this point, you can edit the polygon or add the spline to a paths library for later use, but you can't add new spline points to a closed spline path except by adding position keyframes with the Animation Panel. It is not necessary to close an animation path, exit by de-selecting the Animation Path tool. Also, you can add or change a path spline to the workspace by selecting a path (closed or open) from the Path library after selecting the Animation Path tool.

Upon activation of the Animation Path tool, the Draw Path panel opens. A right click in turn opens the Spline property panel.

More:

Draw Path

Spline Property Panel


Draw Path

When you select this tool, the  Draw Path control panel opens. This panel is described in Chapter 11 - Polygon and Text Tools.


Animation with the Keyframe Editor and Function Curves - Animation Path - Spline Property Panel
Spline Property Panel

Right-click on the Path tool to open the Spline property panel. Spline characteristics can be changed during and after the creation of a spline with the controls on this panel. This panel is described in Chapter 11 - Polygon and Text Tools.


Look At

This command is used to make an object, camera, or light continually realign itself during an animation to remain pointed at another object. The program accomplishes this by automatically pointing the original object's Z axis at the second object's axis location (see the Axes tool). To use Look At, select the object that is to be constrained, select Look At, then select the target object. When an object is under Look At's influence, it is constrained and cannot be rotated manually. Look At and Look Ahead are mutually exclusive operations.

The Look At tool has two states that can be keyframed: enabled (icon pushed in) and disabled (icon in default state). When enabled the constrained object will continually update its orientation during an animation to that of the target object. In disabled state the object will cease to update itself at the "disable" keyframe. Subsequently the object can then be keyframed to look at a new target during the course of the animation. Note that keyframing a new target on the same frame as the old one  will not create a smooth transition, rather the constrained object will jerk suddenly to re-orient itself. The proper action in this situation is to skip ahead many frames and then keyframe the new Look At target.


Look Ahead

This command is used to make an object point forward along its motion path during animation. The program accomplishes this by automatically pointing the object's Z axis along the path, re-aiming for each frame. To use Look Ahead, select the object to be constrained and then the Look Ahead tool. Objects like text, cameras, and spot lights will work automatically with Look Ahead but other objects will need to be adjusted to work properly (see the Axes tool). The Look Ahead tool requires that the object's Z axis points to the "front" of the object and that the Y axis points towards the "top" of the object. When an object is under the influence of the Look Ahead's command, it is constrained and cannot be rotated manually. Look Ahead and Look At are mutually exclusive operations.

Look Ahead has two modes that can be keyframed: enabled (pushed in) and disabled (default state). When enabled, the constrained object will orient itself to the path until a "disable" keyframe is set. Subsequently the object can then be keyframed to look ahead again or to look at a target with the Look At tool. Note that keyframing a Look At action on the same frame as Look Ahead was disabled will not create a smooth transition, rather the constrained object will jerk suddenly to re-orient itself. The proper action in this situation is to skip ahead many frames and then keyframe the Look At target. To set Look Ahead parameters, right-click on the Look Ahead button.

More:

Look Ahead Control Panel


Look Ahead Control Panel

Bias

Tension

Bank


Animation with the Keyframe Editor and Function Curves - Look Ahead Control Panel - Bias
Bias

Determines the amount of "overshoot" when the object moves around curves.


Animation with the Keyframe Editor and Function Curves - Look Ahead Control Panel - Tension
Tension

Determines the degree by which the object tries to follow its original orientation.


Bank

When enabled, the animated object "leans" into curves in the motion path. The bank amount can be specified numerically by degrees.


Physical Simulation - Introduction
Introduction

Caligari trueSpace4 is the first 3D graphics application to implement fully integrated simulation of the physical behavior of real-world objects, including gravity, inter-object collisions, linear and rotational velocity and acceleration, wind, and even atmospheric density upon which an airplane or other flying object can glide. This feature lets you easily set up complex animations incorporating the accurate motion and physical interaction of dozens or even hundreds of objects. For instance, to create a flying airplane, just add an atmosphere, point the plane in the right direction, and let 'er fly! Or you can stack some bricks, and add wind to knock them all down. The bricks will bang into each other as they fall over, affecting their motion just as they would in real life.


Object's Physical Attributes

In trueSpace4's physical simulation, there are two types of objects: "dynamic" objects, whish have physical attributes such as mass and elasticity, and participate in the simulation; and "non-dynamic" objects which have no physical attributes, and are thus unaffected by the simulation.

Note: Although non-dynamic objects, to which physical attributes have not been assigned, do not move in physical simulations, they do act as obstacles to moving objects.

Note: IK objects and PlastiForm objects cannot be assigned physical attributes. If you attempt to assign physical attributes to a PlastiForm object, trueSpace3 asks if you want to delete the PlastiForm structure.

To define physical attributes for an object, select the object, and then select the Local Physical Attributes tool. This causes several things to happen:

•	The object becomes "dynamic", and is assigned default physical attributes: a Weight of 10, Elasticity of 65, Resistance of 1, Friction of 50 and Buoyancy turned on.

•	The object's center of gravity is placed at its axis' location, as indicated by the cross-hairs icon; by default, in its geometric center.

•	The Local Physical Attributes panel opens, with the following  controls (described from left to right and top to bottom, except for the first group):


Preset Physical Attributes

In the first row's leftmost three icons, and the second row's leftmost two icons, five preset attribute sets are available:

•	Set Parameters of object as rubber

•	Set Parameters of object as glass

•	Set Parameters of object as iron

•	Set Parameters of object as styrofoam

•	Set Parameters of object as paper

If you select any of these with an object active, all previous physical attributes are erased, including any previous settings made with tools in this panel, such as Initial Motion Vector.

When applying preset attributes to an object, the assigned Mass value depends on the object's volume. For instance, a default cube primitive assigned the Styrofoam preset is given a mass of 203.199, while the default sphere primitive made of Styrofoam has a mass of 99.161.

More:

Erase Physical Attributes

Center of Object's Gravity

Object Fixation Point 1 & 2

Initial Motion Vector

Initial Rotation Vector

Acceleration Motion Vector

Acceleration Rotation Vector

Motion Attributes Panel

Object Collision

Numerical Physical Attributes Panel


Erase Physical Attributes

Deletes all of the object's physical attributes, returning it to its default status as a standard trueSpace4 object. Right-click on this panel to open the Numerical Physical Attributes panel, which lets you set the object's physical attributes directly (see the Numerical Physical Attributes Panel section below for details).

Important note: When manipulating any of the below entities, first select the object, then select the entity by clicking on it and then releasing the mouse button, and then click and drag again to move the entity. If, however, the Dynapick option is turned on (Edit menu/Preferences), you need simply click and drag on the appropriate entity. When you're finished manipulating the entity, re-select the object (or any other object) by clicking on it.


Center of Object's Gravity

Selecting this tool activates the center of gravity icon, which you can then move by dragging it with the mouse. An object's center of gravity is the same as center of object coordinate system. If you move an object's axes, the center of gravity moves as well.

You can manipulate the object's center of gravity without using this tool by clicking on it (the object need not be selected first). If Dynapick is not on, click and release to select it, and then click and drag to move it. If Dynapick is on, click and drag without selecting it first.

When manipulating the center of gravity, it remains selected until you select a different object, or the object whose center of gravity you're manipulating.

Note: If you use the Axes tool with a dynamic object to make its axes visible, the center of gravity icon is temporarily hidden. Select the Axes tool again to turn off display of the axes and re-enable display of the center of gravity icon.


Object Fixation Point 1 & 2

This two-part tool lets you add and remove one or two constraint points, which represent "nailing" an object to one or two points, respectively, in space. For example, in the above Quick Start, if you had given a fixation point and moved it to the sphere's side, instead of dropping, it would swing back and forth, using the fixation point as a fulcrum. With one fixation point, an object behaves as though it is connected to a hook, and with two points, it behaves as though connected to a wire (axis).

To enable the first fixation point, select the object to which it is to be attached, and then select either Object Fixation Point tool. This causes the Object Fixation Point 1 tool to highlight, and the new, highlighted fixation point appears. It resembles a set of three crossed axes, and is superimposed over the object's center of gravity icon.

To move a fixation point, select the point, enable Object Move mode, position the mouse cursor anywhere in the workspace—it need not be on the icon—and then press and hold the left mouse button and drag the mouse in the desired direction (use the right mouse button to move the point vertically), as with moving any selected object.

When manipulating a fixation point, it remains selected until you select a different object, or the object whose fixation point(s) you're manipulating.

To add a second fixation point to an object, select the object, and then select the Object Fixation Point 2 tool. One example of the practical application of two fixation points is a cogwheel. Such a wheel can impart rotational motion to an object it comes into contact with without moving away from the impact.

To delete an object's fixation point(s), select the object, and then select the appropriate Object Fixation Point tool.


Initial Motion Vector

This control lets you interactively set an object's starting linear speed, or velocity, and direction in the simulation. Left click on the tool to set the default initial velocity of 1 along the x-axis, in a positive direction, as depicted by a single-headed arrow. Drag the arrow to change the direction and speed; the length of the arrow indicates the speed. To accept the current settings, select the object you're manipulating, or any other object. To modify the setting, select the Initial Motion Vector tool again, or select the arrow icon directly.

Right-click on the tool to open the Motion Attributes panel, which displays the speed numerically in units per second, and lets you set it with the mouse or keyboard.

During the simulation, if a moving object encounters another object, it will react according to real-world physics laws. For example, if you place a sphere on the ground and give it a horizontal initial motion, it will roll, rather than slide, if gravity is turned on (see Global Physical Properties, below).


Initial Rotation Vector

This control lets you interactively set an object's starting rotational speed and direction in the simulation. Left click on the tool to set the default initial rotational velocity of 1 around the z-axis, as depicted by a single headed arrow on the object's side, connected to the object's center with a dotted line. Drag the arrow's head to change the speed by changing the arrow's length, and the direction in which the arrow points. If you drag the arrow base (a small cube), you can change the direction of rotation by altering its position. For example, at the default setting, the object rotates around its vertical axis. However, if you position the arrow at the top center of the object, the object will rotate around a horizontal axis in the direction of the arrow, and if you position the arrow at the bottom center of the object, the object will rotate around a horizontal axis opposite the direction of the arrow.

To accept the current settings, select the object you're manipulating, or any other object. To modify the setting, select the Initial Rotation Vector tool again, or select the arrow icon directly.

Right-click on the tool to open the Motion Attributes panel, which displays the speed numerically in units per second, and lets you set it with the mouse or keyboard.


Acceleration Motion Vector

The Acceleration Motion Vector lets you create linear motion that increases in speed throughout the simulation (assuming no friction). Its usage is similar to that of the Initial Motion Vector, except that it is displayed as double arrow, and during the simulation it rotates (unlike velocity) with the object. You would generally use this in place of the Initial Motion Vector to simulate a motorized vehicle, such as a car or airplane.

Right-click on the tool to open the Motion Attributes panel, which displays the acceleration numerically in units per second, and lets you set it with the mouse or keyboard.


Acceleration Rotation Vector

The Acceleration Rotation Vector lets you create rotational motion that increases in speed throughout the simulation (assuming no friction). Its usage is similar to that of the Initial Rotation Vector, except that it is displayed as double arrow, and during the simulation it rotates with the object.

Right-click on the tool to open the Motion Attributes panel, which displays the acceleration numerically in units per second, and lets you set it with the mouse or keyboard.


Motion Attributes Panel

If you right-click on any of the Motion or Rotation Vector icons, the Motion Attributes panel will open. This panel allows you to set values for speed and rotation numerically with the keyboard. These numbers will also update as you modify vectors with the mouse.

Note: The values shown in this panelindicate units per second.

The icon in the upper-right corner is the Relative Initialization Speed toggle. This affects the initial rotation vectors during editing. When enabled, if you rotate the object, the initial vectors rotate with the object. When disabled, if you rotate the object, the initial vectors remain in their original orientation(s).

The lower icon on the right side of the panel is the Relative Acceleration Speed toggle. This affects the acceleration motion and acceleration rotation vectors during editing, and also during simulations. When enabled, if you rotate the object, the acceleration vectors rotate with the object. This can be useful, for instance, with an airplane that should rotate as it turns. When disabled, if you rotate the object, the acceleration vectors remain in their original orientation(s).


Object Collision

Collision between objects in a trueSpace3 physical simulation is automatic, and follows the same real-world physics as other aspects of the simulation. Even non-dynamic objects (i.e., those to which physical attributes are not assigned) participate in collisions, although they do not move as a result. No special preparation is required. In fact, even invisible objects (see Object Info panel) follow these rules.

Note: trueSpace4 cannot detect a collision with a primitive plane or an un-swept polygon, because these objects have no height, and thus no volume.

It is possible to turn off collisions on a per object basis through a switch in the Numerical Physical Attributes panel.


Numerical Physical Attributes Panel

You can set values for a specific object's physical attributes by right-clicking on one of the following buttons:

•	Preset Physical Attributes (any)

•	Erase Physical Attributes

•	Center of Object's Gravity

•	Object Fixation Point

The attributes are:

More:

Mass

Elasticity

Resistance

Friction

Buoyancy

Allow/Disable Collision with Objects


Mass

This is the object's physical mass in kilograms.

