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1. but when you render the scene it extends out to infinity Water Water planes are created just a bit higher than ground level T hat way if you have already cre ated ground and terrains you can easily place a water plane into your scene and immediately see the terrains peeking out from the water To create a Water plane Click the Water plane tool Pe lt 3i UsetheWater planeto add bodies of water to your environment Creating O bjects Once the plane appears in your scene you can edit it like any other object Refer to Editing O bject Attributes on page 312 for more on editing objects Water planes are created with a water texture randomly chosen from the Waters amp Liquids Preset Materials Library You can change this material by selecting a different preset or creat ing an new material To change the water plane s Preset Material 1 Click the second Triangle icon at the top of the Bryce environment The Preset Materials Library appears 2 Choose a library and material then click the OK icon Refer to Using the Preset Materials Library on page 232 for more on the Preset Materials Library Ground Ground planes are created at ground level By default all new scenes open with an infinite ground plane To create a Ground plane e Click the Ground plane tool Use the Ground plane to add ground to your environment Once the plane appears in your scene you can edit it
2. A9 and then a volume visible light It s a good idea to choose to apply the Infinite Light option to both types of visible lights as this option extends the light s range T his gives the light a more realistic look To create a surface visible light 1 Create a light source 2 Select the light in the Working window 3 Click the E button that appears next to the light s bounding box The Edit Lights dialog appears 4 Click the triangle icon below the light preview and choose Surface Visible Light from the menu A number of preset Surface material properties are applied to the light e Click the triangle again and choose Infinite light from the menu if you want to extend the light s range To create a volume visible light 1 Create a light source 2 Select the light in the Working window 3 Click the E button that appear next to the light s bounding box The Edit Lights dialog appears Bryce 4 4 Click the triangle icon below the light preview and choose Volume Visible Light from the menu A number of default Volume material settings are applied to the light source e Click the triangle again and choose Infinite light from the menu if you want to extend the light s range Editing Visible Light Materials The materials applied to a visible light control many of its properties Although these materials can be edited just like any other object s material you should keep in mind that
3. First return all the objects you re aligning to unity they fill exactly one grid unit This returns the objects to a perfect multiple of Bryce s grid units 2 Determine the objects positions relative to the grid e When you create an object it usually appears at World center or 0 0 0 e For existing objects use the Snap to Grid option in the Edit palette to move the object to a point on the grid D then move the objects to grid using the Snap To Grid option 3 Use the nudge controls to move the object Nudging moves objects in grid increments Arranging O bjects To place the sphere precisely on top of the cube press the up arrow four times The cube moves up exactly 1 grid unit Finally use the Nudge controls to move in precise increments along the grid Using the Align Tool TheAlign tool has ten different states As you move the pointer over the tool each state becomes active Align X left Align X center Align Y top eee i Align X right Align Y center Align Y botto Align XYZ center Align Z back Align Z canter As you move your cursor over the A lign tool each of its states becomes active Align Z front To align objects along a specific axis l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select two or more objects ee Move the cursor over the Align tool 4 When the state you want to
4. Blend Random This mode introduces an extra layer of noise and uses it as an alpha channel for combining the two components Component 1 appears in some areas of the new noise and Component 2 appears in other Since this mode adds another layer of noise you re also adding more processing time Procedural Blend Procedural Blend combines two components so that the color and values of Component 1 are applied to Component 2 based on the gray values in Component 2 In essence the Alpha output from Component 2 is used as a guide for blending Bryce 4 W here Component 2 is light Component 1 is not applied W here Component 2 is dark Component 1 is made darker W here Component 2 is gray Component 1 is applied without change This mode usually results in more saturated colors Difference Difference finds the difference between the noise in the two components and displays the result This mode only works on output of like types So if Component 1 has Alpha and Color output while Component 2 has only Alpha the two Alpha outputs are combined and the Color output is left unchanged Global Changes The component window in the center of the editor called the Combination component represents the final combined texture Any changes you make to this final component are considered global changes since they affect the entire texture The Combination component can have its own color scheme filter noise pattern or phas
5. In this dialog Bryce units have been transposed for the sake of simplicity For instance an object at Unity size of 2048x 2048x2048 is seen in the 3D Transformations dialog box as 20 48x 20 48x 20 48 M oving the decimal two points to the left lets you havea full range of resolutions without having to enter either excessive integer values or values with excessive places to the right of the decimal point Bryce 4 Randomizing Objects The Randomize tool is a great way of randomly dispersing objects throughout your scene without having to manually position each object 2D Disperse 2D Disperse R otate 2D Disperse Size 2D Disperse Size R otate 3D Disperse 3D Disperse R otate 3D Disperse Size 3D Disperse Size R otate waa gage Asyou click the Randomize tool each of its states becomes active Using the Randomize Tool To randomize objects 1 4 5 Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window Select a number of objects Click the Randomize tool repeatedly until the mode you want to use is active There are eight modes available 2D Disperse scatters your selection randomly along the horizontal X and Z plane 2D Disperse R otate scatters and rotates your selection randomly along the horizontal X and Z plane 2D Disperse Size scatters and resizes your selection randomly along the horizontal X and Z plane 2
6. Animating Using the Animation Controls When you play an animation all the frames in the animation within the Working Area are displayed The preview is shown in Wireframe display mode Plays the animation Click during play to pause the animation Stops the animation Moves to the beginning of the Recorded Area Shift moves to the beginning of the animation Moves to the end of the Recorded Area Shift moves to the end of the animation Moves one key frame forward in Wde the animation Shift moves one frame forward i Moves one key frame backward L in the animation Shift moves one frame back f Starts a quick animation preview Setting Previewing Options There are three options you can use to alter the preview of your animation You can preview the animation only once You can play the animation continuously or you cycle forward through the animation and then back 364 To set a preview option 1 Choose File menu gt Animation Setup The Animation Setup dialog appears 2 Enable a Play option Once plays the animation only once Repeat plays the animation continuously Pendulum plays the animation forwards then backwards then forwards continuously Adding and Deleting Key Frames Usually you use the Auto Record mode to add key frames to your animation but there are some cases when you would need to force the system create a key frame For instance if you accidentally make a number o
7. Before you get any deeper into the discussion of texture structure you should understand a little terminology A texture is a part of a material It can be used to drive any of the material s channels W hen you use a texture in a materials it s called a material component The texture itself also has components It can be made up of up to three components that determine the look and color of the texture Bryce 4 The components that make up a texture are called components COMPONENT C1 c2 c3 COMBINED TEXTURE COMPONENTS TEXTURE TEXTURE TEXTURE TEXTURE MATERIAL T he difference between components and texture components may be a bit confusing J ust remember that when you re talking about a texture you re dealing with components W hen you re working with materials you re using texture components Understanding Component Structure A texture can have up to three components W hen combined the components create the final texture A component consists of noise and color A component can have up to three colors The combined texture can also have a different set of three colors which is added to the colors from the components In total your texture can contain up to twelve colors The noise in a component is made of base Noise which is modified by the Phase which controls the comple
8. Bryce is a3D application that creates land scapes it is not an image editing program As such you won t find any useful image enhanc ing capabilities you ll find in an image editor For post production operations you ll need to use applications like Painter Corel PHOTO PAINT or Adobe Photoshop You can use these applications to adjust colors contrast or brightness You can even paint in elements that were not in the original scene Bryce s rendered images can be saved in for mats compatible with almost any image editing application Compositing Compositing is the process of pasting one image into another For example if you create a farm scene in Bryce and then create a mask for that scene you could paste it into a scanned image of a tornado W ith a little creativity you can make the farm appear as though it were about to be eaten by the storm Bryce 4 The shape of the foreground image is taken from a black and white image that contains the shape of your scene This image is called a mask You can generate a mask in Bryce by using the Mask Render mode Using compositing you can take the scene you created in Bryce render it asa mask using Mask Render mode and then use the image asa selection mask in a 2D image editor Once selected you can place your Bryce scene into a scanned image To render a scene as a mask Using Bryce with Other Applications 1 Click the triangle ne
9. Selects all Symmetrical Lattice objects Selects all Torus objects Selects all Spheres Ellipsoids and Squashed Spheres objects Corer lp r 31 e lt lt 8Oee Selects all Cylinder Tuboid Squashed Cylinder and Stretched Cylinder objects Selects all Cube Brickoid and Stretched Cube objects Selects all Pyramid objects Selects all Cone Stretched Cone and Squashed Cone objects Selects all 2D Disk objects Selects all 2D Face and 2D PICT objects Selects all Radial Light objects Selects all Spotlight objects Selects all Square Spotlight objects Selects all Parallel Light objects To select a specific object by type Hold down the cursor over the tool for the type of object you want to select and choose the name of the object from the menu that appears You must first name objects if you want them to appear in this menu Refer to Naming Objects on page 101 for more on naming objects To select objects by family Click the Families tool and choose the name of the family you want to select from the menu You must first name a family if you want it to appear in this menu Refer to Families on page 310 for more information Bryce 4 To select Mesh objects e Click the triangle icon next to the selections palette and choose Select Mesh To select Path objects e Click the triangle icon next to the selections palette and choose Select Path To select Group objec