If you give an object a mass of 100,000,000 or greater (do not type the commas), the value is displayed in the panel in scientific notation. This method of displaying large numbers consists of a decimal number between 1 and 10, then the letter "e", and then a positive or negative integer giving the power of 10 by which the decimal number is multiplied. For example, the number 150,643,000 is displayed in scientific notation as 1.50643e+006. With very long strings of numbers, trueSpace3 may truncate some of the rightmost digits, and/or you may need to click in the value field and press the right arrow key several times to see the rightmost part of number (i.e., the exponent). In some cases, a very small number (e.g., 0.0001) may be displayed as 0. In such a case, the weight is still stored in memory as the entered value.


Elasticity

This setting defines the percentage of energy retained after a collision with another object. The possible range of values is 0 to 200. If you specify an amount greater than 100, the object's energy will actually increase after each bounce (ever heard of flubber?).


Resistance

The Resistance setting determines an object's air resistance. The possible range of values is 0 to 1000. If you set an object's Resistance to 0, it has no resistance and the simulation does not calculate air resistance, making the simulation run faster.

When a real-world object moves through Earth's atmosphere, its progress is affected by a number of factors, not the least of which is the size of its leading edge. Typically, all other factors being equal, an object with a large leading edge encounters greater air resistance (e.g., a flat sheet of paper) than does one with a small leading edge (e.g., the same sheet of paper crumpled into a ball), and thus (for example) falls less rapidly. In addition, an object with a larger leading edge tends to be more greatly affected by moving air, such as the wind.

This principle is followed in trueSpace4's physical simulation. You can prove this by adding a sphere and a plane primitive, raising both to the same level, setting a high atmospheric density (e.g., 1,000), and starting the simulation. The sphere will drop more quickly than the plane, even though both have the same Resistance setting.

Particularly with complex objects, trueSpace4's physical simulation may need a bit of help determining an object's air resistance, which you can provide via the Resistance setting. You can observe the effect by adding two identical objects, raising both above the ground, setting a high atmospheric density (e.g., 1,000) and then giving the two objects markedly different Resistance settings (e.g., 1 and 1,000). When you start the simulation, the object with the higher Resistance setting will fall more slowly.


Friction

This setting determines the amount of friction between an object and other surfaces it encounters.  A Friction setting of 0 results in a very polished object that slides smoothly. And a setting of 100, the highest possible value, indicates an object with a very rough surface.


Buoyancy

This switch lets you set whether the atmospheric force can lift the object. As you may know, objects that are less dense than the medium in which they're contained rise. For example, a ping pong ball released at the bottom of a swimming pool immediately shoots up to the top of the pool. Similarly, a balloon filled with helium, which is less dense than air, rises. Setting high values trueSpace4's atmospheric Density and Thinning parameters lets you simulate a body of water.

Objects will be "buoyed" with the calculated force:

F =Volume*AtmosDensity

Calculation of the volume of complicated objects may take some time.

Note: Gravity  must be enabled (i.e., the Set trueSpace Grid as Gravitation Pad switch) for buoyancy to take effect.


Allow/Disable Collision with Objects

This switch is enabled by default. If collision is disabled, the object will not collide with other objects during the simulation.

For example, if a ball is rolling towards a wall, turning collision off for the ball, wall, or both will result in the ball passing through the wall. If collision was enabled for both objects, the ball would bounce off the wall, or at least be stopped by it.


Global Physical Properties

Left-click on the Global Physical Properties Tool button to open a panel that lets you set global properties, and control the simulation.

More:

Start (or Continue) Simulation

Set Objects to Origin

Set trueSpace Grid as Gravitation Pad

Enable Atmosphere for World

Add Local Physical Wind


Start (or Continue) Simulation

This control, also found in the Animation Control panel, is similar to the Animation panel's Play button, except that it causes an animation to be generated, keyframe by keyframe, using the physical attributes of objects currently in the scene. Selecting it causes trueSpace4 to begin or continue the physical simulation at the current frame. While the simulation is in progress, the Help bar displays the current local frame, or simulation step, as well as approximate remaining duration of the resulting animation in seconds. The number of local frames required per animation frame depends on the complexity of the simulation or the Constant Time setting in the Physical Simulation Control panel (described below).

Press the Esc key to halt the simulation. If Auto Rewind is enabled (this option is covered in the Physical Simulation Control Panel section, below), stopping the simulation rewinds the scene to the frame at which it was started.

After generating a simulation, use the Animation panel's Play button to play it back.

Right-click on the Start Simulation tool to open the Physical Simulation control panel (described below).


Set Objects to Origin

This is a rewind function for the physical simulation. By default, when you halt a simulation by pressing the Esc key, the scene automatically resets itself to the starting conditions. However, you can the Physical Simulation control panel's Auto Rewind switch to turn off this feature. If you've disabled Auto Rewind, use the Set Objects to Origin button, also found in the Animation Control panel, to return to the starting frame.


Set trueSpace Grid as Gravitation Pad

By default, gravity is turned on in trueSpace4's physical simulation world. Us this tool to toggle the trueSpace grid as a source of gravity. Right-click on the tool to open a panel that displays and lets you change the gravitational force.

In trueSpace4, gravity affects only objects completely above the grid. Also, gravity must be on for buoyancy to take effect. Thus, objects that intersect with the grid or are below it cannot be buoyant. Actually, such objects are not detected as physical entities.


Enable Atmosphere for World

This switch lets you toggle the impact of the atmosphere on all objects. Right-click on the tool to open a panel that lets you define the atmospheric density and rate at which the atmosphere thins with height. The atmosphere thins exponentially, so you can simulate a water surface with high Density and Thinning values.

More:

Density

Thinning

Set Global Physical Wind


Physical Simulation - Enable Atmosphere for World - Density
Density

This value determines the atmospheric density. The lowest possible value is 0, and beyond the upper limit, the density is considered to be infinite. Settings of 1,000,000 and greater are displayed in scientific notation (see explanation under Mass, above).


Thinning

This value determines the rate at which the atmosphere density decreases with height. Possible values range between 0 and 3,000, with 0 representing a slow falloff and 3,000 representing a rapid falloff.


Set Global Physical Wind

This sets a global wind for the whole scene. Selecting this tool places in the workspace a non-rendering 3D widget that indicates the strength and direction of the wind. The following controls are available for the global wind:

•	Change the global wind's direction by rotating the widget.

•	Change the global wind's strength by scaling the widget, or by right-clicking on the Global Wind icon and setting it in the numeric field labeled Power.

•	Because the global wind permeates the scene, moving the widget has no effect.

•	Selecting the icon again will turn off the wind, but any changes will be remembered (and saved with the scene), and restored if you turn the wind back on.

•	To restore the global wind to its default settings, delete the widget and add a new one.


Add Local Physical Wind

You can add as many local wind widgets to your scene as you like. The local wind is similar to the global wind, but its effects depend on the position of widget, and its intensity decreases with distance. Properties are:

•	Change the local wind's direction by rotating the widget.

•	Change the local wind's strength by scaling the widget, or by right-clicking on the Local Wind icon and setting it in the numeric field labeled Power.

•	The widget's position indicates the center of the local wind's volume of influence. The local wind's force actually occupies a spherical volume around the widget, so even objects "behind" a local wind widget can be affected by it.

•	To add additional local wind sources, select the Add Local Physical Wind icon.

Note: In order for the wind to affect an object, it is necessary to set up a proper combination of the mass of the object, the strength of the wind, the density of atmosphere and the profile of the object. For example, it is not possible for the wind to blow away a heavy cube with a small active profile if the wind is not strong enough. Also, it is necessary to take into account  the subdivision of the object. If an object's surface against which the wind is blowing consists of nine faces (instead of just one), its air resistance is evaluated nine times instead of once, and the whole computation is much more precise.


Physical Simulation Control Panel

In the Local Physical Attributes panel, right-clicking on the Start Simulation or the Set Objects to Origin tool lets you set these global values for the simulation:

More:

Time

Auto Rewind

Constant Time

Erase Script

Draw Object/Scene

Draw Handles


Time

This setting defines the simulation's duration, inseconds. The default value is 60.


Auto Rewind

If checked, objects will automatically return to their original positions when you stop the simulation. If not checked, objects remain in their final positions. Then, if you click Start Simulation, the simulation will continue from that point. This way, you can change values during the simulation. If you want to restart the simulation from the beginning press Set Objects to Origin before restarting the simulation to return objects to initial positions and velocities.


Constant Time

The Constant Time checkbox and numeric field let you set the number of simulation steps calculated per generated animation frame; alternatively, it lets you tell trueSpace4 to make its best guess about the number of steps required.

By default, Constant Time is enabled, and set to 10 simulation steps per animation frame. You can change this setting by entering a new value, either from the keyboard or by clicking and dragging on the double-headed arrow to the right of the field. Use low values (5 or less) for faster simulation speed, and higher values (30 or more) for greater accuracy (e.g., with collisions).

When Constant Time is disabled (called "auto-step"), trueSpace4 determines the appropriate number of simulation steps per animation frame on the fly. This may work best in complex simulations, where the need for speed versus accuracy can change from moment to moment.

This setting does not affect how fast trueSpace4 calculates or plays back a simulation. The speed at which a simulation runs can vary, and is dependant on the complexity of the simulation at any given moment.


Erase Script

For every simulation start (not for continuing an existing simulation), any existing keyframes are erased. If you want to extend an existing simulation, the check box should not be checked.


Physical Simulation - Physical Simulation Control Panel - Draw Object/Scene
Draw Object/Scene

This set of two radio buttons lets you set whether the screen is redrawn for the whole scene or just current object during the simulation. The selection does not affect objects' behavior during the simulation.

Note: Draw Object can be in effect only in Wireframe Display mode. If Solid Render mode is in effect, the entire scene is always drawn during the simulation.


Draw Handles

This combo box lets you indicate how the handles (arrows) for initial velocities and accelerations are to be drawn.

None - no handles are drawn

Sel - (default) handles are drawn for the selected object only

All - all handles are drawn


Tips for Improving Performance

You may find that you get slightly different results upon running a simulation twice with the same settings, typically manifested as colliding objects bouncing in different directions. This is caused by coinciding edges, and is typically remedied by moving one of the objects.

More:

Speed

Accuracy


Speed

For most scenes, the optimum settings are the defaults. If, however, you find you're getting unsatisfactory performance while running a simulation (i.e., it's running too slowly), here are some suggestions for speeding up the simulation:

•	Use Wireframe Display mode.

•	Set the simulation to draw only the selected object, rather than the entire scene (works only in Wireframe Display mode).

•	Turn on Constant Time, and set the number of steps to 1.

•	Turn off Atmosphere.

•	Turn off Buoyancy, and/or disable the atmosphere or set Atmosphere Density to 0.

•	Using objects with concave surfaces can slow down simulation. If possible, create a concave object by cluing together several convex objects.


Accuracy

If you find, on the other hand, that the accuracy of the simulation needs to be improved (e.g., velocities vary when they shouldn't), here are some things to try:

•	Turn on Constant Time and set the number of steps to a high number (30 or above).

•	Turn on Atmosphere.

•	Turn on Buoyancy.

If objects behave strangely during collisions (e.g., a light object doesn't fall over when hit by a heavy one, or objects stick to each other), give these a try:

•	Turn on Constant Time with appropriate settings (on the high side).

•	Change the ratio of object's weights.

•	Quad Divide objects (the more faces and vertices, the more accurate the collision).


Inverse Kinematics - Introduction
Introduction

Inverse kinematics is an important feature in trueSpace4 that lets you produce realistic character animation by creating and manipulating hierarchical figures in a natural and intuitive manner. Previously, to perform character animation, you had to animate your virtual characters  using "forward kinematics," which involves a labor-intensive top-down approach. For example, to make a male character touch his nose, you had to first rotate the upper arm, then the forearm, then the hand, and finally the finger that's to touch the nose, which itself might involve separate rotation of two or three "bones." And because the setup was so unnatural, so too was the resulting animation.

With inverse kinematics, or IK, as it's known in the animation industry, you simply grab the tip of the finger, pull it up toward the nose, and the rest of the arm follows along naturally.

An important term to remember when using IK is "degrees of freedom." This means that a joint between two "bones" can move along and/or rotate on any combination of the three axes (X, Y and Z). Three possible axes of movement and three possible axes of rotation equals six possible degrees of freedom of movement. With trueSpace4's sophisticated IK controls, you'll find it's easy to place limits on any of the six degrees.


Kinematics Tools

By right clicking on the Add Custom Joint button, you get the Add Joint tools property panel.


Add Joint Tools

There are six tools in the Add Joint Tools Property Panel. They are known collectively as Add Joint tools:

More:

Add 0D Fixed Joint

Add 1D Slide Joint

Add 1D Hinge Joint

Add 2D Slide Joint

Add 2D Spherical Joint

Add Shaft Joint

Add Custom Joint

The Nail

Manipulating IK Objects

Building IK Objects

The Joint

Changing Joint Parameters


Add 0D Fixed Joint

Connect with zero degree of freedom.


Add 1D Slide Joint

Connect with a translational joint that can move along only one axis.


Add 1D Hinge Joint

Connect with a rotational joint that rotates only on one axis (like our fingers, or elbow).


Add 2D Slide Joint

Connect with a translational joint that can move along a plane.


Add 2D Spherical Joint

Connect with a rotational joint that rotates on two axes (a "ball-and-socket" joint, like our shoulder).


Add Shaft Joint

Connect with 1D translational and 1D rotational joint.


Add Custom Joint

Connect with a joint whose degrees of freedom you define (see Building the IK object).


The Nail

You must specify one fixed component object, or "anchor," in each IK object, using the "nail." trueSpace4 creates this entity, displayed as a thin green-outlined triangle, automatically when you create the first joint, and places it on the second object. The nail remains permanently attached to the IK object. You can manipulate it at any time by dragging the Nail object onto a different component object. Its location on the component object to which it's attached is inconsequential.

Note: It is possible to create a complex IK object consisting of more than one IK branch. (This is described later in this chapter, under Building IK Objects.) These types of complex objects have nails for each branch. A nail cannot be moved outside of its branch. If you attempt to do this, the nail automatically returns to its former position.


Manipulating IK Objects

To manipulate an IK object, the entire object should be selected (i.e., you should be at the top of the hierarchy), and Object Move mode should be active. Click on the end of the chain of component objects you wish to manipulate, and drag the mouse. One way that IK manipulation differs from normal object navigation is that you can manipulate any component object of an IK object without first selecting  it. You can grab any part of an IK object and move it directly.

You can move a selected IK object with or without Inverse Kinematics. If, when you drag the mouse, the mouse pointer is outside the object or it is on a nailed component object, the whole object moves according to how the mouse moves. If the mouse pointer is on another component object of the IK object (called an effector), Inverse Kinematics controls the motion of all component objects between the object and the nailed object. A chain of component objects from the effector to the nail behaves according to the degrees of freedom set for joints along this chain and according to how you move the mouse. The mouse motion is translated into a directional force, which is depicted as a yellow line emanating from the effector at the point on which you click. If the Use Torques option is active (see Kinematics Property Panel, below), the mouse motion is also translated into a rotational force about the center of the effector. Thus, clicking on different parts of the effector causes varying object behavior.

Branches of component objects that are connected to some component object in the chain from the nail to the effector are moved and rotated with the component object they are linked to. Any part of the object "above" the effector is moved and rotated with the effector.

Animating an IK object is done the same way as animating any other object. Going to a frame in which a key is to be set, and then manipulating the object, automatically sets an animation key.


Building IK Objects

You build IK objects with the Add-Joint tools. These tools connect two polyhedra with a joint. The process consists of three steps:

1.	Select the polyhedron that is to be the child object of the one it will be attached to. For example, in an arm, the forearm would be the child of the upper arm, so you would select the forearm first. The first object you select can be a standalone polyhedron or a component object of a previously built IK or hierarchical object. In the latter case, you need to first use the arrow keys to navigate through the hierarchy and select the component object.

2.	Activate the Add Joint tool you want to use (any of the predefined joints or Custom Joint).

3.	Pick the second polyhedron. Again, this can be a standalone polyhedron or a component object of other IK object. In this case, you needn't pre-select the component object.

When you join two objects, the joint is placed at the intersection of both objects. If objects intersect each other, the joint is placed in the center of intersected parts; if objects do not intersect, the joint is placed at the vertex (or in the center of the vertices of the first object, e.g., the end of a cylinder) closest to the second object.

Joint's location can be changed with the Build Skeleton tool. The Edit Joints mode has to be OFF.   Move Joint operation of the Build Skeleton tool is assigned to do this.

Important note: In addition to combining discrete objects into an IK structure, the Add Joint tools can link pairs of polyhedra that already belong to a standard hierarchical object. Thus, an existing hierarchical object can be transformed, step by step, into an IK object without the need to first split the object into separate objects.

You can also use this method to link only a part or parts of the object, maintaining the remainder as a whole, but without connection by joints. This lets you create an object with more separate IK branches. Each branch carries one nail, and can be manipulated separately by dragging on the nailed component object, while still letting you manipulate the whole object. IK objects can be glued together without the linking by the joint. This is an another method for creating objects with multiple IK branches, in addition to those detailed in the Editing IK Objects section, below.

There is an alternative way of building the IK object in 4.0 now. It is the new "Build Skeleton" tool with its "Link IK Object" mode. It allows direct creating of joints inside a hierarchical object by clicking on desired places. Each click creates new joint and links two closest objects with this joint. A type of this joint can be specified in the Build Skeleton Properties panel. Although the click has to be on the surface of some of sub-objects to determine the 3D position of the joint, the joint can be moved afterwards even in the same step by dragging instead of just clicking. The Move Joint operation has to be selected with the Create Joint though.

There is also another new tool "Attach Object to Bone". It allows not only attaching objects to particular bone in "Bones" object to carry the object without deformation, but it also works for the regular IK object. It allows detaching, attaching and repositioning of objects linked with joints. This tool works much like "Attach Skin to Skeleton" tool. Clicking on an object while the Control key is pressed detaches the object from the IK object while keeping all joints that were linking this object to the rest of the IK object. Clicking on other object on the same place attaches this object to the IK object and links it with all relevant joints with neighboring objects. Dragging of any sub-object replaces this object without destroying linking with joints.


The Joint

In trueSpace4's IK implementation, a joint is an object that connects two objects and specifies degrees of freedom of this connection. The joint is not visible when the scene or object is rendered. Each joint can have three rotational and three translational degrees of freedom, of which any combination is possible.

Each degree of freedom has its own parameters that include a stiffness and optional lower and upper limits, respectively called Min and Max.

The joint has two graphical representations. Basic representation consists of just simple octahedron. The description below relates to the representation for editing that appears only in Edit Joints mode of the Build Skeleton tool.

"A joint's graphical representation consists of connectors, limits and stiffness. The connector is a straight line from the joint, normally pointing to the center of a connected object, drawn in yellow (or red, if unconnected to an object). (Connectors can be rotated, in which case they may not point to the center of a connected object.) Limits, combined with stiffness, are represented as one or more rectangles for translational degrees of freedom, and one or more partial or complete circles for rotational degrees of freedom. "

The position of the joint determines its rotational axes. A line from the position of the joint to the center of the first object (called a connector) defines the Roll axis. The axis for Yaw is perpendicular to the second connector, which is a line from the joint to the center of the second object. The axis for Pitch is always perpendicular to the Roll axis. When you create a new joint and after the joint is moved, the rotational axes are in a default orientation, where the Pitch axis is perpendicular also to the second connector. You can change the axes' initial orientation with the Edit Joints tool.  Moving the joint in the Build Skeleton tool (Move Joint operation) always updates connectors and the orientation of all rotational axes. (See Bones Chapter for more).

The following color scheme is used to distinguish between the various degrees of freedom:

Blue: X translation and Pitch

Red: Y translation and Yaw

Green: Z translation and Roll


Changing Joint Parameters

You can change a joint's parameters both before and after creating the joint.

Selecting the Add Custom Joint tool opens the Joint Attributes panel, which contains default parameters. It shows the active degrees of translational and rotational degrees of freedom and optional Min and Max limits and a Stiffness setting for each degree of freedom. You can change any displayed parameter before adding the joint.

You can modify the joints of an IK object at any time with the Edit Joints mode of  Build Skeleton Tool. Activating this mode selects the first joint of the IK object. Right-clicking on Edit Joints mode opens the Joint Attributes panel.

With the Edit Joints mode active, you can change a joint's parameters interactively with the mouse by dragging various parts of the joint widget:

When a limit is changing, one of linked objects (the one farther from the nail) is rotating or moving to this limit to show in real-time what this limit represents. The whole branch of objects linked with joints to this object rotates or moves with it. This object returns back to its original position just after the mouse button is released.

Dragging the whole connector with the right mouse button rotates the connector about its length, thus rotating the joint.

Dragging the whole connector with the left mouse button changes the value of relevant rotational degree thus rotating one of linked objects (the one farther from the nail) relatively to the second one. The whole branch of objects linked with joints to this object rotates with it.

These changes are updated also in the Joint Attributes panel. You can also change joint parameters by entering new values in the panel. The joint's graphical representation will reflect those changes as well.

It is not required to select the joint PRIOR the Edit Joint mode of the BUILD Skeleton tool is entered. However this joint has to be activated by clicking on it. There are no longer darker and brighter colors for joints. There is ONLY ONE joint in widget representation that can be edited and the panel shows parameters of this joint. Other joint can be activated just by clicking on it.

When editing joints, you can save the currently selected joint with the Save Object command. This lets you keep a library of joints for building IK objects without having to set up the joints individually each time.


Joint Attributes Panel

Joint Attributes panel opens on the right click on Add Custom Joint and on Edit Joints in Build Skeleton panel.

The panel specifies the current joint's degrees of freedom and parameters of all six potential degrees. There are X, Y, and Z buttons for translational degrees of freedom, and Pitch, Yaw, and Roll buttons for the rotational degrees. You can enable and disable each degree separately by selecting or deselecting its button in the panel, and specify each degree's limits numerically with the Min, Max and Stiff settings.

More:

Min/Max Joint Limits

Stiff(ness)

Value


Min/Max Joint Limits

The Min and Max settings let you set the "bottom" and "top" limits of allowable motion for each degree of freedom. You can disable and enable these limits separately for each degree of freedom by turning the corresponding Min/Max button set off and on (clicking on the labels; they're active when pressed in).

For translational joints, the Min setting can be -10 to 0 units, and the Max setting can be 0 to 10 units. In other words, an object attached to a translational joint can be moved up to 10 units away from the joint's center along any of the three axes.

For rotational joints, the Min setting can be -360 to 0 degrees, and the Max setting can be 0 to 360 degrees.

The rotational joint on the left in the illustration below has a Min setting of -45 and a Max setting of +45. The rotational joint on the right has a Min setting of -135 and a Max setting of +135.

The translational join on the left in the illustration below has a Min setting of -1 and a Max setting of +1. The translational joint on the right has a Min setting of -0.5 and a Max setting of +0.5.


Stiff(ness)

The Stiffness setting lets you determine the amount of "friction" of the respective degree of freedom. The greater the friction, the more relative effort is required to modify the joint when manipulating the IK object. A setting of 0 means no friction, and the higher the value, the higher the friction. There is no upper limit for this value; it goes to infinity, which you can also set by de-selecting this degree of freedom from the joint.

If the Edit Joints tool is active, the Joint panel shows the parameters of the selected joint. In this case the panel settings reflect any change of the joint by directly manipulating the joint's handles. Conversely, changing numerical entries in the panel causes the selected joint's handles to change.

If the Add Custom Joint tool is active, the Joint Attributes panel shows parameters for the default joint used by this tool. You can change the parameters for this joint before adding the joint. Otherwise, the tool uses current settings and you can change the joint later with the Edit Joints tool.

If you open the Joint panel by right-clicking on one of the predefined joint tools, it shows the parameters for that joint. Although you can change the parameters in the panel, the predefined joint is not altered.

The translational joint on the left in the illustration below has a Stiffness setting of 0. The translational joint on the right has a Stiffness setting of 70.

The rotational joint on the left in the illustration below has a Stiffness setting of 0. The rotational joint on the right has a Stiffness setting of 8.


Value

Joint Attributes panel contains also "Value" for all six degrees of freedom.  It specifies a relative rotation and move of two objects linked with this joint.


Kinematics Property Panel

Open the property panel for Inverse Kinematics by right-clicking on the Edit Joints tool in the Kinematics pop-up.

There are five check boxes in the Kinematics panel:

More:

Draw Joints

Draw Bones

Use Torques

Draw Effector

Joint To Axes


Draw Joints

This toggles the display of an object's joints.


Draw Bones

This toggles the display and hiding of bones.


Use Torques

This transforms mouse movement into rotational force as well as into the implicit directional force.


Draw Effector

This toggles the display of an effector's force (i.e., the yellow line that shows direction) during IK manipulation.


Joint To Axes

This toggles the display of joints to axes.


Bones & Skinning - Introduction
Introduction

Much like their namesake, Bones provide a skeletal deformation structure for your 3D objects.  You can create a skeletal structure and then place the skeleton inside any polyhedron to control movement or animation, thus making it possible to use trueSpace4 to bring characters to life like never before.  Bones work in tandem with the Inverse Kinematics (IK) tools to allow you to create characters that bend or wriggle realistically simply by choosing Object Move and dragging the appropriate area on a bones object.

Bones also allow you to simulate muscle contraction automatically simply by bending a limb.  For example, if you create an arm in trueSpace4, you could place a bone in the upper arm and link it to another bone in the lower arm.  Then, when you bend the lower arm toward the shoulder, the "muscles" in the upper arm contract as they would in real life.  Similarly, the user can adjust the "tendons" that form in the joints between bones to control bending and folding.

Here is a quick rundown of the terms you'll see used in conjunction with Bones objects:

Skeleton – An IK object made up of bones.

Bone – A primary component of the skeleton that deforms surrounding skin.

Branch —  A bone with three or more joints.

Skin – A polyhedron that is deformed by an attached skeleton.

Muscle – The area of the skin that surrounds a bone, contracting and expanding as the bones are flexed.