10. TheSky amp Fog palette does not need to be active for you to access the Preset Skies Library You can select presets in one motion by dragging directly to the desired preset and releasing the mouse button You can also drag over the cate gory names to change categories into the cate gory s presets and then release the mouse button Adding and Deleting Preset Skies You can add the sky from any open scene to the Preset Skies Library This is a good way of saving your favorite skies Bryce 4 To add a sky to the preset library 1 Click the triangle icon next to the Sky amp Fog text button at the top of the Bryce environment The sky from your scene appears in the preview area of The Preset Skies Library dialog The preview area displays the sky from your scene 2 3 5 Click the Add button at the bottom of the dialog The Add Object dialog appears Enter a name for the new preset in the Preset Name field Enter a description of the preset in the Description field and click the OK icon This name and description will appear beneath the object preview whenever the preset is accessed You can edit the name and description of any preset at any time simply by pressing theTab key or clicking on the name or description Click the OK icon Your preset will be added to the first available space within the current category To delete an object preset 1 Creating Skies Click the triangle
11. To apply a tool to the Terrain Canvas 1 Move the cursor over the tool you want to use 2 Doone of the following e To apply an effect or operation entirely click the control dot just once e To apply an effect gradually click and drag over the control dot Apply an effect by clicking a tool more than once The effect is applied in 100 increments Starting a New Terrain By default when you open the Terrain Editor the terrain you selected in the Working window appears in the Terrain Canvas If you want to begin with anew flat Terrain Canvas use the New button 161 To create a new Terrain Canvas l Make sure the Elevation tab is displayed If it s not click the Elevation title 2 Click the New button or press Command N CtrI N A flat black image appears in the Terrain Canvas To gradually flatten your terrain e Click and drag to the right over the New button The existingTerrain Canvas gradually fades to black Many of the effects in the Elevation tab require grayscale values If you apply these effects to a black map they may have no effect Try to use this only when you re setting up for brushing operations To reset your terrain Hold down Control and click the New button TheTerrain Canvas is reset to the terrain that appeared when you first opened the editor Inverting Terrains Since the Terrain Editor uses brightness to determine altitude you can change mountains into
12. e Elevation contains tools for generating terrains and applying effects e Filtering contains tools for fine tuning the gray levels in your terrain Canvas e Pictures contains tools for importing a picture to use as aTerrain Canvas The Terrain Editor tools are divided into three tabs To access a tab e Click the tab label The tab tools move to the front By default the Elevation tools are in front Setting Terrain Options The 3D Terrain area has several options that control how the preview updates and displays 59 To set 3D Terrain options e Click the triangle icon in the bottom left corner of the Terrain Canvas frame and choose an option from the menu Auto Rotate sets the 3D Preview to rotate perpetually All changes update the 3D preview as it turns Realtime Linking connects all terrain editing to the 3D Terrain Preview Every analog change you make is applied simultaneously to the Terrain Canvas and the 3D preview RIP To Screen displays a full screen preview of your terrain Clicking anywhere will return you to the main Terrain E ditor Use Command W Ctrl W to toggle in and out of this mode Visible Brush lets you turn the circle of the brush on and off Turn Terrain Solid applies volumetric materials to the terrain Even if you are not using volume materials this selection causes the material to render as a solid Smooth allows a smooth rendering of the terrain If this is not selected
13. 3 Move the cursor over the Link icon that appears next to the camera s bounding box wl 4 Drag the linking handle from the icon to object you want to use as the parent object To force the camera to track an object using the Camera amp 2D Projection dialog 1 Switch to an orthogonal view or Director s View 2 Select the Camera 3 Click theA icon that appears next to the camera s bounding box The Camera amp 2D Projection dialog appears 4 Click the Linking tab 5 Click the Track Object Name menu and choose the name of the target object 6 Click the OK icon To force the camera to track an object interactively 1 Switch to an orthogonal view or Director s View 2 Select the Camera Bryce 4 3 Move the cursor over theTracking icon that appears next to the camera s bounding box H 4 Drag the tracking handle from the icon to the object you want to use as the target object Creating Camera Orbits The camera s origin point controls its center of rotation W hen the origin point is at the cam era s center it rotates around in place W hen the origin is positioned somewhere in the scene it will orbit around the origin point During an animation the view of your scene will orbit around a specific point in the scene ears ae Ei o In this example the camera s origin point was positioned in the center of the scene D uring the course of the animation the camera appears to orbit
14. 4 Click the OK icon The color you select becomes the object s wireframe color Bryce 4 Linking con in This control lets you set up a parent child link between two objects W hen the objects are linked the transformations you apply to the parent object affect the child Refer to Linking Objects on page 305 for more information To link one selected object to another 1 Select the object you want to be the child object within the link 2 Click the Link icon and drag it to the object you want to be the parent object Release the mouse button when the parent object turns blue A link line extending from the child object to the parent appears as you drag ete Te Asyou drag the Link icon a link line extends from the child object Tracking Icon This control lets you set up aTracking link between two objects W hen an object tracks E diting Objects another the selected object pivots as the target object changes position so it s always faces its target Refer to Tracking Objects on page 382 for more on tracking To set a selected object to track another 1 Select the object you want to be the stationary object 2 Click the Tracking icon and drag it to the object you want to be the target object Release the mouse button when the target object turns blue A tracking line extending from the stationary object to the target appears as you drag rd te Asyou drag theTracking icon
15. Animating Techniques Introduction Bryce has several features you can use to add realism to your animations The techniques covered in this chapter can be used together to help you develop more exciting natural and dynamic animations In this chapter you ll learn how to animate objects using the Tracking feature You ll also learn how to animate several different proper ties of your scene like material channel prop erties which can dramatically alter the look of your objects and terrain object properties which can alter the layout of your landscape Tracking Objects Tracking lets you connect an object to another called the target so that the object remains pointed at the target throughout the animation As the target moves the original object pivots around its origin so that it remains pointed at the target Normally the original object does not change position only orientation H owever if you offset the object s origin point it might change location as it rotates around the offset point When an object tracks a target object it remains pointed at the target object no matter where it moves in the scene You can use tracking to quickly set up the ani mation of anumber of objects at once W hen an object is tracking another you only have to set up the motion path of the target object The motion of the objects tracking the target are automatically created For example in this scene the motion of
16. Color output is used by the color channels of a material The color values you assign to a textures s components are combined to form a final texture The combined values are then used to drive the Diffuse Ambient Specularity Specular Halo or Transparency color channels Refer to Understanding Surface Material Channels on page 190 for more on these channels The colors in a texture usually appear in the form of a pattern or grain W hen you assign the Bryce 4 texture to a material this pattern appears in the final material Original Texture Material containing texture The texture in this example was applied to the Diffuse color and Ambient Color channels of the object s material You can see how the color pattern in the texture appearsin the material To assign Color output to a texture 1 Display the Deep Texture Editor 2 Inthe desired component window click the C button on the right side of the component window Alpha Output Alpha output is used by the various Intensity and Optic channels of the material W hen a texture s Alpha output is assigned to a material it s used to either to determine an effect s intensity or as a guide map for combining multiple textures W hen there is only one texture component in a material channel the texture s Alpha output is usually used to determine the intensity of a channel effect For example if you assign a texture to the Diffuse channel th
17. e Option Alt click on a full Memory dot Motion Paths A motion path is a visual representation of an object s trajectory as it moves through time An object s motion path is automatically generated as you create key events Each new key event adds a new point to the path The shape of the curve is determines by the interpolation performed by Bryce In most cases Bryce tries to create smooth motion so the path is drawn as a curve SroeeE An object s motion path is automatically generated as you create key events As you move the object at a specific point in time the motion path line extends out from the object s wireframe 376 As you add key events the curve is adjusted to include the new motion frecet Asyou add more key events to your animation the path changes shape to include the new motion Bryce always keep the motion smooth so each new point isadded asa curve Motion paths exist in 3D space so they can be view from any angle If you move the camera you can see how the object moves along the X Y and Z axes If you move the camera to different views you ll beable to see the object s trajectory along all three axes 377 The default state of the motion path can be difficult to see in a complex scene You can give your motion path some extra depth by displaying it as a ribbon The ribbon lets you see the motion path as a flat track running through the scene By default the
18. s bounding box The Object Attributes dialog appears 3 Click the Linking tab 4 Click the Object Parent Name menu and choose None 5 Click the OK icon to unlink the two objects Bryce 4 Linking Options Using the options available in the Linking tab on the Object Attributes dialog you can control which parent object transformations are applied to child objects and how objects are constrained when they re linked to a path Parent to Child Transformations Options Once you ve created a link you can determine exactly which transformations applied to the parent will affect the child To set which parent object transformations are applied to a child 1 Display the Object Attributes dialog 2 Click the Linking tab 3 Disable the buttons for the transformation you don t want applied to the child Object Parent Name Sphere 1 Propagate Distance Rotation Offset Size The enabled buttons on the linking portion of the Linking tab represent the transformations that will be applied to child object Geometric Path Linking Options A Geometric path is an object that acts a kind of track for controlling the motion of objects Normally when you link an object to a Geometric Path it is constrained to the path However using the linking options in the dialog you can disable or enable constraining Arranging O bjects When an object is constrained to the path it can only move along the path W hen its not