Tendon – The area of the skin that surrounds and bends around a joint.

Contractor – A muscle that contracts as a joint is bent.


Creating a Skeleton

The Bones and Inverse Kinematics tools can be found in the Animate tool group.  trueSpace4 offers you three ways to create the skeleton:

Extract Skeleton from IK object: This tool allows the user to create a skeleton from an existing IK object by replacing all IK-linked polyhedra with bones. An extracted skeleton retains the animation information (if any) of the original object. The original IK object remains unchanged, but the new skeleton can then be applied to another polyhedron by selecting the Attach Skin To Skeleton tool.

Build Skeleton: The Build Skeleton tool makes it possible to construct a skeleton directly in 3D space or inside an object (outlined below).

Add New Bone: This tool allows the user to bring individual bones into a scene and use them to build a skeleton.  The bones can be attached to each other using the Add Custom Joint tool, much the same way as an IK object is made from several polyhedra.

More:

Attach Skin To Skeleton

Animating With Bones

Edit Muscles and Edit Tendons tools


Attach Skin To Skeleton

Once you have a skeleton that you are ready to implant into an object, use the Attach Skin To Skeleton tool to create your Bones object.  You can attach a skeleton to a polyhedron or a glued group of polyhedra. On execution, this tool automatically assigns muscles around bones and tendons around joints.  You can edit the degree of influence of muscles and tendons as needed to conform to your particular Bones object.


Animating With Bones

With the Bones object created, simply use the Object Move tool to drag the desired bone or area of the skin — the same way you would manipulate an Inverse Kinematics chain of polyhedra. As the bones move, the skin to which they are assigned follows along with them.  Also as with IK objects, Bones objects contain a nail fastened to a bone (or bone branch) that anchors the bone in place.


Edit Muscles and Edit Tendons tools

Edit Muscles: When you click the Edit Muscles tool, you can edit the attributes of the contractor muscles of a selected bone as well as the sharpness of bending in tendons.  For best results, you will want to use the Edit Muscles tool after flexing the bones to see the degree of change.  The muscle editing process is described in more detail later.

Edit Tendons:  The Edit Tendons tool allows you to adjust the ratio between muscles and tendons. As with the Edit Muscles tool, you will want to flex the particular bones before using Edit Tendons to properly see the results of your actions.

Note:  It should be stressed here, that even the flexing helps to see the result of changing the ration between muscles and tendons. The Edit Tendon tool works on an original (non-flexed) state of the skeleton. The tool automatically straightens all bones when entered and restores flexing after quit.


Using the Build Skeleton Tools

You can use the Build Skeleton tool to create a whole new skeleton from scratch, edit an existing skeleton, or make changes to a skeleton assigned to a skin.  If a Bones object (a skin with skeleton already attached) is selected, clicking the Build Skeleton tool reverts the skeletal structure to the state it was when it was attached to the skin — and all animation information will be deleted.  Once in Build Skeleton mode, you can manipulate or delete existing joints, or add more joints and bones to the skeleton.  To exit Build Skeleton mode, simply click on the Build Skeleton tool again, and all skin objects will be automatically reassigned to the skeleton.

You can construct your skeleton in any 2D (orthogonal) or 3D (perspective) view, either by itself or within another object to use as your guide. If there is no object under the cursor while placing bones and joints, the skeleton is built in the X-Y plane (parallel to the Grid) while in a 3D view; in a 2D view, it is built in a plane perpendicular to the selected view.  If, however, there is an object under the cursor, the skeleton is built inside of this object.

Note: Although the X-Y plane is default for drawing the skeleton in 3D view, there is an option "Build vertically" that allows drawing in the vertical plane, either X-Z or Y-Z depending on which one is more perpendicular to the view.  This selection can be found in the next section:  Build Skeleton Properties Panel.

The tool has several modes represented by following icons in the Build Skeleton panel:

Move Joint: When this button is depressed, clicking and dragging on a joint moves the joint.  If used in conjunction with "Add Joint", a newly-created joint can be immediately moved without releasing the mouse button.  Checking the Move Branch box, or holding the Control key while moving a joint, allows you to move all joints and bones in a branch.  (See Moving A Branch below for more details.)

Edit Joints Directly: Edit the joints of an IK object, interactively or via the Joint Attributes panel. The Joints Attributes panel is opened by right-clicking on this icon, and is described earlier in this chapter.

Add Joint: With the Add Joint button depressed, a left-click creates a new joint and adds a bone connected to the most recently added branch of the skeleton. Clicking on an existing bone with the Add Joint tool active creates a new joint and divides the existing bone into two new ones.  Checking the Add Branch box allows you to add joints to the end of another (older) branch, or to start creation of a whole new branch. (See Adding a Branch below for more details.)

Note: The Add Joint tool that links two objects with a joint requires to select one of these objects, activate the Add Joint tool and then a click on the second object. A joint is created on a place chosen by the tool. In contrary, the Link IK object tool allows the user to specify an exact position of the joint simply by clicking on a sub-object of the hierarchical object. The tool finds two closest objects and links them with the new joint.

Delete Joint:  When Delete Joint is selected, clicking on a target joint deletes it.  This is a one-hit function; after deleting a joint, trueSpace4 reverts to Add Joint mode.

Note that the Add Joint and Move Joint functions can be combined or disabled separately, to prevent moving a joint when you want to add one — or adding a joint when you want to move one.

Add Branch:  When this box is checked, a left-click with the Add Joint tool active adds an extra joint to the bone nearest the cursor (rather than at the end of the leaf).  If the nearest bone is in fact a leaf bone, the new joint will simply extend from the leaf.  In either event, the new joint becomes the active branch; invoking Add Joint will continue adding joints and bones from this new branch.  (Note that you can also add a branch to a bone chain by holding down the Control key while clicking.)

Move Branch: When the Move Branch box is checked, clicking and dragging on one joint in a branch moves all joints (from the selected joint on, and away from the nail) in tandem.

Link IK Object:  It allows creating of an IK object from a hierarchical object simply by specifying where joints should be.

More:

Direct Editing of Skeletal Joints

Build Skeleton Properties Panel


Direct Editing of Skeletal Joints

You can use the Build Skeleton tool with the IK objects to edit a joint's degrees of rotational freedom. Double clicking on any joint displays its control handles; you can use the Pitch, Roll, and Yaw indicators to display and/or change the values for degree of freedom for that joint.  If you have Minimum and Maximum values set for the selected joint, you can click directly on the Min/Max radial indicators and swing the joint around to set new Min/Max values; upon releasing the mouse button, the branch will return to its previous position.

You can display the properties of any other joint simply by clicking on the desired joint. A second double click exits joint edit mode.

Note: Switching to/from Direct Editing of Joints mode by double clicking on the joints is only the alternative way. The basic switching is via the icon "Edit Joints Directly" in the Build Skeleton panel shown in the previous section.  The right click on this icon brings the Joint Attributes panel that allows to activate limits of the active joint together with numerical editing of all attributes.  See the previous section earlier in the chapter: Joint Attributes Panel.


Build Skeleton Properties Panel

Right-clicking on the Build Skeleton tool opens the Build Skeleton Properties panel:

Link with: Use this pop-up menu to determine the type of joint created by the Build Skeleton tool.  The default type is Hinge.  You can adjust the properties of a joint at any time using the Edit Joints Directly tool in the Build Skeleton panel.

Build vertically:  Check this option if you wish to build a skeleton from the ground up (or vice versa) rather than parallel to the ground while in a perspective view.

Hide Leaf Bones: Each joint links two bones. One or both these bones can be the leaf bones (unconnected to other bones). The direction of leaf bones is not defined by the user and is extrapolated from the direction of the previous bone. These leaf bones can be hidden during the building the skeleton. They appear just after exiting Build Skeleton mode.  If you wish, you can make leaf bones visible in order to change their default direction.

Nail Color, Joint Color, and Bone Color:  Click and hold on the color blocks to view a popup menu, from which you can choose custom colors for nails, joints, and bones.


Attach Object To Bone

The Attach Object To Bone tool allows you to link any un-boned polyhedron to a specific bone in your skeleton.  This makes it possible for a character to hold an object in his or her hand, or attach non-bending objects such as a helmet or a shield to a knight in shining armor.

To use this tool, it is first necessary to position the object near the bone, at the point where you want it to "stick" to the bone when the skeleton is manipulated.  Next, specify a bone within your skeletal structure that you wish to attach the object to.  Do this by clicking the Attach Object To Bone tool.  Your cursor turns into a small glue bottle; move the glue bottle to the target bone and click.  The bone will be highlighted to indicate your selection.  In case of error, simply click on another bone to select it.

Once the bone has been selected, click the glue bottle on the target object; trueSpace4 then groups this object with the target bone.  Movement of this bone will result in a corresponding movement of the attached object, as seen in the right panel.

Note: It is not necessary to select a bone prior to attaching an object to it. The Attach Object to Bone tool looks automatically for the closest bone to the picked object. Selecting a bone only assures the user to attach the object to desired bone.

To remove an attached object, click the Attach Object To Bone tool, and hold down the Control key while clicking on the attached object.

Advanced:  As stated,  this tool allows attaching an object directly to a bone of the skeleton. Thus a Bones object can carry something without the deformation. However this tool can be used also for editing an arbitrary IK object. It allows replacing any sub-object, linked with joints to other sub-objects, with an arbitrary object or to move, rotate, or scale any linked sub-object to adjust it within the IK object. The tool works much like Attach Skin to Skeleton tool. Clicking or dragging while the Control key is pressed detaches an object under the cursor from the IK object while all joints remain unchanged. Placing another object on a position where the original object was and clicking on it attaches it to all joints that were attached to the previous object. It is also possible to select a particular bone that represents the detached object and then click on the new object to assure that it will be attached to the right joints. If one of Move, Rotate, Scale operation is active then dragging with any sub-object of the IK object changes position, orientation, or size of this sub-object without destroying its connections within the IK object.


More tricks with the Attach Skin To Skeleton Tool

As mentioned earlier, the Attach Skin To Skeleton tool makes it possible to attach an object (also called the skin) to a skeleton for animation.  trueSpace4 automatically assigns parts of the skin surface to the skeleton to form muscles and tendons, which can be edited later by the user.

You can attach a skeleton to a single object, or to a group of objects that are glued together. You can also attach a skeleton to several objects at once; such objects can even overlap each other.  Portions of the skin that extend beyond a leaf bone will be deformed along with the surface that is attached to this bone. Note that the skeleton does not have to be completely contained within an object; bones can extend beyond the skin surface.

The Attach Skin to Skeleton tool allows you to separate the skin from the skeleton to change the position, rotation, or size of the skeleton within the skin. When Attach Skin To Object is activated, you can click and drag the selected object to move it into position.  If the skeleton is dragged completely away from the skin, the skeleton is detached, allowing you to edit the skin without interference from the bones.

To assign a skeleton to an object:

Select the desired skeleton.

Click the Attach Skin to Skeleton tool.  The cursor turns into a glue bottle.

Click the glue bottle on the target skin.

Click again on the Attach Skin to Skeleton tool to deactivate Attach mode.

To detach a skeleton from its skin:

Select a bones object (a skeleton/skin combination).

Click the Attach Skin to Skeleton tool.

Hold down the Control key and click; OR hold Control and drag the skin outside the Skeleton.

Click again on the Attach Skin to Skeleton tool to deactivate Attach mode.

To reposition, resize, or re-orient the skin:

Select a bones object (a skeleton/skin combination).

Activate the Attach Skin to Skeleton tool and select Object Move, Object Scale or Object Rotate.

Move, rotate, or scale the skin as you would any other object.

Click again on the Attach Skin to Skeleton tool to deactivate Attach mode.

More:

A Few Notes On Attaching Skin


A Few Notes On Attaching Skin

The skin surrounding a bone between two joints forms one muscle. This muscle can be the contractor with respect to either of the two joints, but it cannot be the contractor for both joints simultaneously. (See the section on the Edit Tendons tool for more details.)

If a bone has more than two joints linked to it (in other words, is a branch bone), the portion of the skin that encloses the bone is divided into as many muscles as there are joints. Each of these muscles can be the contractor for a corresponding joint.

When a skin is attached to a skeleton, you can click and drag on any part of the skin surface to perform IK manipulation. You can also place the nail anywhere on the skin.


Editing Muscles and Tendons

Once you have created a Bones object, you might wish to manually edit the degree of muscular contraction or bending around the tendons.  trueSpace4 offers tools which give you visual feedback on the effects of muscles and tendons, which ultimately gives you more control over the behavior of your Bones object.

More:

The Edit Muscles tool

Adding or Removing Vertices From A Muscle

The Skinning Panel

The Edit Tendons Tool


The Edit Muscles tool

Clicking on the Edit Muscles tool activates your object's muscle edit mode.  Here, your most recently edited bone, as well as the vertices on the skin which act as muscle contractors, will be highlighted.  Activating this tool allows you to change the parameters of the selected contractor muscle; right-clicking on Edit Muscles pops up the Muscle Properties panel, from which you can select numerical values for these parameters.  Note that in order to best use this tool, you should have an adjoining joint bent so the actual contraction will be visible.

Note: The right click on Edit Muscles opens the Muscle Properties panel, although the panel is automatically opened when the tool is entered (by the left click on it).

When you first use Edit Muscles, the first muscle from the nail is selected. The vertices of the muscle contractor will be highlighted the color you choose from the Skinning panel (opened by right-clicking the Edit Tendons tool). You can select other muscles by simply clicking on or near the desired bone.  A small control object appears above the muscle, which sports the following handles:

Center point: Strength of the muscle bulge (also adjustable by using the "Strength" parameter in the Muscle Properties panel).  Click and drag your mouse left to extend the bulge, or drag right to lessen the amount of bulging.

Handles parallel to the bone: strength along the bone (also adjustable by using the "length" parameter in the Muscle Properties panel).  Click and drag your mouse right to widen the muscle bulge area along the bone, starting from the center point of the muscle; click and drag left to shrink this area.  By widening the Length value handles in the example below, you can see increased separation of the muscle vertices, especially toward the center of the bone.

Handle perpendicular to the bone: adjusts the lateral extension, or width, of the muscle bulge (also adjustable by using the "width" parameter in the Muscle Properties panel).  Click and drag your mouse to the right to fatten the sideways bulge of a muscle as it is contracted; click left to make this more narrow.  Note how increasing the Width value in the following example causes more bulging perpendicular to the angle of the bone.

Handle extending toward the bone: adjusts the falloff, or sharpness, of the bulge.  Low falloff settings provide a wider area of muscle bulging, leading to a smoother contraction area.  Increasing the Falloff value provides a sharper bulge, as seen in the example below.

By default a muscle is set to extend along all axes.  Right clicking on the control handle turns the muscle into a bi-directional flexor/extensor type, and adds a blue-red line indicating the direction of the contraction, which runs through the muscle. Dragging the line on either the red or blue side changes the direction of flexing and extending.  While in this mode, the flexor and extensor get their own separate set of the parameters described above, allowing you to specify independent values for each.  Only one of them can be contracted at a time, and the flexor/extensor line will adjust the parameters of the contracted part of the muscle. To revert to the omnidirectional muscle type, simply apply another right-click to the control handle.

Flexor/Extensor: In the Muscle Properties panel,  this checkbox   allows switching between all-directional and bi-directional contraction of the muscle.

Sharpness: Edit Muscles tool allows editing of a sharpness of tendons. Clicking on a joint or a skin near the joint, a tendon is selected. A small control object appears above the tendon that allows sharpening the tendon bending


Adding or Removing Vertices From A Muscle

The Attach Skin to Skeleton tool automatically assigns muscle vertices to bones when merging the skin with the skeleton.  However, you can use the Muscle Properties panel to add or remove vertices using the Lasso or Rectangle tools (in the case of multiple vertices), or by the Point Select tool (for individual vertices).  As with the standard Lasso and Rectangle selection tools, you can right-click to choose highlighting of vertices as well as backside selection.

To add vertices to the selected muscle, choose the desired selection option (Point, Lasso, or Rectangle), and click the Add button (the sphere with the plus sign).  Next, use the selection tool to highlight the desired vertices.  The new vertices will be assigned to this muscle group automatically, and you will immediately see the results of the additional vertices where a connecting joint is flexed.

To remove vertices from a selected muscle, choose the desired selection option (Point, Lasso, or Rectangle) and click the Remove button (the sphere with the minus sign).  Next, use your selection tool to highlight the desired vertices.  The vertices removed from this group are automatically reassigned to the nearest adjoining tendon.

Note: To finish adding/removing vertices between muscles and to select another muscle, it is necessary to deactivate selection tools (points, lasso, and rectangle) by clicking on the Muscle icon.


The Skinning Panel

Right-clicking on the Attach Skin To Skeleton or Edit Tendons tools brings up the Skinning panel, which is used to control the assignment of muscles and tendons to the skin when the skeleton is attached.

Below is an explanation of the parameters found in the Skinning panel.

Tendon Rate (range 0.01 : 0.99, default value 0.20): Adjusts the proportion between the tendon and the muscle.  Use higher values to increase the influence of the tendon (the area between the planes that displays tendon range).  In the figure below, the tendon rate for the selected tendon has been increased from .2 to .5; note how the planes define a larger area for that tendon.  While in Edit Tendons mode, this value can also be adjusted by clicking on the handle bar that appears when a tendon is selected.

Beyond last Bone (default ON):  When this value is toggled on, any area of the skin that exceeds a leaf bone is attached to this bone.  Otherwise, portions of the skin remain immobile, which can cause breaking or tearing of your skin structure.

Before Nail (default ON): When this option is enabled, any area of the skin that does not enclose any bone is attached to the nailed bone.

Contractor (default "Closer to the Nail", on the left): Specifies which muscle is the contractor.  If you wish to reverse the direction of muscle bulging, click the opposing checkbox.

Realtime update (default ON): Because the changing of the tendon rate by "Edit Tendon" tool can be slow on older systems, you may wish to disable the real-time feedback. With this option disabled, only the planes representing the tendon borders are moved during the mouse dragging; mapping of the skin to the tendon and neighboring muscles is performed only after the mouse button is released.

Tendon Color (default red): Contains a pop-up menu with six optional colors for the vertices of the tendon.

Muscle Color (default cyan): Contains a pop-up menu with six optional colors for the vertices of the muscle.

Contractor Color (default blue): Contains a pop-up menu with six optional colors for the vertices of the contractor muscle.


The Edit Tendons Tool

The "Edit Tendons" tool changes the tendon rate and the specification of the contractor. When this tool is active, the tendon rate and specification of the contractor are updated for the selected tendon. You can also input numerical values to adjust the range of the selected tendon, and see the results immediately in your workspace.

When you click on this tool, your bones object reverts to the pose it had when the skin was attached to the skeleton.  You will also see two planes which border on either side of the selected tendon.  These planes define the limits of the influence of the selected tendon.  Clicking on the handle bar adjusts the tendon rate for the selected tendon; click and drag right to increase the tendon rate (extending the number of vertices grouped with that tendon).  Click and drag left to reduce the number of vertices assigned to the tendon.  You can also enter values directly into the Tendon Rate field in the Skinning panel.  See the section on the Skinning Panel for visual samples of the functioning of this tool.

To select a different tendon for editing, simply click your mouse on a different tendon group on the skin


Scripting - Introduction
Introduction

The terms "script language" and "script" refer to basic embedded interpreted languages. Script language gives you an opportunity to write small (or large, if you prefer) programs without resorting to an additional programming interface. For scripting within trueSpace4, the Python script language has been embedded.

Python is a high-level, object-oriented programming (OOP) language. Python is simple yet powerful. Beginners should find it quite simple and easy to use. For intermediate and advanced programmers, it provides standard object-oriented features. Python requires no compilation and linking (thus the development cycle is quick); it provides high-level data types and operations (making programming simple), and doesn't require type declarations (programs are simpler, shorter and more flexible).


Script Manager

TrueSpace4 provides a Script Manager (SM) window, which maintains Python scripts.  Every object in trueSpace4 can be assigned its own Python script. The script window is available after clicking on the script button (at the same position as keyframe editor button). This SM window displays the script for all active objects. You can select an object in the combo box, and the selected object's script (if one exists) will appear. After altering the current object, the window will be refreshed.

Time flow can be controlled by the values in the combo box to the far right; this value will be stored to the registry (Caligari\ScriptManager\Options\TimeDelay), showing the number of time ticks between two 'ontimechanged()' calls. It should produce the same time intervals on different computers (it is highly dependent on the frequency of GUI commands).

The Script Manager window is comprised of two components: Editor View and Output View. Editor view consists of selected object's script and the output view displays strings processed by the Python 'print' command. You can use it to display messages, values while running scripts.

More:

Toolbar icons

Time Flow commands


Toolbar icons

New

Open

Save

Find


Scripting - Toolbar icons - New
New

Clears the existing script for the current object (named in the combo box) and allows you to begin a new script from scratch.


Open

Opens a previously saved script file from disk and assigns it to the current object.  If a script is already assigned, you will be prompted whether to overwrite the existing script.


Scripting - Toolbar icons - Save
Save

Saves the current object script into a file, and saves the script currently assigned to the selected object to an external file.


Scripting - Toolbar icons - Find
Find

Searches for specified text within the current script, using a standard Windows search dialog box.


Time Flow commands

Play

Stop

AutoRun

Enable/Disable


Scripting - Time Flow commands - Play
Play

Sets time ON, and starts simulation (using "global time").  (Note: The Play icon duplicates the actions of the 'Run scripts' icon in the Script Manager pop-up menu in the toolbar.)  TrueSpace4 will compile and run Python scripts; if an error occurs, an error message window will appear and the cursor will be moved to the line with the error.


Stop

Sets time OFF, and halts the simulation. This button duplicates the action occurs of the 'Stop scripts' icon in the Script Manager pop-up menu in the toolbar.


AutoRun

Toggles autorun status for the current scene.  Autorun is enabled when pushed in, and disabled when released.  With Autorun enabled, trueSpace4 automatically starts script execution after a scene is loaded. You can stop it as usual.


Enable/Disable

Enables (released) or disables (pushed) execution of the current script. If disabled, script functions will not be called for this object. Scripts can be enabled and disabled programmatically too – refer to the Enable flag in the TSObject section.


Writing Scripts - An Introduction to trueSpace Scripting

Scripts in trueSpace are visible in the script manager window. This window displays your scripts and it allows you to edit them using standard edit commands such as cut, copy, paste, and undo. The script visible in the main window belongs to an object selected in the combo-box in the script window (though the script can also be empty).

One way to quickly write you own scripts is to load the scratch.cob or scratch.scn files.  Use these predefined empty scripts to start to begin writing your own programs. These scripts don't result in any actions; it will be necessary to write your own script statements (the pass statement in the script is an empty statement).

Let's start with a simple example. We have four script lines here:

# this is a simple function definition

def ontimechanged():

  me.Translate( 0.3, 0, 0)	# move my object

  doc.Draw()

Let's read this statement line by line.

The first line is a comment. Everything after the character '#' is ignored; use this to write your own remarks.  You can also use comments after a statement (see the third script line).

The second line starts with a function definition. The keyword def denotes the function header definition; the function name follows (ontimechanged). You also have the option to write function parameters in the brackets. The header ends with a colon. The function ontimechanged() is one of the predefined message handlers (see text below) and it is called when the internal timer has changed. This function can be used to write statements, which will periodically change object properties. In the example we use this function to change object position (see line 3). The function 'Translate(0.3, 0, 0)' changes the object's x coordinate (adding 0.3 to this value). The predefined variable 'me' denotes the graphical object itself (the object which holds this script). See the 'TSObject object' section for a complete list of operations on objects. Through this variable you can read and modify graphical object characteristics. The third line ends with a comment.

It will be necessary to be aware of indentation, which is crucial in Python (denoting program blocks). In this example, last two lines starts with two spaces to identify their facility to the function. Blocks of indentation (program blocks) can be nested.

The fourth line uses another predefined variable: 'doc'. This variable allows you to access other TS functions and characteristics, which have global meaning (the 'me' variable can access local object characteristics). The 'doc' variable is used to call a Draw() function. This function redraws the entire trueSpace4 scene to reflect the last changes that were made (in this example the object will be displayed at another position).

You can copy/paste this little example to a new object in trueSpace and run it (click on Play icon). The object will move until you hit Stop. Alternatively, you can overwrite the 'ontimechanged' function in the scratch example.

More:

Supported message handlers

Predefined message handlers

Predefined variables in a script

Error handling

Information about tsxPython interface


Supported message handlers

Every script can define special functions, known as "predefined message handlers".  These functions make it possible for the script to react to actions performed in trueSpace4. TrueSpace4 can call these script methods in some circumstances.  The following is a list of predefined message handlers supported by trueSpace4.  The named function is called when an action (listed on the right side) takes place. If the message takes place every object will receive it ( 'onobjectselected' message is an exception – only the selected object will receive this message).

Note: Script functions are run in the order the objects are arranged in the scene graph. The scene object is handled first (although the ontimestopped() function is called last for scene objects); following the scene object is its first child object, and then the child of the child (etc.); next comes the second scene object and its children, and so on.


Predefined message handlers

ontimechanged: IF the time is on and the time counter has changed

onselectionchanged: IF the current object selection has changed

onframechanged: IF the user or the system changes current frame.

Note: the Script Manager must be loaded and run, otherwise the function will not be called.

ontimestarted: IF the user pushed Play on the SM toolbar or Play on the trueSpace toolbar.

ontimestopped: IF the user has pushed Stop on the SM toolbar or on the trueSpace toolbar. If the stop message is invoked by trueSpace.Stop() function inside a script or from a toolbar, every ontimestopped() function (for every script) will be called.

onmousemove(x,y): IF the user moves a mouse pointer. (x,y) are the coordinates of the last mouse position (the same as doc.GetMousePosition()).

onobjectselected: IF the user select a new object (not the object already selected), the selected object will receive this message. Use doc.GetMousePosition() to read mouse co-ordinates.

onmouseclick: IF the user clicks a mouse button and a new object wasn't selected, every object will receive this message. Use doc.GetMousePosition() to read mouse co-ordinates.