19. s displayed linked or animated Refer to Editing Link Attributes on page 319 for more on linking properties and Editing Animation Attributes on page 320 for more on Animation properties To hide the camera wireframe 1 Switch to Director s View or an orthogonal view so you can see the camera s wireframe 2 Select the camera in the Working window 3 Click theA icon that appears next to it The Camera amp 2D Projection dialog appears 4 Enable the Invisible option 5 Use the Selection palette to re select the camera once it is hidden Refer to Selection Palette on page 12 for more information on reselecting the camera To display the camera s field of view 1 Switch to Director s View or an orthogonal view so you can see the camera s wireframe 2 Select the camera in the Working window 3 Click the A icon that appears next to the camera object The Camera amp 2D Projection dialog appears 4 Enable the Show FOV option Bryce 4 To lock the camera position 1 Switch to Director s View or an orthogonal view so you can see the camera s wireframe 2 Select the camera in the Working window 3 Click theA icon that appears next to its bounding box The Camera amp 2D Projection dialog appears 4 Enable the Locked option Director s View Director s View lets you view your Bryce environment through the eyes of a director sitting outside the scene directing the action
20. the Preset Views and the 2D Project and Camera dialog Most of these tools are located on the Control Palette Refer to Setting Up theView of Your Scene on page 328 for more on these tools When you reposition the camera you re changing the view of the scene not the position of the objects To start this lesson you ll need to open a file with some objects in it To open the camera lesson file 1 Choose File menu gt Open 2 OntheCD ROM locate the file Manual Tutorial Camera Camera Sceneand click Open To reposition the camera using the Camera Controls 1 Onthe XZ control drag the Z arrow down The scene moves towards you The cursor turns into an axis indicator when you move over atip of the control V gt v When you move over the tip of an arrow in the Camera control the cursor turns into an axis indicator 51 2 Onthe XY control drag the tip of the Y arrow up Your scene should look like this when you re done using the Camera controls The objects should now be easier to see but you can adjust the camera again to get a better angle on the scene To reposition the camera using the Trackball 1 Click the center of the Trackball and drag to the right The scene rotates to the left PY o Usethe Trackball to rotatethe camera around the scene The camera is now in an almost perfect position to view the scene You can place the camera in a precise position by moving it nume
21. Creating O bjects Negative or Intersecting objects must share space with at least one Positive object in the group to exhibit a Boolean operation If there is no common space Negative objects are invisi ble when rendered A group that contains an Intersecting object that does not intersect with any other object in the group becomes entirely invisible this is because the Intersecting object is intersecting with nothing You can build very complex objects by com pounding Booleans Suppose you wanted to create a flute You would first create the hollow tube by combining a positive cylinder with a negative cylinder then create several negative spheres and group those with the tube creating a simple flute This simple flute was created by grouping a hollow tube with several negative spheres By compounding more Boolean operations on top of this simple flute you could create even more complex objects 116 When your scene is rendered the area where the two objects intersect is removed from the positive object To create an object that is the intersection of two objects 1 Select an object 2 Click theA button next to the object s This sprinkler was created using compound Boolean bounding box or press Command O ption operations E Ctri Alt or choose Objects menu gt E dit Attributes Since Bryce performs Boolean operations using object attributes you can adjust the shape of a The Object Attributes d
22. Drag the control to specify the angle of motion 144 Working with the Sun The sun is the source of all natural light in your scene Its attributes have a profound effect on the look of your scene The color of the sun affects all the colors of all the objects in the scene Sunlight color tints all the other visible colors The position of the sun controls the time of day in your scene If the sun is above the horizon it is day if it is below itis night and if itis at the horizon it is sunrise or sunset The sun can be animated just like all the other elements of your Bryce scene You can create time elapsed effects by changing the position of the sun over the course of an animation Refer to Animating Sun or Moon Position on page 395 for more on animating the Sun Positioning the Sun Thesun position control sets the direction your natural light is coming from whether it is sunlight or moonlight The position can be set using the Sun control in the Sky amp Fog palette The control works like a trackball with the sun at one end and the moon at the other Moon The control works like a trackball As you drag over the control both elements move in the direction you drag You can think of the control as a compass if the highlight on the Sun Control sphere is 145 positioned at 12 o clock the light comes from the north and so on Asyou change the position of the sun the time of day change
23. For animating you will use Camera View Let s start by locating the camera where the Director s View is To plan and time the sequence 1 On the Controls Palette choose Camera Options menu gt Camera gt gt Director The camera wireframe disappears from the scene Bryce 4 The camera object has moved to the same location as the Director s View so it is now located at your point of view Leye tobesinas hp irer Ceres Bante lie i Cabera Control ceuin cmon Mababa Camera O ptions W hen you view your scene from above you will see the camera s wireframe location has changed 2 View your scene from Top View On the Controls Palette choose View Options menu gt From Top or press the 2 key Your scene changes to top view The camera is now located at the bottom of the scene window The top view Tutorial 80 In this animation the path the camera will take goes through the doorway circles around the pedestal then goes out through the archway just above the left wall Note that you might have to zoom out to see the same view as this image On the Display palette to the right of the Working Window click the Demo marker tool Beginning at the camera s location drag the mouse to draw a path from the camera through the doors around the pedestal and out the left side Your screen should look something like this Drawing the path Look at the path there How long should this
24. Limited Warranty Company warrants as the sole warranty that the medium on which the Program is furnished will be free from defects in materials and workmanship under normal use and conditions for a period of ninety 90 days from the date of delivery to you as evidenced by a copy of your receipt No distributor dealer or any other entity or person is authorized to expand or alter either this warranty or this Agreement Any such representations will not bind the Company Company does not warrant that the functions contained in the Program will meet your requirements or that the operation of the Program will be uninterrupted or error free E xcept as stated above in this section the Program and Documentation are provided as is without warranty of any kind either expressed or implied including but not limited to the implied warranties of 441 merchantability and fitness for a particular purpose You assume entire risk as it applies to the quality and performance of the Program and Documentation Should the Program prove defective you and not Company authorized Company Distributor or dealer assume the entire cost of all necessary servicing repair or correction This warranty gives you specific legal rights and you may also have other rights which vary from state to state Some states do not allow the exclusion of implied warranties so the above exclusion may not apply to you Limitation of Remedies Company s entire liability and reme
25. Noise Mode You ll notice that many of the steps for creating the phase are the same as those for creating noise That s because you are creating noise The difference is that instead of applying the noise to the texture the noise you create for the phase is used to displace the existing noise The following sections describe the various parts of the editor and how to use them in the noise creation process Phase Dimensions Just like noise you can set the dimensions of the phase The number of dimensions determines which noise axes will be displaced when you apply the phase For example if you apply a one dimensional phase to a three dimensional noise only the X axis of the noise will be displaced Its easier to see the number of dimensions for your phase if you use a cube in the Phase P re view Textures 3D Noise In this example a 1D phase was applied to a 3D noise 1D Phase To choose the number of dimensions for your phase l Display the Deep Texture Editor 2 Display the Phase E ditor 3 Click one of the dimension buttons at the bottom of the editor The three buttons at the bottom of the editor let you choose between 1D 2D and 3D phase Phase Noise Type There are 27 types of noise available in the Phase Editor Random Noise is the default RND 258 Each noise type provides you with a different basic pattern for the phase The noise types available in the Phase Editor are the same as t
26. The clouds in the sky can be animated by changing their color position or frequency and cloud planes can be animated just like other objects They can also be animated using the Cloud Motion controls T hese controls let you set parameters for automatically animating clouds Refer to Animating Clouds on page 394 for more on animating clouds Adding Clouds TheSky amp Fog palette provides several controls that set the attributes of clouds in your sky The Cloud Coverage Cloud Altitude and Cloud Frequency and Amplitude controls let you set 13 7 the general appearance of your clouds The Cloud Color sets the color of the clouds Cloud Frequency and Amplitude Cumulus Color Cloud Cover Sky Dome Color Cloud Height Use the cloud controls to set the attributes of the clouds in your scene You can add clouds to your scene in five easy steps e Select the type of cloud e Adjust the cloud texture e Set the cloud coverage and color e Set cloud altitude e Set the frequency and amplitude of clouds Cloud Types There are two types of clouds you can add to your Bryce environment Cumulus and Stratus Cumulus clouds are generally found at lower altitudes and appear thicker and fluffier The sky in this scene uses Cumulus clouds Bryce 4 The Stratus appear at higher altitudes and appear thinner and more wispy 2 2 Ste ps _ io a ast The sky in this scene uses Strat
27. The hair dryer in this example was created using a symmetrical lattice object To create a Symmetrical Lattice Click the Symmetrical Lattice tool Use the Symmetrical L attice tool to create symmetrical objects 105 Creating Primitives Primitives are the primary geometric building blocks in Bryce You can create spheres tori cylinders cubes pyramids cones discs and 2D squares To create a geometric primitive e Click one of the primitive tools Creates spheres Creates toruses Creates cylinders Creates cubes Creates pyramids Creates cones Creates discs Creates 2D faces O E OEE By default all primitives are assigned a flat gray color Derivative Primitives Derivative primitives are primitive objects whose shape is derived from basic geometric primitives Bryce 4 Derivative primitives were created so that you could skip some of the editing procedures on most of the basic primitives For example instead of elongating a cube to make it into a pillar you can just use the Stretched Cube or Brickiod derivatives To create a derivative primitive Click one of the derivative primitives tools available Sphere derivatives E llipsoid Squashed Sphere Cylinder derivatives Tuboid Stretched Cylinder Squashed Cylinder Cube derivatives Stretched Cube Brickoid om ge Pyramid derivatives Stretched Pyramid S quashed Pyramid te Cone derivatives