Predefined variables in a script

There are three predefined variables in every script. You can access various objects and their functions and attributes through them.

me: trueSpace object (access to TS object functions and attributes)

doc: trueSpace document (access to TS global functions encapsulated in doc object)

trueSpace: trueSpace object (access to global trueSpace attributes and functions, time flow control)


Error handling

If an error occurs in the running script, messages will be displayed in the output window. The name of the Python script (e.g. d:\ts\debug\ts5.py) corresponds to the name in the script manager status bar (see only the last part: ts5.py). This message also displays a line number, where the error occurs (optionally).


Information about tsxPython interface

To allow scripts to use trueSpace objects and operations, an interface was built between trueSpace and scripts. See tsxPython.doc file in the tsxPython directory for more information. See also enclosed examples.


More Information about Scripting

For more information about Python script language, see

http://www.python.org             or

http://www.python.org/1.5/.

Read the following tutorials for a quick start.


World Browsing Overview

Browsing refers to Navigating (moving) through VRML 1.0 worlds, both local and on the Internet. It also refers to accessing worlds from the Internet by following links from one world to the next. You can also access worlds by entering their URLs (or Web addresses) into the URL field. Finally, you can access worlds by configuring your HTML browser to work with trueSpace4.

While in World Browsing mode, you will be able to use various tools to Navigate and access VRML 1.0 worlds. The navigational tools described in this chapter can also be used to move through worlds you are creating in Building mode.

In order to access worlds on the Internet, you will of course need an Internet connection. The Internet Access section contains more information about this.

You can use trueSpace4 without an Internet connection, although you will be limited to browsing and building worlds on your computer or LAN. For example, if you are using a dial-up connection, you could build and test (browse) worlds without dialing in to your on-line service.

If you want to modify a world or start creating new worlds, use the Switch to Building Mode tool. Some actions, such as selecting an object and then copying it, automatically switch you into Building mode.


Navigating through Worlds

trueSpace4 has four methods of moving through worlds: Fly, Walk, Encircle, and Point. All of these methods work in any view window and in Browsing or Building mode. (In the latter mode, you can also use the Eye navigation tools.) Moving through a world involves the use of the left, right, or both mouse buttons.

Note: If your mouse pointer changes to either the 2D pointer or 3D pointer, it indicates that the object it's currently pointing at contains a hyperlink. When you press the left mouse button, you activate that link, taking you to the specified world. If you do this in error, left-click the Stop tool, or use the Back tool to return to your previous world. If you only want to select an object, you can right-click on the object instead. Note that in Building mode, both right- and left-clicks will select objects, since links are never followed.

More:

Fly and Walk

Encircle and Point


World (VRML) Browsing - Navigating through Worlds - Fly and Walk
Fly and Walk

If you hold the left mouse button down while moving the mouse forward or backward, you will move forward or backward in the world. As you move the mouse left or right with the left mouse button held down, you will turn to the left or right.

If you hold the right mouse button down while moving the mouse forward or backward, you will move up and down in the world. As you move the mouse left or right with the right mouse button held down, you will move left or right.

Finally, if you hold both mouse buttons down while moving the mouse forward of backward, you will tilt your view up and down. If you prefer to tilt up as you move the mouse away from you, you can turn on the PitchSwap option in the Preferences Panel.

When you are in Walk mode, you move through your world only while you are moving the mouse.  As soon as you stop moving the mouse, your movement will stop. In Fly mode, your movement through a world will continue for as long as you hold down the mouse button(s). For example, if you hold down the left mouse button, and then move the mouse forward a bit, you will keep moving forward until you finally release the mouse button.

The exception to this is for tilting in Fly mode. You will stop tilting when you stop moving the mouse. To continue a tilting movement, you must keep moving the mouse. This is to prevent you from getting disoriented by inadvertently tilting too much.


World (VRML) Browsing - Navigating through Worlds - Encircle and Point
Encircle and Point

Encircle and Point are constrained to the currently selected object. In Browsing mode, you can select an object by right-clicking on it since a left-click will follow any link on the object.

Encircle allows to move around the current object while always keeping it in view. You cannot move closer to or further away from an object, but you can fully orbit it in 3D space. Encircle is similar to Walk in that you move around an object only while moving the mouse.

Point allows you to move toward and away from the current object while always keeping it in view. You can not move from side to side, nor can you move up and down. Your movement takes place on the same ground plane as the selected object. Point is similar to Fly in that once you start a movement, it continues until you release the mouse button. There is no need to keep moving the mouse in order to approach an object.


The URL Field

The URL field is a gray bar running the full width of trueSpace4's main window, located above (or below) the menu bar. The URL field allows you to enter in a direct address to a world on the Internet. (You can also use standard DOS/Windows path names to load local files.) This field also displays the URL of a linked object whenever the mouse is over such an object.

trueSpace4 use standard Internet URLs. You do not have to include http: at the start of the URL; this will be assumed if omitted. If you enter in a URL that points to a file other than a VRML world, trueSpace4 will attempt to pass the URL to your HTML browser.

Note: HTML browsers will usually load a default page if you just specify an Internet address without a file name. This is a server setting. There is currently no default world feature in the VRML specifications. If you enter an Internet address but no file name into the URL field, trueSpace4 will pass the URL to your HTML browser.


Loading Local and Internet Worlds

You can load a VRML 1.0 file either by clicking on an object with a link or by entering the address of the world into the URL field. Your neighborhood comes with some preset links. Try clicking on some of them, and you will see in the status line that trueSpace4 is loading the linked VRML file. The loading time is based on the speed of your connection and the size of the file. It may be as little as a few seconds or as much as a couple of minutes.

You can tell that an object has a link because the mouse pointer will change shape as is passes over the linked object. There are two mouse pointers used. The 2D mouse pointer looks like a chain link, indicating a link to an HTML page (or non-VRML file). The 3D mouse pointer looks like a 3D cube, indicating a link to a VRML world.

When the mouse pointer is over a linked objected, trueSpace4 will display the URL for the link in the URL field. Also, if the object has a WWWAnchor description, this description is displayed in the Help Bar.

You can also load a local file by using the Scene: Load item from the File Menu, or by typing the path to it into the URL field. If you use the URL field, enter a standard DOS/Windows path.

You can stop receiving the currently downloading world by using the Stop tool. This tool may not have an immediate effect since there are some tasks that have to finish before trueSpace4 can look for user input.

More:

Getting Web Pages


Getting Web Pages

You can access Web (2D) pages either by clicking on an object with a link to a page, or by entering the address of the page into the URL field. Note that trueSpace4 will not actually load the page; it will attempt to pass the URL to your HTML browser. Because your HTML browser will attempt to load the page, the Stop tool will have no effect on the loading process. Also, Web (or non-VRML) pages will not be added to your Browsing History.

You can tell that an object has a link because the mouse pointer will change shape as is passes over the linked object. There are two mouse pointers used. The 2D mouse pointer looks like a chain link, indicating a link to an HTML page (or non-VRML file). The 3D mouse pointer looks like a 3D cube, indicating a link to a VRML world.

When the mouse pointer is over a linked objected, trueSpace4 will display the URL for the link in the URL field. Also, if the object has a WWWAnchor description, this description will be displayed in the Help Bar.

Note that the 2D mouse pointer does not always indicate a HTML page. It only indicates that, as far as trueSpace4 knows, the link does not point to a VRML file.


Browsing History

trueSpace4 maintains a history of worlds you've visited since starting up trueSpace4. This history is empty when you first start the program.

Any non-VRML files you access, which trueSpace4 in turn passes on to your HTML browser, are not added to the history. Also, showing your Neighborhood does not add it to the history.

The Backward tool returns you to the previous world in the history. If the history is empty, the Backward tool will be ghosted.

The Forward tool returns you to the next world in the history. If you have not used the Backward tool yet, you can not go Forward.


Your Home World

You can set your Home world (local or on the Internet) with the Home option in the Preferences Panel. Your home world can be any valid VRML file. If it is a local file, use a complete DOS or Windows path name in the Preferences setting.

If you do not have a home world set, trueSpace4 will use your neighborhood instead.

You always have quick access to your home world by clicking on the Home icon.


Your VRML Neighborhood

trueSpace4 is the first VRML browser to offer 3D bookmarks. You can use these in ways similar to bookmarks and favorite places in some HTML browsers. Your neighborhood is a simple world containing objects you've created or grabbed from other worlds, with links and (optionally) descriptions of these links. When you first install trueSpace4, your neighborhood is also used as your home world.

The best way to add to your neighborhood is to use the Add to Neighborhood tool. However, you can also switch into Building mode with your neighborhood and make any modifications you desire. Doing this does not offer the convenience of automatic object positioning that Add to Neighborhood does. However, it is the only way to modify and delete objects, attach descriptions, and so on. If you make any changes to your neighborhood, you can save these changes by using the Save Neighborhood item in the File Menu.

You can access your neighborhood with the Show Neighborhood tool. If you have not changed your Home world in the Preferences Panel, you can also access your neighborhood by left-clicking on the Home tool.

More:

Adding to Your Neighborhood

Editing Your Neighborhood

Backing Up Your Neighborhood

The Neighborhood File


Adding to Your Neighborhood

This tool provides you with a quick and easy way to add your favorite Internet worlds to your neighborhood.

To use this tool, you must first be browsing the world you want to bookmark. Select the Add to Neighborhood tool. The mouse pointer changes into the Add to Neighborhood pointer, which looks like a small building. You can then select an object in the world to represent this world in your neighborhood. trueSpace4 automatically scales your selected object to fit within the neighborhood, and then places it in the next available spot.


Editing Your Neighborhood

To add new bookmarks to your neighborhood, use the Add to Neighborhood tool. This tool allows you to select a representative object from the world you are currently browsing, and then automatically sizes it to fit within your neighborhood at the next available location. However, if you want to change links on objects, delete objects, etc., you will have to edit your neighborhood in Building mode.

If you modify or create any objects in your neighborhood in Building mode, you will not be taking advantage of the automated sizing and positioning that the Add to Neighborhood tool offers. While this will not break your neighborhood, trueSpace4 may become confused about object placement and you may have some bookmark objects placed on top of each other. In general, try to follow the pattern used in the default neighborhood.

Neighborhood objects are sized to fit within a 1-unit cube, or one square on the reference grid. Objects are placed so they are in the center of a square on the reference grid. For example, an object's XY location would be 0.5 and 0.5 instead of 0 and 0. It is helpful to have the Grid Mode on when moving objects around in a neighborhood. If we move the example object this way, it would snap to 1.5, 0.5 or -1.5, 0.5 and so on.

To edit your neighborhood, first left-click on the Show Neighborhood tool in Browsing mode, and then switch to Building mode.

Once your neighborhood is loaded, you can use any of the Building tools to modify objects in it. You can also build or load new objects into the neighborhood, or delete existing objects. To update links and link descriptions, simply use the Attach hyperlink URL / Description tool.

If you want, you can create sub-neighborhoods as well. To do this, you must first build a world that contains links to your favorite sites. Save this out as a VRML 1.0 (WRL) file. Then switch back to Building mode, and select the Add to Neighborhood tool. This will create a linked bookmark object pointing to the sub-neighborhood.


Backing Up Your Neighborhood

You might want to make a backup of this file on a regular basis. It is very simple to do this:

1.	Left-click on the Show Neighborhood tool.

2.	Choose Scene: Save As... from the File Menu.

3.	Enter in any valid file name you want. It must end in the .WRL extension.

4.	Select the options in the Export VRML File dialog. It is recommended that you turn off all inlines.

To restore a backup of your neighborhood:

1.	Choose Scene: Load from the File Menu.

2.	Select the backup file you created above.

3.	Choose Save Neighborhood from the File Menu.


The Neighborhood File

Your neighborhood is saved in the same directory as the trueSpace4 executable. The name of this file is PLACES.NBR. Normally, there is no need to access this file directly.

Note: The neighborhood file supplied with trueSpace4 has some preset links to various sites on the Web. Not all of these sites belong to Caligari; the actual addresses contained in the neighborhood links are subject to change. If some of your neighborhood links can no longer find a site, you will have to re-link them to the new (or different) site.


Publishing Worlds

The Publish tool is documented in the Saving and Publishing Worlds section of this help file.


Saving and Publishing Overview

VRML (and the Web in general) is not just about one world (or page). On the Internet, people can browse through a world, following links to other worlds and HTML pages. These links can lead to files on the same site, or practically any site in the world.

Most importantly, people cannot use these links to other worlds if they cannot get to your world in the first place. You will probably want to make your world accessible to others, perhaps by placing them on the Internet. Naturally, you need to save your worlds before they can be moved to the Internet.

Publishing worlds is a general term that involves all of these steps: adding links, saving VRML files, and making them available to other people. Publishing is also a specific function in trueSpace4, used for the actual process of putting your worlds onto the Internet.


Linking to Other Worlds

Hyperlinks are standard URLs that allow anyone browsing a world to jump to another world (or HTML page) on the Internet. In order to provide more information about the link's destination, the links can have descriptions, also called WWWAnchor Descriptions. Since descriptions are free-form strings only intended to provide information, you can use just about any text as a description. Although not required, it is recommended that you try to keep descriptions to 80 characters in length or less.