28. This chapter describes how to use the transformation tools and the Object Attributes dialog to resize reposition rotate align and randomize objects It also describes how to create object hierarchies Bryce and 3D Space Since all the objects in your scene exist in 3D space defined by XY Z any transformation you perform is a 3D transformation This means that you re changing the attributes of the object in each axis Bryce has three ways of defining 3D space World space which is constant Object space which changes as the object changes and Camera space which changes as the camera changes When you re using the interactive transform tools on the Edit palette you can use any one of the 3D space definitions Refer to Transformation Tools on page 285 for more on using these tools World Space World Space is the coordinate system that defines all the space in the Bryce universe It is constant and cannot be modified It is also the default space used for transformations Arranging O bjects World Space is defined by three axes X Y and Z that all meet at world center This center is defined numerically as 0 0 and 0 for the X Y and Z axes By default all new objects appear at world center TheY axis that extends from world center defines all vertical space Positive values represent distances above ground level and negative values represent distances below ground The X axis represents distances left and
29. W hile the eyedropper is active you can select colors from anywhere in your scene or even different parts of the interface For more control after picking with the color picker try O ption click A Ittclick to get Bryce s second color editor switch to HLS mode and adjust saturation or lightness less saturated col orscan make for more realistic fog and haze effects or you can enter numeric values if you need to precisely match specific colors Setting Palette Options The Sky amp Fog palette options let you link the palette controls directly to your scene and link your sun to the camera To link Sky amp Fog attributes directly to your scene e Click the triangle icon below the memory dots at the right edge of the palette and choose Choose Auto Update from the menu When this option is enabled every change you make to the Sky amp Fog palette settings will start a render of your scene with the new sky settings 26 Unless you have marqueed a small region to be updated every change you make will begin a completely new render Note To reset Sky amp Fog palette settings to their defaults e Click the triangle icon below the memory dots at the right edge of the palette and choose Reset Sky from the menu Saving Sky amp Fog settings The memory dots in the Sky amp Fog palette let you store your favorite Sky amp Fog settings Using these dots you can safely explore many Sky amp Fog configurat
30. You are placed in the BryceTalk Lobby A welcome message tells you which 426 other Bryce users are currently communicating in that room 3 You can communicate in the BryceTalk Lobby go to other rooms or start a new room To restore a BryceTalk session 1 Click anywhere in the Bryce window to return to Bryce or press Shift T 2 Click Talk again to restore the BryceTalk session To end a BryceTalk session 1 If desired tell the other users good bye 2 Press Cmd Q Macintosh or Ctrl Q or Alt F 4 Windows Communicating with Other Bryce Users You can join any conversation in any room You ll notice that a conversation looks like a movie script so it is easy to tell who is talking Use the scroll bar to review any part of the con versation once it gets too long to fit in the win dow Other Bryce users may be communicating in the BryceTalk Lobby or they may have started a separate room to discuss a specific subject At any time you can find out who is logged on search for a friend s nickname join discussions in other rooms or start your own discussion room Unlike being at areal party you can even participate in discussions in several rooms at once 427 To communicate with other users 1 Type your message in the lower section of the BryceTalk window You can edit your message until you are satisfied with the results 2 Press Enter to send your message once you have finished composing To
31. You can modify the mapping modes in the following different ways Symmetrical Tiling When you tile a texture onto an object in symmetrical tiling mode each repeated instance of your texture is tiled horizontally and vertically as needed to seamlessly produce a symmetrical pattern over the surface of the object in Symmetrical Tiling mode textures are seamlessly tiled across the object Repeat Tiling Unlike symmetrical tiling in which a seamless tiled pattern is achieved by flipping the texture horizontally and vertically Repeat Tiling repeats your texture across the surface of your object without any alteration in orientation The number of instances of the texture depends on the scale applied to the texture Scale Pict Size This mode modifier only affects picture textures W hen selected the image behaves like a sticker placed on the surface of the textured object Unless Scale Pict Size is selected the M aterials picture will repeat itself across the surface in a similar way to Repeat Tiling Centered Transforms Centered transforms works with parametric mapping modes to force the transformation of the textures to be applied around the center of the object surface Decal Colors Decal colors blends the color of a texture with the affected component s base color It uses the texture s alpha channel to control the amount of blending This can make decalcomania effects easier to achieve Alpha Scal
32. and Z that extend out from the camera center Wherever you move the camera these axes move along with it Y Camera space is defined by three axes that extend out from the center of the camera W hen you use Camera Space for transformations you re moving objects in relation to the camera W hen you drag along the X axis in camera space you re moving left or right from the camera W hen you move along theY axis in camera space you re moving up or down from the camera W hen you move along the Z axis you re moving away or towards the camera Since the camera can be rotated and repositioned it can sometimes be hard to tell which way is up left or right because your view from the camera is no longer aligned to the absolute XYZ axes Suppose you ve rotated the camera and then you move an object along theY axis in World Space Instead of moving up it may appear to move off to the left since your view of the scene is not aligned to the World SpaceY axis Arranging O bjects However in Camera Space the object will move up because the object moves along the camera sY axis W hen you transform objects using Camera space they move along an axis that extends from the center of the camera To choose a 3D spatial option for transformations 1 Click the Edit button at the top of the Bryce window to display the Edit palette 2 Click the triangle icon below one of the transformation tools and choose a 3D spa
33. constrained it acts like a regular child of the path Its movement is not constrained to the path The options in this dialog also let you set where on the path a object begins its motion Refer to Creating Geometric Paths on page 117 for more on Geometric Paths To constrain unconstrain an object to a geometric path l Select an object linked to a geometric path 2 Display the Object Attributes dialog 3 Click the Linking tab 4 Enable the Constrain to path button to constrain the object to the path e Disable the button to unconstrain it To set where the object sits on the path l Select an object linked to a geometric path Display the Object Attributes dialog Click the Linking tab A W N Enter a percentage in the Position field 100 places the object at the end of the path and 0 places it at the beginning Grouping Objects As your scene becomes more complex you ll want to group objects Grouping lets you control a set of objects as a single unit W hen you perform a transformation on a group all the objects are equally affected If you scale a 308 group all the objects change size or if you rotate a group all the objects rotate around a single axis The objects you place in a group depend on how you want to organize your scene You may want to group the objects that comprise more complex objects like the walls and turrets of a castle You can group objects to keep all the components
34. depending on the Refraction value Higher Refraction settings produce slight reflections as some of the light is bent directly back at its source Higher Refraction settings also change the color of the object s surface as the colors reflected from the environment affect the object s color Refraction set to 0 116 Refraction controls how much light bends as it passes through a transparent surface Refraction set to The Refraction value is what makes transparent surfaces look like glass As you increase the Refraction value the edges of the object will become reflective This simulates the effect of light being refracted so 204 sharply that it does not penetrate the object s surface Refraction set to Refraction set to 140 300 In these examples you can see how the edges become more reflective as you increase the Refraction value The higher you increase the Refraction value the more the Diffuse Color is blended with the Transparent Color The higher the value the more Diffuse Color is visible in the object s surface Any light that s visible through the surface of the object is then tinted through both the Diffuse Color and the Transparent Color Refraction values are expressed as 100 x Refrac tion Index value The Refraction Index contains refraction values for specific types of surfaces For example the Refraction Index of water is 1 3 this value is expressed as 130 in the Materi alsLab
35. e Camera View select this option to view your scene as the Camera sees it based on the Camera s current location and orientation From Top select this option to view a perspective free orthogonal projection of your scene as seen from above based on absolute world coordinates From Right select this option to view a perspective free orthogonal projection of your scene as seen from the right based on absolute world coordinates From Front select this option to view a perspective free orthogonal projection of your scene as seen from the front based on absolute world coordinates 29 From Left select this option to view a perspective free orthogonal projection of your scene as seen from the left based on absolute world coordinates From Back select this option to view a perspective free orthogonal projection of your scene as seen from behind based on absolute world coordinates From Bottom select this option to view aperspective free orthogonal projection of your scene as seen from below based on absolute world coordinates Director s View select this option to view your scene from the perspective of a director sitting outside the scene To switch views using the keyboard Select a preset view shortcut e e e e e CameraView 1 Top View 2 Right View 3 Front View 4 Director s View To reset the view of your scene e Click the triangle icon next to the View control and
36. grouped objects One way of creating this type of hierarchy is by grouping the parent objects Arranging O bjects from different link hierarchies together In this case the final group you create would become the parent object of the hierarchy You cannot create a group using a child object Only parent objects can be part of a group When the parentisin a group all its children are also part of the group since they must follow the parent You could also create a hierarchy where a group is linked to a parent object In this case the parent object of the hierarchy would be the parent from the first link you created v Sphere 1 v Sphere 2 Cube 5 Cube 4 Parent Object oh a LEK Child Object E a In this hierarchy the parent object is a group that has four children one of which is the parent object of a link hierarchy that has two children Cube 1 Cube 2 Cube 3 Viewing Object Hierarchies The Hierarchy list area of the Advanced Motion Lab lets you see a list of all the objects in your scene Object hierarchies are indicated by indents A parent object is listed at the far left of the area its children appear indented beneath it The name of an object that appears in the Hierarchy listing can be set using the O bject Attributes dialog If no name is set a default name is used for example Sphere 1 304 These names are unique for each item in the scene and are not reused regardless of the number of obj
37. of the Picture Library The Open dialog appears 2 Use the dialog controls to locate the desired list and click Open The pictures in the list appear in the library To save a picture list 1 Click the Save List button at the bottom of the Picture Library The Save dialog appears 2 Enter aname for the list and click save Name the list the same as the scene This way you can easily find the list that belongs to a specific scene Creating O bjects Importing Objects Bryce can open many different file formats including files created in previous versions of Bryce For instructions on importing files as well as alist of all import formats see the README file on your Bryce CD ROM and Appendix 17 Using Bryce with Other Appli cations Creating Boolean Objects A Boolean object is an object created by com bining two or more objects to form a single object Boolean objects are created by perform ing Boolean operations on anumber of objects You can perform three types of Boolean opera tions in Bryce union subtraction and inter section Bryce uses O bject properties to perform Bool ean operations Objects can be Neutral Posi tive Negative or Intersecting When you combine these objects in a group the resultisa Boolean object Boolean operations do not have any effect on Neutral objects W hen you group a neutral object with a Boolean object no Boolean oper ation is performed 14 cher Negat
38. only not its orientation Rotation X Z Camera Control The X Z Camera control provides control for horizontal and depth motion The sphere at the center of the camera control lets you move the camera in both the X and Z axis This control affects your camera s position Offset only not its orientation Rotation Y Z Camera Control TheY Z Camera control provides control for vertical and depth motion The sphere at the center of the camera control lets you move the camera in both theY and Z axis This control affects your camera s position Offset only not its orientation Rotation Use these controls to move the camera along theY axis i aai U se these controls to move the camera along the X axis k 5 U se these controls to move the camera along the Z axis To move the camera in two axes at once Drag the sphere at the center of one of the Camera controls The cursor becomes a four way arrow The motion of your mouse determines the direction of the camera movement X Y Camera control moving up down left and to the right moves the camera up down left and to the right Bryce 4 X Z Camera control moving up down left and right moves the camera forward backward left and to the right Y Z Camera control moving up down left and right moves the camera up down forward and backward To move the camera along a single axis Drag along the tip of an arrow When you move the
39. operation to cut out a hole in the ground plane A Negative boolean operation requires a Positive object or a Positive group of objects and a Negative object W hen these are grouped together the shape of the Negative object is cut out of the Positive object Objects can be given Negative or Positive attributes in the Object Attributes box To set the landscape as a positive boolean object 1 Click the Selection Animation toggle in the lower right corner to switch to Wireframe mode 2 InWireframe mode select one of the terrains 3 Then while holding the Shift key down select the second terrain and the ground plane All three should now be highlighted in red 4 Click the Object Attributes button A button to display the Objects Attributes box then click Positive This sets each one of the selected objects to Positive 5 Exit the Object Attributes box by clicking the OK icon To group the terrains 1 Click the Group button the G button in the vertical list associated with the selected objects to group the three objects Terrain 1 Terrain 2 and Plane 1 together in a Group called Group 1 2 With Group 1 still selected click the Objects Attributes button then set Group 1 to be Positive 3 Exit the Object Attributes box by clicking the OK icon Lesson 2 Creating the Interior of the Lake Next create a third terrain Terrain 3 and apply the same Desert Rock material as you used before Refer to Lesson
40. pattern or grain When you use a texture as a component in a material channel these grayscale values are used to map surface properties W hite areas in the alpha channel represent 100 of the effect and black represents 0 Images or 2D textures also contain an alpha channel In images the alpha channel acts as a mask for the image The image s alpha channel is used in the same way as a texture s alpha channel Bryce 4 Surface Material Channels This section provides details on each of the surface material channels Diffusion Diffusion determines how much direct light is reflected diffusely or scattered in all directions Direct Light Ah Surface reflects light diffusely The small arrows projecting off the surface of the object illustrate how Diffusion works When light hits an object with diffusion set to 100 all the light that hits it is reflected back scattered in all directions This gives the object a flatly lit appearance If the object s diffusion is set to 0 no light is reflected off its surface so the object appears black M aterials Diffusion set to Diffusion set to Diffusion controls how much light is diffusely reflected off the object s surface Setting Diffusion Using a Texture W hen you assign a texture to the Diffusion channel the texture s alpha channel determines which areas of the surface have high diffusion and which have low diffusion Bright area
41. rocket ships or snowmen primitives Like primary colors Primitives are Bryce s primary objects Spheres cubes cylin ders pyramids cones disks squares and toruses are all primitives procedural objects Procedural objects are object that require special constructions or procedures to create them Procedures can include operations such as preassignment of materials randomization of internal parameters or assignment of light properties For example terrains radial light A light which casts rays equally in all directions ray hits The total number of times all rays strike objects in your scene Note The total of Ray Hits and Misses is not equal to the total of Primary and Shadow rays because secondary rays are not quantified in the Render Report ray misses The total number of rays that are fired but strike no objects in your scene Note The total of Ray Hits and Misses is not equal to the total of Primary and Shadow rays because secondary rays are not quantified in the Render Report raytracing An image synthesis technique by which a virtual beam of light is projected from a virtual camera into a 3D scene in order to eval uate shading and visibility The virtual beam may be absorbed reflected or otherwise Glossary affected to some degree by every object it strikes For instance if it hits your sky then a blue sky color ends up on that portion of your virtual film your image In this way a fi
42. s view it does not It also keys the sky In Auto Key mode Bryce automatically adds key frames for you but when you disable the mode you ll have to use Add Key frame to add key frames at points in the timeline The Delete Key button deletes the current key frame event or a specific type of key event In Bryce 4 the Working Window deleting a key event deletes all the frames at the current time In the editors the D elete Key button only deletes key events for the properties associated with the editor Animation Options The triangle icon to the right of the animation controls displays Auto Key Framing option menu This menu lets you turn the animation system on or off v Auto Key Ticker Marks Use the triangle icon to access the animation options menu which lets you enable or disable the animation system W hen the animation system is enabled every change you make to the scene is recorded asa key event Changes can include things like moving an object changing a material or changing the shape of a terrain W hen the animation system is disabled your changes are not recorded To record a key event you have to use the Add Key Frame button The animation system is enabled by default This menu also contains the following e Ticker Marks lets you select from frame or time options e Play mode lets you choose Once Repeat or Pendulum e Time display is either SMPTE or Frame Animation in Bryce Tim
43. setting If the Ambience is set to zero the Ambient Color is invisible Ambient Color is the color that reflects off the entire surface of the object and is directly related to Ambience TheAmbient Color tints the entire surface of the image Ambient Color tints the entire surface Ambient Color is the color that appears no matter where light strikes the object TheAmbient Color channel is also related to the ambient color you set in the Sky amp Fog palette The ambient color of the environment is added to the ambient color of the object so if your environment is blue and your object s 199 ambient color is yellow your object appears green Setting Ambient Color Using a Tex ture W hen you assign a texture to the Ambient Color channel the color channel in the texture is used as the Ambient Color In other words the texture s color is applied to any area of the object that s in shadow Specularity Specularity controls how much light is reflected back from the surface of the object at the viewer Viewer sees high light Surface is reflective Specularity is the highlight reflected back at the viewer Since the direct reflection creates a highlight on the object you can think of Specularity as the channel that determines the intensity of the highlight that appears on the object or the shininess of the object Bryce 4 The higher you set the Specularity the shinier the object
44. since it doesn t have to be repeated as many times to cover the surface of the object Scale X 50 Scale X 0 Scale X 100 Since a 3D texture exists in 3D space you can change its sizein all three axes Adjusting the scalein X changes the size of the texture along the X axis CAAA Scale Y 0 Scale Y 50 Scale Y 100 Adjusting the scalein Y changes the size of the texture along theY axis 217 YYY Scale Z 0 Scale Z 50 Scale Z 100 Adjusting the scalein Z changes the size of the texture along the Z axis Rotation Using the Rotation controls you can control the angle of the texture on the object s surface You can create very different texture effects depending on its orientation Vue Rotation Rotation Rotation X 0 X 90 X 180 Since a 3D texture exists in 3D space you can change its orientation in all three axes A djusting the rotation in X changes the angle of the texture along the X axis YPS Rotation Rotation Rotation Y 90 Y 180 Adjusting the orientation in Y changes the angle of the texture along theY axis Bryce 4 FJS VY Rotation Rotation Rotation Position Position Position Z 0 Z 90 Z 180 Z 100 BU Adjusting the orientation in Z changes the angle of the Adjusting the position in Z changes the placement of the texture along the Z axis texture along theZ axis You can transform a texture numerically by adjusting the X Y and Z coordinates or interac
45. values in your canvas Next to the graph is the Preview area This area shows you what your Terrain Canvas would look like if applied to the current Filtering graph This area automatically updates as you make changes to the graph Along the top of the tab are the nine Filtering presets you can apply to the graph Each preset represents a different predefined graph They are designed to create specific changes in gray levels like smooth gradients and abrupt transi tions Working in the Filtering Tab Altering the Filtering Graph The best way to start adjusting the Filtering graph is to determine the type of effect you want to create For example if your canvas is too dark raise the value of the darker gray value Terrains inputs by drawing a ridge in the left side of the graph Drawing a ridge on the left side of the graph After raises the value of the darkest graysin your Terrain Canvas To alter the Filtering graph 1 Make sure the Filtering tab is visible If it s not click the Filtering title or press the Tab key until it is displayed 2 Drag your pointer over the area of the Filtering graph you want to adjust When you drag over a black area the pencil draws in gray dragging over a gray area draws in black 178 Tracing over any lines you ve drawn erases them To undo all changes to the Filtering graph l Make sure the Filtering tab is visible If it s not click the Filterin