In World Browsing mode, trueSpace4 will display the hyperlink of an object under the mouse pointer in the URL field. The description will be displayed in the Help Bar.

Links and descriptions are attached to objects in a world. Any object in your world can have a link, a description, or both. Of course, objects are not required to have links or descriptions. Links and descriptions can also be attached to object hierarchies and individual sub-objects within a hierarchy.

You'll find specific information on setting links in your VRML worlds in the section titled Adding a URL Link or Description.


Saving Your Worlds

It is a good idea to save your world every so often while you are building it. Sometimes, you may even want to use the Save As feature to change the file name and/or location. By doing this, you will be able to back up to an earlier version of your world as needed.

The file created when saving a world contains all of the elements present in your world, even if they are currently not visible (i.e., off screen) or inactive. This includes all of the objects in the world, their materials and sounds, any links you have attached, lights, and cameras.

If your world has been saved before, you can use the Scene: Save item from the File Menu to re-save it. This will use the current file name for the world, skipping the Save World dialog. If you use Scene: Save on a new world, trueSpace4 acts as if you used Scene: Save As instead.

Choosing the Scene: Save As item from the File Menu opens the Save Scene dialog. Here you can select a directory and enter a file name for your world, or Cancel and return to world building (or browsing).

Note: If you want to save a VRML world, you will have to include the .WRL file extension when naming the file, otherwise trueSpace4 will save it as a scene file with the default .SCN extension. This is true even if you select .WRL from the List Files of Type box.

Tip: It is a good idea to save your worlds as both Caligari scene (.SCN) and VRML world (.WRL) files. By doing this, you will have a back up copy of your world. This is even more important when creating VRML 2.0 worlds, which trueSpace4 cannot load back in.

Once your world has a file name, the Export VRML File dialog will open, and you can finish the process of saving your world. Note that you can only save worlds to your local computer, or to a computer on a LAN (or similar) network. You cannot directly save files to the Internet. Instead, you use the Publish tool to move worlds to the Internet.


Inlined Files

VRML offers the ability to break up worlds into multiple files. By doing this, worlds can be loaded incrementally. This allows many VRML browsers to display parts of a world while they load the remaining parts. For example, a large town world, saved as one file, would have to be loaded in its entirety before any of it could be displayed. If the same file used inlined objects, a browser might display the first house while continuing to load the other houses.

trueSpace4's World Browsing mode supports VRML worlds that use inlined files.

By default, textures are inlined when a world is saved. If you want the images to be converted to VRML nodes, and placed into your world, you can turn off the inlining of textures with the option in the  Export VRML File dialog. You cannot control the inlining of individual textures. All textures are inlined or not depending on the export settings.

Note: It is not recommended to inline small, simple objects for worlds used on the Internet. This is because on some (busy or slow) sites, the time required to establish a connection can be longer than the time required to download small amounts of data.


The Export VRML File Dialog

After you have named your VRML file (if necessary), this dialog will open. The Export dialog offers three groups of controls, allowing you to set various options, including paths for inlined files and which (if any) elements are to be inlined.

The Export VRML File Dialog contains three groups of controls (Paths, General Options, and Inlining Options), plus a switch for VRML 2.0 format:

More:

Paths

General Options

Inlining Options

VRML 2.0 Output


Paths

Inline Files

This is the name of a sub-directory where all inlined objects will be saved. The sub-directory should already exist inside the directory you selected in the Save World dialog. If this setting is blank, or is set to the default value of <same as main file>, inlined objects are saved in the same directory as the main VRML file.

Textures

This is the name of a sub-directory where all textures will be saved. The sub-directory should already exist inside the directory you selected in the Save World dialog. If this setting is blank, or is set to the default value of <same as main file>, textures are saved in the same directory as the main VRML file.

Default Inline name

When trueSpace4 creates inlined files, it will base the name of the file on the name of the main VRML file. If you change this setting from the default of <same as main file>, the name you enter will be used as the base inline filename.

Note: In order to be compatible with Window 3.11, inline filenames will be created using eight characters plus the WRL extension. Only the first five characters of names entered here (or the main VRML filename) will be used. trueSpace4 will automatically attach a three-digit number to this shortened name. The first inlined object will be 000, the second will be 001, and so on.


General Options

ASCII Formatting

If this option is enabled, which it is by default, trueSpace4 will output VRML files that formatted for human reading. This does not change the actual VRML information in the file. Files will tend to be smaller if this option is disabled.

Preserve Hierarchy

This option, disabled by default, will also affect the overall size of the VRML file. When this is disabled, trueSpace4 will simplify some hierarchical groups, resulting in smaller (and possibly more compatible) VRML files.

If this setting is enabled, trueSpace4 will preserve some extra information that can be useful in World Building mode.

Gen Camera Files

This option generates separate camera files for each camera in your world. This allows trueSpace4's World Browsing mode to jump to cameras other than the default.

Precision

This setting controls the numeric precision of the resulting VRML file. Setting this value to one or two digits will result in a smaller VRML file.


Inlining Options

LOD children

If this option is enabled, any LOD groups will be saved as separate inlined files; one file is created for each level of detail. This option is disabled by default.

Textures

If this option is enabled, all textures will be saved as separate inlined files. This option is enabled by default.

Unix File Paths

This controls how path names are written into a VRML file. If your inlined files are in the same directory as the main VRML file, or if you have no inlined files, this option will have no affect.

By default, this option is disabled. If, for example, you have a BRICK.JPG texture in your TEXTURES directory, any references to this texture in your VRML file will be TEXTURES\BRICK.JPG, using the DOS backslash for paths. With this option enabled, trueSpace4 will instead output forward slashes in paths, which is the Unix convention. Thus, references to your texture will now be output as TEXTURES/BRICK.JPG.

trueSpace4 can read in files with either type of path. This allows you to enable this setting, yet still test your worlds locally.


VRML 2.0 Output

When enabled, this option causes world files to be saved in VRML 2.0 format. Note that trueSpace4 cannot currently load this format. If you want to be able to load your saved worlds back into trueSpace4, disable this option. Also, be sure to save your worlds in .SCN format as a backup.


Compressing Files

VRML worlds can be compressed using the popular GNU gzip utility which is available on many platforms including Unix and DOS. Currently, however, trueSpace4 has no features that allow your worlds to be compressed as they are saved.

If you want to compress your worlds, you will need to use the gzip software. This is available on many Internet sites, including our own at www.caligari.com. If your files are compressed, you should make sure that they use the extension WRZ, GZ, or WRL.GZ. Note that the last extension is only valid on systems that allow long filenames, such as Unix and Windows 95.

To compress town.wrl, for example, you would open a DOS window, change to the directory that contains your world, and then type:

gzip -S wrz town.wrl

This assumes that gzip is in your path. For more information on this, refer to the documentation that came with gzip.

A problem arises if you want to gzip inlined files. trueSpace4 writes out references to inlined files using the WRL extension. So, you must hand edit the main VRML file, changing the references to the inline files. Since VRML files are ASCII text, you will be able to do this in any text editor, and can probably use a search-and-replace feature. If you want to gzip the main file as well, you can do this after you have edited it.

There is no need to do this for textures. In fact, it is recommended that you do not gzip textures, since JPEG files are stored in a compressed file format.

Perhaps the easiest way to compress files is to turn off the Inline LOD children option in the Export VRML File dialog. If desired, you can also turn off the inlining of textures. Then, you will only save one VRML file, and possibly some textures. You can gzip your world without first having to edit references to inlined files.

Note that trueSpace4 supports loading and browsing gzip-compressed worlds. You do not need the zip software to do this.


Publishing Your Worlds

Typically, people create HTML pages and VRML worlds on their own computer, and then move their documents onto a Web server. The process of moving files onto the Web is commonly known as publishing.

In the past, you had to use cryptic UNIX commands to move files onto a Web server. Now, however, you can use ftp client software, such as the popular WS_FTP shareware program. This software can make the process much easier.

To put your worlds onto the Web, you will have to ftp (or upload or copy) the main VRML file to a server. If your world uses inlined files or textures, you will also need to ftp these files as well. When files reference additional files, such as textures, you must be careful to avoid direct paths to them. For example, if you create TOWN.WRL in C:\WORLDS, and it uses textures in C:\TEXTURES, absolute references (or paths) to the textures will break when you move the world to (for example) FTP.MYSERVER.COM/VRML.

Fortunately, trueSpace4 automatically avoids this problem. Textures and inlined files are placed in the same directory as the world, by default. You also have the option of specifying a sub-directory for these files. trueSpace4 will use relative paths to these files. For example, a reference to a texture might be BRICK.JPG (in the same directory), or TEXTURES/BRICK.JPG (in a sub-directory). There is no "C:\" or "FTP://" to confuse things.

More:

The Publish Tool

FTP Link Objects

Potential Problems During Publishing

Using FTP to Publish Worlds


The Publish Tool

VRML is still very new. We expect that in the near future, it will offer the ability to interact with 3D environments. You will not only browse worlds, but be able to expand them as well.

trueSpace4 takes a step towards this with the Publish tool, found in World Browsing mode.. Currently, the VRML specifications describe how to build a world, but not how to have multiple people adding to it. The Publish tool is also faced with this restriction.

The Publish tool, in its current form, removes the need to learn and use ftp software. With a few clicks of the mouse, you can move a world onto the Internet. A few more clicks allow you to move textures and inlined files as well. One of the best things about the Publish tool is that it can be used on any server that allows normal ftp uploads. You do not have to install special server software or make configuration changes (or ask your system administrator to do this).

The Publish tool requires an object with a link to an ftp directory for uploading. This object is, of course, in a VRML world. The world can be on the server, or on your own computer. Note that the Publish tool cannot automatically create sub-directories as this would require changes to ftp and Web servers. Also note that the Publish tool cannot automatically upload secondary files such as textures. This is because these files may be in sub-directories, and those directories may not exist on a server.


FTP Link Objects

To use the Publish tool, you need an object in a VRML world that has a link to a valid ftp directory. This link must begin with ftp:// and must end with a trailing slash (/) so that trueSpace4 can determine that it is an ftp directory.

An example of this link is:

ftp://ftp.Caligar.com/pub/publish/

In order to use this link, you must be browsing the world containing the link object. Select the Publish tool. Notice that the mouse pointer changes to the Publish pointer. Now you can left-click on an ftp-linked object. When the mouse pointer is over such an object, you will see the URL displayed in the URL Field. When you select this object, trueSpace4 opens a standard file dialog. You can now select your world, and it will be uploaded. If you have any textures or inlined files, you will have to repeat the process for each file. Note that if these files are stored in sub-directories, you will have to have links to the sub-directories in addition to the main link. For example:

ftp://ftp.Caligar.com/pub/publish/textures/

The Publish tool will not create these sub-directories; they must exist on the server.

If you have an area to upload your worlds, you can build a local world containing one of more link objects. You would just use the same URL as used for ftp as the link on your object. Note that if your server requires account information for uploading, you can include this in the link attached to your object. However, it is not recommended that you do this or, at the very least, you must make sure that this object remains on your own computer. You probably do not want to publish your Internet account information for the world to see.


Potential Problems During Publishing

There are a few common problems encountered when using ftp or the Publish tool to move your worlds onto the Internet.

First of all, you must have access to an upload area on an ftp or Web server. Consult your system administrator or Internet service provider for more information about this.

Some upload areas are set up so that you can send files, but cannot retrieve them until someone makes them readable. If this is the case, you will not be able to browse and test your world immediately after uploading. You will just have to wait until your world is readable, or ask your administrator to make it readable.

Some upload areas will not allow you to delete files. Uploading a file with the same name will attempt to delete the first file. For example, if there is a TOWN.WRL on your server, and you attempt to upload a new TOWN.WRL to the server, it could fail. Either rename your new world before uploading, or ask your administrator to remove the old one.


Using FTP to Publish Worlds

When you are ready to upload your world to a server, you should make a note of all of the textures and inlined files it uses. You will need to upload all of these files. Some ftp software allows you to select and send multiple files; with other software, you will have to send each file individually.

If you use lots of textures or inlined files in your worlds, it is often easier to use sub-directories for these files. In this case, you will need to create the same sub-directories on your Web server. If, for example, your world is C:\PIONEER\TOWN.WRL, and it uses textures in C:\PIONEER\TEXTURES, you will have to have a TEXTURES directory in the location you upload your world.

Please note that most Web servers are based on UNIX, and UNIX is case-sensitive. So if, in the Export VRML File dialog, you enter "Textures" as the directory for your textures, you will have to have a "Textures" sub-directory on your server. Directories with names such as "textures" and "TEXTURES" will not work.

One advantage of trueSpace4 is the ability to easily switch to World Browsing mode. Once you have uploaded your world and the needed textures and inlined files, be sure to browse your world, entering its URL into the URL Field. Try to browse your world in Solid Display mode, and make sure that Show Textures (in the Display Options panel) is turned on. By doing this, you will be able to determine whether all of the required files have been uploaded successfully.

It is beyond the scope of this documents to explain ftp software and upload areas on Web servers. There is some additional information available, but you will have to consult your server administrator and ftp software documentation for more help.