46. your Terrain Canvas is inverted The original graph stated that all values input as black were output as black and all the values input as white were output as white In this ar black gra output as In the original Filtering graph all values input as black are output as black and all valuesinput as white are output as white The new graph you created now states that all values input as black are output as white and all the values input as white are now output as black In other words all the dark values are light and all the light values are dark 177 dark levels ite In the new Filtering graph all values input at 0 are output at 255 and all valuesinput at 255 are output at 0 This is a drastic example In most cases you would adjust more specifically like lightening the midtone grays or darkening specific gray values Remember that this graph represents your Terrain Canvas so you re changing the shape of your terrain object as you adjust gray values The Filtering Tab The Filtering tab is divided into three areas the Filtering graph the graph preview and the fil tering presets Bryce 4 Filtering Presets Filteiing PFEP TMTTFTP T Filtering Graph Preview Area Use the Filtering tab to edit the Filtering graph and apply filtering presets The Filtering graph displays your Terrain Can vas s gray levels as value inputs and outputs You can edit this graph to adjust the gray level
47. 2D object separating it from any unwanted background information For instance you may import a picture of a dog If you have created an alpha channel mask describing the area of the dog as white and the non dog area as black then unwanted cats and mailmen in the original picture s back 109 ground will not be seen in your rendered image With Mask This example illustrates how the Alpha channel mask is used to eliminate the unwanted areas of an image In Bryce Alpha channels are also used when your picture is acomponent in a material In this case the alpha channel can be used to determine everything from the bumps in a material to how a surface property is applied on an object Refer to 2D Textures on page 211 for more on using pictures in a material If you want to use the picture in the library for multiple purposes you ll need to make sure that all the pictures have an alpha channel The Picture Library The Picture Library stores all the images avail able in Bryce and can be used to catalog pic tures and to import pictures You can store any number of pictures in the library that your sys tem memory and disk space will allow Bryce 4 There are two ways of accessing the Picture Library The method you use depends on how you re going to use the image To access the Picture Library from the Create palette e Click the Pict Object tool The library automatically opens To access th
48. Bitmap display all objects are displayed as wireframes but with the rendered image in the background This mode is most useful when you have a partially rendered image and want to improve the results If you switch to this mode you can move your wireframe objects relative to the rendered image behind them in order to accurately judge the results of your change To toggle between modes Press the Esc key The Esc key will toggle between the last W ireframe mode you selected W ireframe or Wireframe Bitmap and Bitmap mode Bryce Basics 18 Flat Shaded Preview Mode This preview mode is only available if your system contains hardware that supports OpenGL In Flat Shaded Preview display all objects are displayed as flat shaded solids W hen this mode is active your objects appear as flat shaded solids without materials instead of wireframes and you can see the effects of light sources on object surfaces To display objects in Flat Shaded Preview Hold down the mouse button over the Display Mode button and choose OpenGL from the menu Wireframe attributes When you re in Wireframe mode there are several options you can set to make the display more helpful Disabling some of these options may speed up drawing time To set Wireframe attributes l Make sure you re in Wireframe mode Click the Display Mode tool until the display switches to W ireframe 2 Drag the Depth Cue control up or down t
49. Bryce units of measure refer to Bryce Units on page 282 for more on Bryce units The default value is zero 5 Enter X Y and Z values in the Rotate fields Rotate values are expressed as degrees with arange of 0 to 999 The default value is Zero 6 Enter X Y and Z values in the Scale fields Size values are expressed as a percentage of current size with a range of 0 to 9999 The default value is 100 The Quantity value entered in this dialog sets the number of duplicates created when you use the Replicate command Undoing Operations The Undo and Revert to Saved commands let you erase the effects of changes you made to your scene To undo the last operation Choose Edit menu gt Undo or press Command Z Ctrl Z To redo the last operation e Choose Edit menu gt Redo To revert to the last saved version of your scene Choose File menu gt Revert to Saved All unsaved changes are discarded The Marker Pen The Marker Pen turns your screen into a white board W hen you re using the Marker Pen you can draw anywhere in the Bryce environment without affecting your scene One key click erases all the marker pen lines To draw with the marker tool 1 Click the Marker Pen tool or press the M key E 2 Drag it anywhere on your screen To erase marker pen lines Click the Marker Pen tool again or press the M key again Saving and Closing The Save command lets you save your work ina co
50. Channel Values By animating the channels in a material you can alter the properties of a material without changing its basic function Using this tech nique a rock material would still look like a Bryce 4 rock but change color or glass would still look like glass except become shinier In this example the effect of a cat s eyes growing brighter as the sunlight fades was created by animating the Ambience channel value This is the simplest way of animating a material and it requires the least amount of processing time To animate a material s channel values 1 Select an object 2 Click the M icon that appears next to the object s bounding box The Materials Lab appears 3 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 4 Move the Current Time Indicator to the point where you want to start changing the material Animating Techniques 5 Change the values of the material channels using the Value controls or Change the color used for a channel by using the color picker 6 Move the CurrentTime Indicator to a different point on the Timeline The current time appears in the counter next to the preview controls 7 Change the channel values again 8 Continue moving the Current Time Indicator and changing channel values until you achieve the effect you want 9 Click the OK icon to exit the Materials L ab Animating Texture Components Animating a tex
51. Color channel determines the color of the transparent areas of your object Light is filtered through this color as it passes through the object s surface As a result anything you can see through your object is tinted with the Transparent Color you select on Transparent Color N Transparent Color tints any light that passes through the object Keep in mind that the Transparent Color interacts with the other colors in the material If the Diffuse Color is white then the Transparent Color takes precedence If the Diffuse color is yellow and the Transparent color is red the object appears orange However when you re using Refraction the Bryce 4 Transparent Color blends with the Diffuse Color Transparent Color applied to the object TheTransparent color tints everything you see through the surface of your object Transparent Color is linked to the Transparency channel If the Transparency is set to zero the Transparent Color is invisible Setting Transparent Color Using a Texture When you assign a texture to the Transparent Color channel the texture s color channel is applied to the transparent areas of your object Refraction The Refraction channel determines whether light bends when it passes through the surface of an object M aterials Light is fil tered through Transparent Color Light is bent if Refrac tion is greater than Light may bend asit passes through an object
52. Director s View top right front left back and bottom views also known as orthogonal you will see a blue Camera wireframe which represents the location of Bryce 4 your Camera You can then drag the Camera wireframe to change Camera position The Nano Preview updates to reflect your changes The camera indicator only appears in either the orthogonal views or the Director sView Drag the indicator to adjust the camera s position Camera Origin Point In its default state the Camera s origin pointis not visible and is located at its center W hen the Camera s origin point is visible it appears as a green dot in the center of camera s wireframe The green dot in the center of the camera wireframe represents its origin point You can simulate any of the camera modes by dragging the camera s origin point to different locations in the scene e Ifyou position the origin point in the center of the scene the camera acts like it s in Trackball mode W hen you rotate the camera it moves around the position of the origin point The Camera and Lights e Ifyou position the origin point over an object in the scene it acts like it s in Center to Selection W hen you rotate the camera object it will pivot around the object under the origin point e Ifyou leave the origin point positioned at the center of the camera object it acts like it s in Tripod mode Once you offset the origin point all the
53. F ilter ing tools to add small changes in elevation to the terrain 397 Terrain animations are created using the Ani mation controls that appear at the bottom of the Terrain E ditor Timeline Indicat preview contis Key fame conbts TheAnimation controls at the bottom of theTerrain E ditor lets you move along theT imeline and preview you animation TheTimeline in the Terrain Editor is the same as the one in the Working window All the key events recorded for object transformations and material changes are displayed in the Timeline TheAnimation controls in the Terrain Editor can perform all the same functions as the those in the Working window Refer to Creating Ani mations on page 356 for more on using the animation controls Animating Terrain Geometry There are two ways of changing the geometry of aterrain object by painting directly on the Ter rain Canvas or by applying an elevation effect When you paint on the canvas you create large changes in the terrain like the creation of new mountains or valleys Bryce 4 The violent motion of great rock columns shooting up the ground was created by painting a new peak onto existing terrain at different points along the timeline Animating Techniques from The appearance of foot prints in the sand was created by a painting dark footprint shapesin theTerrain Canvas at different pointsin theT imeline W hen you apply an effect you creat
54. Fiance Anitarirs file Anaran Saree hh Cpr 1a Rawis Congratulations You ve created your first Bryce iis tae Warming Aaage movie Make sure that you exit the movie player Per application before you continue the tutorial eo Fine Tuning Your ED e ia Animation prea Pereg Ep En Teeme a E GA To finish up your animation you will convert Compression O ptions your trajectory to a path At the beginning you used keyframes to set the position of the 5 Uncheck the option for Keyframe every 10 camera The trajectory is good for creating the frames then click OK physical location of the camera over the sequence H owever the points along the path tend to correspond to places and not necessarily events or velocity Windows users should click the Output Module triangle then select QuickTime Move This ensures the results are consistent Converting to a path will allow you to set up 6 Click the Set button A Save dialog box two keyframes one for the beginning and the other for the end and you can adjust the appears showing the location and name of J your movie velocity to your heart s content without worrying about placement of this physical 7 Choose the location and name of your keyframe at that spot As it happens the movie add the word test then click OK animation we ve done so far is fairly evenly paced so the potential problem is not as apparent here as it might become later in your work animating Bryce sequen
55. For example it you delete a frame that contains position material and scale datain the Materials L ab only the material data is removed from the key frame Advanced Motion Lab TheAdvanced Motion Lab provides tools for refining your animations In this window you can e view the hierarchical structure of your scene rearrange the sequence of key events for individual object properties remap the time it takes to move from one key event to another e preview your animation 366 Time Mapping Editor Preview Area Hierarchy List Area TheA dvanced M otion Lab lets you adjust the hierarchy of your scene the speed of objects and preview the results Sequencer Area The Advanced Motion Lab is divided into four areas The Hierarchy List area located in the bottom left corner of the window displays a visual representation of the object hierarchies in your scene The Sequencer area in the bottom center of the window displays timelines containing all the key events in your animation A timeline is displayed for each object or scene property in the animation TheTime Mapping Curve Editor located at the top left of the window displays a curve for each object or scene property that represents the time mapping filter applied to the property You can adjust how long it takes to complete an action by changing the shape of the curve The Preview Area located at the top right of the window contains tools for p
56. In the Sequencer each property of an object can be viewed on a separate timeline You can expand an object s listing to see all the transformations or changes that have been applied to its properties If you have not performed any transformations on the object it cannot be expanded Bryce 4 Refer to E diting Property Timelinesin the Sequencer on page 368 for a complete discus sion of the Sequencer Cylinder 1 Positi Rotation Scale Shear Origin Origin You can expand an object s listing to see the timelines for the transformation applied to it To expand a listing in the Sequencer 1 Make sure the Advanced Motion Lab is visible If it s not choose Objects menu gt Advanced Motion L ab 2 Click the object s listing Creating Animations The Animation controls are the tools you ll use most often when creating animations The palette provides tools for most of the basic animation functions e viewing the timeline e moving the current time e setting the length of the animation e specifying the Working Area e previewing the animation e recording key events e adding deleting key frames Animating Current Time Indicator Timeline Animation Preview Controls Key Frame Controls The Animation controls let you move through the timeline of your animation and create key frames TheAnimation controls appear at the bottom of the Working window as well as in theTerrain Editor and the Mater
57. J5 Click the color circles in the Combination component window and choose colors for the final texture e You can also choose a Blending mode J6 if you want to change the noise of combined component display the Noise palette If it s already displayed make sure the component indicator is on the fourth component T7 if you want to change the phase of combined component display the Phase palette If it s already displayed make sure the component indicator is on the fourth component 18 If you want to change the filter of combined component display the Filtering palette If it s already displayed make sure the component indicator is on the fourth component 19 Click the OK icon at the bottom of the editor The texture appears in one of the component windows in the Materials L ab Using Drag and Drop in the Editor The Deep Texture Editor lets you drag and drop component elements between component windows This a quick way of copying elements between components For example if you were setting up ared green and blue separation of the colors in your texture you could drag the same elements to all 215 three component windows and change the Color Blending mode To drag and drop between windows e Drag from the window you want to copy to the window where you want the elements to appear Release the mouse button to drop the component elements The elements you drop into a window replace the exi
58. Lab 2 Click the name of the object whose properties you want to remap 373 3 Click the name of the property you want to remap 4 In theTime Mapping Editor click a point on the curve and drag it to a new location e If you move over an existing point the cursor changes to across hairs e If there is not point on the curve the cursor turns into apen 5 Continue dragging points until you achieve the desired shape To zoom into an area of the Time Mapping curve 1 Move the cursor over the curve in the Time Mapping Editor 2 Click and drag over an area of the curve When you release the mouse the area is enlarged To zoom out of an area in the Time Mapping curve e Hold down the Shift key and click inside the Time Mapping editor To pan the Time Mapping curve e To pan press the Spacebar and drag the curve in the editing window e To reset the view in the Curve E ditor press Cmd Ctrl Shift Click Using Presets Above the Time Mapping Curve Editor are eight time mapping curve presets You can create a preset of the current curve then apply it to a different attribute of the same object or to another object Bryce 4 To add apply or remove a preset e To add a preset click in one of the blank squares e To apply a preset click in the square that displays the present you want to apply To remove a present press Option Alt and click on the square that displays the preset you want t
59. Materials Lab appears 5 Click the Volume button at the top of the lab 6 Set up the values for channels in the material Refer to Building Materials on page 230 for more on creating materials e Choose a cloud like texture from texture components Stratus Cumulus or one of the CloudBump textures work well Bryce 4 e Pay special attention to the Base Density channel as this sets the transparency of your fog e You need to set a high value for the Edge Softness channel to blur the edges of the sphere object 7 Click the OK icon to exit the lab 8 In theWorking window move the object to the area where you want the fog to appear Haze Haze is the natural effect you see when a plane like the ocean stretches out towards the horizon At this distant point a different color appears over the horizon and light becomes fuzzy Haze creates the illusion of a distant horizons In this scene the haze is used to create the distinction between the water planeand the sky The Haze control lets you set the intensity and color of the Haze effect in your Bryce scene If you areupgrading from Bryce 2 you may find that hazeis more subtle at the lower end and you may need to adjust the H aze setting With haze set to zero your horizon will have an unnaturally hard edge Also note that the Cloud Altitude control will affect the height of this band of haze The higher the altitude of the Creating Skies atmosphere t
60. Moon tab Click the Secondary Ring button in the Halo Rings area Sun Moon Horizon Illusion If you ve ever watched a sunset you probably noticed that the sun appeared to get larger as it approached the horizon The same is true for the moon At certain times of the month it appears huge This illusion can be simulated using Sun Moon size Creating Skies The spooky look of this night scene was created by applying a H orizon Illusion When the illusion is active the sun or moon will appear to grow larger as it approaches the horizon To change the size of the Sun or Moon as it approaches the horizon l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Sun amp Moon tab 4 Click the Sun Moon size button at the top of the dialog 5 In the Sun Moon size area enter a value in the Disk Size field or drag the slider to set the overall size of the sun moon anywhere in the sky 52 6 Enter avaluein the Horizon IIlusion field or drag the slider to set multiplier used to determine how much larger the sun or moon gets as it approaches the horizon The Intensity field next to the Rings preview sets the width of the illusion Rainbows In the real world rainbows appear after rainstorms as arcs of light displaying all the color in the spectrum In Bryce a rainbow is an atmospheric ef
61. Object Attributes button theA button The cursor changes to a proportional resize Click there and hold down the Shift key then drag to the right The pyramid snaps to larger sizes Drag for one snap then release the mouse Next drag for three more snaps Bryce 4 The pyramid is enlarged and should Click the double arrows at the top right of extend off the right edge of the scene the Edit Palette A set of Bryce pyramids window appears Drag to the left until the sphere primitive is highlighted ya E Wy The highlighted sphere primitive Release the mouse The pyramid has changed to a sphere BEE The enlarged pyramid Next you ll use the arrow keys to nudge its position to amore central place in the iio scene 4 i 5 Press the left arrow key four times The pyramid moves so that the entire object can be seen in the scene window The converted pyramid Lesson 2 Converting a Pyramid l l l Lesson 3 Resize the Sphere The next task is to duplicate the pyramid and convert it to a sphere E ventually the sphere will be cut out from the pyramid using a boolean operation To duplicate the pyramid 3D Transformation dialog box 1 Choose Edit menu gt Duplicate A second pyramid appears in the exact place where the first one is Tutorial 64 Errat To cut the sphere out of the pyramid its size needs to be changed and its position adjusted slightly This time you will resi
62. Origin Thisis what the Hierarchy List area looks like when you ve hidden all the property timelines The hierarchy list can be viewed in two ways collapsed or expanded You can use the arrow icons to expand or collapse the Hierarchy W hen the Hierarchy list is collapsed you can only see the Parent objects in the object hierarchies Cone 1 Cylinder 2 When the Hierarchy listings are collapsed you can only see the names of the Parent O bjects in the scene W hen its expanded you can see all child objects in the hierarchy v Sphere 1 Cylinder 1 When the Hierarchy listings are expanded you can view the parent objects and their children The indents indicate Parent child links or groups The parent is align to the far left and its children are indented from there Animating To display or hide the hierarchical relationship To display the hierarchical relationship in the hierarchy list area select Display Hierarchy from the menu to the right of the Preview Area To hide the hierarchical relationship in the hierarchy list area deselect Display Hierarchy from the menu to the right of the Preview Area To expand collapse the hierarchy list To expand or collapse individual items in the hierarchy list click the Arrow icon beside an object s listing To expand the entire hierarchy hold down Option Alt and click an arrow or select Expand all hierarchies from the menu to the right
63. Perspective Render image and the Distance Render in Photoshop 6 Place the Distance Render image into the alpha channel of the Perspective image 7 Load the alpha channel as a selection 8 Apply Gausian Blur Objects close to you will appear sharp while objects farther away will become progressively more out of focus e You can also invert the selection and apply Motion Blur to the image In this case objects in the foreground would be motion blurred and the background would be sharp as if you took a picture from a moving car e If you take the Distance Rendered alpha channel and in Photoshop s Curves dialog remap the gray values you could determine very specifically which objects in your scene are in focus and which are not J ust remap black Using Bryce with Other Applications input to lighter output and the gray value of the desired focal object to black You can change the focus of images by remapping the gray valuesin the alpha channel of your image Printing Images You can print rendered images directly from Bryce If you need color separations you ll have to use an image editing or pre press applica tion You can specify printing options such as print quality number of copies print grayscale image type vector wireframe or rendered image printer driver or postscript as well as printer options such as intensity halftoning bleed control and color matching You can also preview a job b
64. Preview Area W hen you first open the Advanced Motion Lab the Preview Area displays the current camera view 3 4 In Director s View you ll be able to see the camera in the scene 2 Camera View Director s View W hen you switch to Director sView in the Preview Area you can see the camera in the scene e Click the button again to switch back to CameraView Changing views in the Preview Area doesn t affect the view in the Working window To render your preview e To render your preview click the lastVCR button under the Preview Areain the Advanced Motion Lab When you click on the lastVCR button your wireframe in the Preview Area is rendered To change the view in the Preview Area e To orbit around your scene drag the preview in the direction you want to move the view of your scene To change the position of camera hold down Option Alt and drag the preview 3 5 To zoom in and out of the preview Click the button next to the Preview Area The view of the scene enlarges t Hold down Shift and click the button to zoom out To reset the view in the preview area Click the Reset button next to the Preview Area The view switches back the view displayed when you first entered the Advanced Motion Lab To pan the Preview Area Drag the cursor over the Pan button next to the Preview Area file Hiding and Displaying Objects The left side of the hi