3D Input Formats

Import Settings Panel

All supported formats except VRML, PostScript, and DXF employ the use of a standard settings panel which comes up each time an object is imported.

Object Unit Scale: Converts the object to either a desired unit system, no unit system, or to fit on screen.

Center Object: Places the object at the World center (0,0,0).

Fix Normals: Reverses the normals for the object. Use this option if objects appear to import inside out.

More:

DirectX Import

VRML 1.0 Import

Amiga Caligari Import

3D Studio Binary Import

3D Studio ASCII Import

DXF Import

Imagine Import

LightWave Import

PostScript Import

Video Scape Import

Wavefront Import


DirectX Import

The DirectX (*.x) file format supports importing of all templates defined in Version 1.13 January 13, 1997.


VRML 1.0 Import

This is the Virtual Reality Modeling Language, version 1.0. trueSpace4 will load (or browse) WRL files. trueSpace4 will also load any JPEG textures associated with the world.


Amiga Caligari Import

All of the information present in the Amiga Caligari .SOB file will be converted including hierarchy, color and smoothing.


3D Studio Binary Import

Separate objects within a .3DS file will be loaded as sub-objects of a single parent, lights and cameras are not currently supported. Hierarchy information is not currently maintained. Object colors are taken from 3DS diffuse color. All materials default to auto-facet. Texture mapping coordinates are preserved and texture formats supported will also transfer. When loading 3DS objects that have texture maps, the directory where the 3DS object is stored is now the first one searched for texture maps.  If a requested texture cannot be found there then trueSpace will prompt you for the location of the texture file.


3D Studio ASCII Import

Separate objects within a file are loaded as sub-objects of a single parent. There is no hierarchy information in the file, so it cannot be correctly converted. There is no material information in ASCII files beyond simply labeling different polygons with different material group names. Polygons which are supposed to have different materials are recognized and each different material group in the file will be represented as a different shade of gray. Texture mapping coordinates are preserved.


DXF Import

Certain DXF entities and options are not currently supported as follows: lines with no width, extrusion vectors, bulges in polylines, polyarcs, 3dlines, traces, text, shapes, and types.

Extract One Layer: Only a desired layer is imported. The layer name is to be typed into the Layer name field. Objects not associated with any layers are always imported. Subsequently, layers are preserved as separate objects.

Center Object: Places the object at the World center (0,0,0).

Resolve Holes: Properly imports holes associated with some variations of .DXF files. If holes are not imported properly, enable this option.

Close Arcs: Any arc entites in the file will become solid polygons with edges that go around the arc and to its center point.

Fix Normals: Reverses the normals for the object. Use this option if objects appear to import inside out.

Object Scale: Converts the object to either a desired unit system, no unit system, or to fit on screen.

Arc/Circle Segements: Sets the resolution of arcs and circles when they are converted to polygons.

Line/Arc/Point Width: Sets the size of polygons when DXF entities are converted from 2D to 3D.


Imagine Import

As with 3D Studio binary files, each different object within an Imagine file will be loaded as a sub-object of a single parent object. Although there is hierarchy information in the file, it is not currently converted. Colors are converted. All materials are set to auto-facet.


LightWave Import

Surface details and one- and two-point polygons are not converted. All surface information possible including smoothing, glossiness and color are converted.


PostScript Import

trueSpace4 can import .EPS, .PS, and .AI files. This includes both .EPS and .AI files.

Curve resolution: This allows you to control the quality of the conversion from curves to trueSpace polygons. Set according to your needs, but Low should be adequate for most anything unless your artwork/text is extremely small (i.e. 12 point text).

Data types to convert: Controls what sort of PostScript entities will be loaded:

•	Standard Text is the kind you get when you type in a word processor. This is different from the kind of text that you generally type in a structured drawing program. With this turned off, you can, for example, read in a page containing text and graphics and only have the graphics converted.

•	Filled curves are generally solid colored regions like circles and other closed curves.

•	Stroked curves are generally outlines and thin, maybe unclosed curves or lines.

Inter-object step: This allows you to "layer" the different curves, characters, text, etc. as they are loaded. Larger values can be used to exaggerate the spacing between shapes and create some interesting special effects.

Inter-page step: This is similar to Inter-object step but is the amount of space that will be put between all of the shapes in one page and all of the shapes in the next page in multi-page PostScript documents. In addition each PostScript page will come in as a separate trueSpace object.

Center object:  This will cause the PostScript graphics to be centered about the origin of the World.


Video Scape Import

Surface details and one- and two-point polygons will be ignored. All VideoScape material numbers (including 2.0 additions) are correctly converted.


Wavefront Import

Since Wavefront files can have object groups which conflict with trueSpace hierarchies (this is typically the case), grouping information is not preserved. Material names will be run through a name parser with associated color information in an attempt to convert well named materials to actual colors with transparency (e. g., "light blue" will be recognized and result in a color of R173 G216 B230 A100, as will "ltblue" and many other variants).


3D Export Formats

DirectX Export

VRML Export

DXF Export

3D Studio Binary Export

3D Studio ASCII Export

Object Animation


DirectX Export

There are trueSpace features that cannot be exported into the .x file format because DirectX does not support them. These are limitations of DirectX ant not of our exporter.  DirectX supports only .bmp format for texure files, so trueSpace does not export other types of textures and it is not making any conversion to .bmp

DirectX does not support vertex level animation, so trueSpace cannot export its vertex animation, animated deformation and animated bones.  However tS exports the animation of IK object converting it into Move and Rotate keyframes of all sub-objects of the IK object in each frame.


VRML Export

trueSpace4 will output both VRML 1.0 and 2.0 formats. You can control which version to output through a switch in the Export VRML File dialog. Textures can be inlined files or written directly into the VRML file. If the textures are inlined, they can be placed in the same directory as the world file, or in a sub-directory.

Note: trueSpace4 supports many different image formats for textures. If you use formats such as Targa and Bitmap, these files will be output with your world. However, nearly all VRML browsers cannot handle these files. We recommend that you only use JPEG files as textures when creating VRML files.

VRML 1.0 output summary:

geometry (IndexedFaceSets only), transformation, hierarchies, inlines, LOD, material (color, reflectance properties, textures (both inlined andexternal)), light, camera, audio object,

VRML 2.0 output summary:

geometry (IndexedFaceSets only), transformation, groups, inlines, LOD, material (color, reflectance properties, textures (both inlined and external)), light, camera, audio object, keyframe animation of object, light and camera movements


DXF Export

Material numbers for each face will be written as the color number for each DXF face. This will cause all faces of a certain trueSpace material to be shown as a different color when re-read. Faces which have more than four sides will be triangulated before writing. Currently, no layer information is written to the file. Some DXF readers may require that all entities be associated with a layer.


3D Studio Binary Export

All faces will be triangulated when written to the 3D Studio file. This is a requirement of 3D Studio. Full hierarchy information is stored into 3D Studio file. Basic material informations are stored into 3D Studio file: diffuse color, shading type, shininess and transparency. Texture bitmap files and bump bitmap files are stored also. Each face can have assigned a different material. Faces are stored in appropriate smooth groups therefore smooth and faceted surfaces are supported.


3D Studio ASCII Export

All faces will be triangulated when written to the 3D Studio file. This is a requirement of 3D Studio. Sub-objects within a trueSpace object will be written as separate objects within the 3DS file. True hierarchies cannot be represented in 3D Studio ASCII files so this at least preserves grouping information. There is no material information in ASCII files except for a material name. This name will be set to the RGBA value of the trueSpace material, so reconstructing at least this much information is easy.


Object Animation

trueSpace4 can save a file that contains only the animation information on an object. This is useful primarily for game developers who want to save several animation paths for one object. These .CAN files cannot be read back into trueSpace4.


2D Rendering Formats

AVI (.AVI)

Bitmap (.BMP, .DIB)

Flic (.FLC)

Jpeg (.JPG)

Targa (.TGA)

Png (.png)

DDS (.dds)

TIFF (.tif)


AVI (.AVI)

This is an animation file which can be played out of Windows Media Player. Bit depth depends on the type of compression used. Rendering an .AVI file to disk opens a compression settings panel:

Compressor: This list contains all available compressors currently installed. This depends on the version of Microsoft Video for Windows installed.

Compression quality: This option may not be available for all compressors and determines the final quality of the image. A high number means better image quality with less compression.

Key frame every: This option determines how many frames will be saved to file (this does not affect the frame rate of the animation) and how many will be in-betweened. A value of 2 means that the first frame would be saved to disk whole and only the changes to the second frame would be recorded, and so on. This is an effective way to compress simple animations but does not yeld good results for animations where there is much camera movement.

Data rate: Allows you to optimize the file for the target hardware device.

Configure: This option allows access to a secondary settings panel for a specific compressor if one exists.


Bitmap (.BMP, .DIB)

This is a standard Windows bitmap file and contains 24 bit color depth information.


Flic (.FLC)

This is an 8 bit animation file that can be played back either in DOS or Windows. Rendering a .FLC file to disk opens a settings panel:

Universal color palette: The animation uses a preset 8 bit palette suitable for most animations.

Create palette on first frame: The animation uses a palette created from the colors from the first frame of the animation. This option does not work well if new colors are introduced during the animation.

Create palette for each frame: Creates a palette for every frame rendered but is not suitable for playing back on an 8 bit display.

Dither frames: Enables dithering to avoid color bands created because of the color limit. This sometimes causes artifacts on animations.


Jpeg (.JPG)

This is a compressed 24 bit file. Rendering a Jpeg file to disk opens a settings panel for the quality level. A high value means better image quality and less compression.


Targa (.TGA)

This file can be either 24 or 32 bits. A 32 bit file contains an additional 8 bit "alpha" containing transparency information (areas in the scene where the background color is seen). Targa files also have the option of compression. Rendering a .TGA file to disk opens a settings panel:


Png (.png)

To create a PNG file just select "Render Scene to File" tool and in "Render to File" dialog select desired PNG file format and other options and click Render.  Created file is a 32 bit file with an additional 8 bit „alpha" containing transparency information.


DDS (.dds)

To create a DDS file just select "Render Scene to File"tool and in "Render to File" dialog select desired DDS file format and other options and click Render.  Created file is a 32 bit file with an additional 8 bit „alpha" containing transparency information


TIFF (.tif)

Reading and writing of PackBits compressed and uncompressed 24 bit RGB scan-line data, it is compatible with the baseline TIFF 6.0 specification (June 1992)


Support

If you have questions or problems with trueSpace4, please make sure that you look for answers in this help file. Also, please be sure to view the ReadMe file that came with your version of the software. If you cannot find the answers there, you may want to check Caligari's Web site. In fact, you may want to check our Web site regularly for updates or additions to trueSpace4 and the documentation.

If you need to contact Caligari for support, make sure that you include as much information as possible. Our support staff will need the version number of trueSpace4 (found in the About box), the version of Windows you are using, and the type of graphics card you have. Caligari reserves the right to limit technical support to registered users of our products.

Caligari's Internet sites are:

•	www.caligari.com

•	ftp.caligari.com

Caligari's Email Addressed are:

•	support@caligari.com

•	sales@caligari.com

Caligari's Phone Numbers are:

•	(650) 390-9600

•	(650) 390-9755  (FAX)


Copyrights and Disclaimers

Copyright © 1998 Caligari Corporation.

No part of this document or software may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, and information storage and retrieval systems, for any purpose other than the purchaser's personal use, without the express written permission of Caligari Corporation.

Disclaimer of Warranties and Limitation of Liabilities

This documentation and the associated software were prepared by Caligari Corporation, and are subject to change without notice. While the authors feel that reasonable care has been taken in developing the program and preparing the documentation to ensure its accuracy, Caligari Corporation assumes no liability resulting from any inaccuracy or omissions contained herein or from the use of the information or programs contained herewith.

Caligari Corporation makes no expressed or implied warranty of any kind with regard to these programs or the supplemental documentation in this manual. In no event shall Caligari Corporation be liable for the incidental or consequential damages in connection with or arising out of the furnishing, performance, or use of this program or documentation. This disclaimer includes, but is not limited to, any loss of service, loss of business, or anticipatory profits, or consequential damages resulting from the use or operation of this software.

This software is based in part on the work of the Independent JPEG Group.

Caligari, trueSpace4, trueSpace3, trueSpace2, trueSpace, trueSpace/SE, and trueClips are all trademarks of Caligari Corporation.

All other trade names and trademarks are the property of their respective owners.


Program Credits

Software Concept and Design

Roman Ormandy

Key Developers

Bruce Walter, Peter Starke, Michael Plitkins, Maneesh Dhagat, Pavol Elias, Vladimir Sisolak, Philippe Pignon, Pavel Kotucek, Pari Natarajan, Ivan Hronec, Jozef Antony, Peter Oravec, Reymundo Arqueza

Tutorials and 3D Guides

I-Wei Huang, Leo Libiran, Steven Sorensen, Steve Storie

Documentation

E.W. Swan, David Duberman, Reymundo Arqueza, Terry Cotant, Aimee Jones

Artwork

Leo Libiran, Steven Sorensen, Arie Sztajnworc, Marek Antoniak

Installation

Stan Ziel, Reymundo Arqueza

We appreciate the invaluable assistance of our beta testers, the members of our user groups and TSML.