65. Refer to Time Mapping Curves on page 371 for more on working with Time Mapping Curves el Sone ced bed vad ed ed p 0 a a Oa o 00 Ea d oi met 00 00 00 04 TheT ime Mapping Curve editor lets you remap the time in your animation Animation in Bryce 42 Preview Area The Preview Area contains tools that let you preview your animation Animation Preview Preview Controls Preview VCR Controls TheAnimation Preview area lets you see any changes you make to the timing and velocity of objects The Preview Area has three parts e TheAnimation Preview area displays a wireframe preview of your scene Any changes you make in the Time Mapping Curve editor or the Sequencer are updated to this area e The PreviewVCR controls let you play the animation like a movie You can stop play move forward one key frame or back one The far right button renders the scene e The Preview Display Controls let you zoom in out of the preview switch between Camera View and Director View pan the preview and reset the preview Animation Features Bryce has several special features that let you add extra effects to your animations e Time Mapping Curves e Animating Transformations e Animating Materials e Animating Terrains e Animating Skies Time Mapping Curves Time Mapping Curves are graphical representa tions of the time mapping filter The filter remaps the time in your animation so that the even
66. Resize tool Resize values are expressed as a percentage of the current size of the selected object You can not enter negative numbers in this dialog To resize an object numerically l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select an object 3 Click the triangle icon below the Resize tool and choose 3D Transformations from the menu The 3D Transformations dialog appears 3D Transformations Use the 3D Transformation dialog to resize an object using numerical values 4 Enter a percentage in one or all of the axis fields Arranging O bjects The percentage determines the new size of the object based on its original size For example to double the object s size in all directions enter 200 in the X Y and Z fields To resize along a single axis enter values in only one axis field Since you are dealing with World Space transformations in this dialog if you resize an object along only one or two axes you may unintentionally skew the object s shape To resize the object without skewing it use the numeric entry fields in the Object Attributes dialog Using this dialog can resize the object based on its original position with no unintentional skewing Refer to Object Space Coordinates on page 283 for more Interactive Resizing W hile you can resize objects using the Resize tool or the 3D Transformation dialog there are resize co
67. Sky Lab dialog 1 If it s not already visible display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Cloud Cover tab The Cloud Cover tab provides controls that let you edit the textures that are used to create the cloudsin your scene As you changea texture the texture preview updates 138 8 9 Click the or Turbulence buttons to increase or decrease the amount of noise in the texture e Increasing the Turbulence creates a more dense pattern within the texture Click the or Complexity buttons to increase or decrease the amount of detail in the texture e Increasing the Complexity increases the complexity of the patterns within the texture Click the Randomize button if you want to choose arandomly generated texture for your clouds Click the three buttons to the left of the selected cloud type to change the colors used in the clouds Click the Reset button to restore the original settings if you want to start over Click the OK icon to apply your changes To edit cloud textures in the Deep Texture Editor 1 If it s not already visible display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window Click the Sky Lab button The Sky Lab palette appears Click the Cloud Cover tab Click the Edit button below the type of c
68. T he Bryce interface for both platforms is identical unless otherwise speci fied There are also several conventions used to identify paths to certain tools and controls The convention to a menu follows the rule of the menu name gt menu item The convention to a palette follows the rule of the palette name subpalette name or palette item The conven tion to a palette menu follows the rule of pal ette name palette menu gt menu item Modifier Keys When a modifier key differs between the M ac intosh and Windows platform the Macintosh modifier is listed first followed by aslash and the Windows modifier key Option Alt means Macintosh users press the Option key and Windows users press Alt Technical Support Technical support is free to registered users of Bryce 4 There are two easy ways to contact technical support for questions about installa tion configuration or functionality These options are web and phone support MetaCreations does not currently charge for technical support The only expense to you is the telephone call charge MetaCreations W elcome to Bryce 4 reserves the right to change this support policy at any time You will find the answers to most of your ques tions within the pages of this User Guide If you need further assistance you may contact MetaC reations Technical Support in one of the following ways Web Support Many of the answers to your questions are avail able 24 hours a day
69. This may cause small objects to be partially or completely missing 25 Using the Movie Preview In addition to viewing still images in the nano preview window you can use the same window to see a small version of your animation without having to leave Bryce See Previewing Animations on page 363 for more information Viewing Your Scene W hen you re creating an environment in Bryce your scene can quickly become rather large You may not be able to see the entire landscape in the Working window Bryce has several tools that can help you see every inch of your new world Orthogonality and Views W hen you view a scene from the side front top or bottom using the Camera you ll see certain amounts of perspective distortions These distortions can make precise visual alignments difficult For instance if you have a dozen cubes in different locations and go to Top View to place them on top of one another you will find it very difficult Cubes further from the camera would be slightly smaller than cubes close to the camera resulting in a confusing array of lines The more complex the scene the more confusing and difficult this kind of alignment becomes Bryce 4 co im h mm If you viewed objects from above through a real world camera the perspective distortions would make alignment or placement difficult To solve this problem Bryce uses a perspective free drafting board kind of view in which like
70. Thisis what a color blend looks like using Slope Orient In this mode the three colors are applied to the object according to its east west orientation Thisiswhat a color blend looks like using Orient Noise Noise is the basis of all the textures It is the background turbulence that creates the basis for texture patterns In audio terms you can think of noise as the background static that you hear on old recordings Sound is layered on top of this noise to create music Like in audio you layer other functions on top of the noise in your texture to create the final pattern or look of your texture There are two ways of creating noise the Noise palette or the Noise Editor Textures The Noise palette can increase or decrease the amount of noise in any of the texture components H owever using the palette you can only edit the existing noise Component Indocat Open Noise Edigr Noise slider The Noise palette lets you increase or decrease the amount of noise in a component To display the Noise palette l Display the Deep Texture Editor 2 Click the Noise button at the bottom of the editor The Noise palette appears Phase Filter The three buttons at the bottom of the D eep Texture E ditor let you display the Noise Phase and F ilter palettes or e Click the Noise button in the top left corner of on any of the component windows The three buttons along the outside of a com
71. To set the color perspective 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Atmosphere tab 4 Click the Color Perspective button 5 Click RGB controls to control the rate at which the red green and blue Creating Skies components of the atmosphere come in with distance Clouds in Bryce There two kinds of clouds in Bryce clouds in the environment and cloud planes Clouds you add to your sky interact with the light in your scene They can block out the light of the sun and change the color of the light that hits the objects in the scene T hese clouds are infinitely distant so you cannot fly through the clouds in the sky If you want to have this effect use a cloud plane Sky clouds can also cast shadows on the ground below Thecloudsin this scene were created using Cumulus clouds from the Sky and Fog palette You can change the look of the clouds by editing the texture used to create it By changing the texture you can alter the shape and position of the clouds within the sky 136 Cloud planes are infinite planes that act as objects in your scene They cast shadows and can interact with other objects The cloudsin this scene were created using an infinite cloud plane Using this type of cloud you can fly an airplane through the layer Both types of clouds can be animated
72. You can place them on your objects directly and edit them just as you would any other material To add a material from the Preset Materials Library to an object 1 Select an object 2 In the Working window click the triangle icon next to the Edit text button at the top of the Bryce environment The Preset Materials Library appears Use the Preset Materials Library to add premade materials to your object or 232 In the Materials Composer click the triangle icon next to the Material Preview window Click one of the Category names along the left side of the dialog Click the thumbnail of the preset you want to add Click the OK icon to add the selected material to your object You can also select presets in one motion by dragging directly to the desired material preset and releasing the mouse button You can also drag over the category names to change catego ries into the category s presets and then release mouse button Adding and Deleting Preset Materials You can add the material from any object to the Preset Materials Library This is a good way of saving your favorite materials To add a material to the library 1 2 Select the object whose material you want to add to the library Click the triangle icon next to the E dit text button at the top of the Bryce environment Your selected object will appear in the preview area of the Preset Material Library dialog The preview area disp
73. a marquee around the objects 2 Hold Cntrl Cmd and click an object to select or deselect Use shift to select multiple objects You will see a list of all objects under the pointer This lets you not only view the selection status of all the listed objects but change it as well This aids in dealing with large scenes The Selection Palette The Selection palette is hidden behind the Animation controls in Bryce s default state The palette is divided into two sections select by type tools and the VCR controls EELE o ATY I 1 20 The Selection palete has tools for selecting objects in variety of different ways To display the Selection palette e Click the Time Selection Palette toggle in the lower right corner of the Working window The Selection palette appears d Click the Time Selection Palette toggle to switch between the Animation and Selection palettes Selecting By Object Type The Select by Type icons let you select all the objects in your scene that are of a particular type For instance if you click on a sphere here Bryce will select all soheres and sphere derivative objects in your scene All of the selection controls below respect the previously described Shift click techniques fo multiple selections and deselections The following tools are available Selects all Infinite slabs Selects all Water Cloud and Ground planes Selects all Terrain objects Selects all Stone and Mesh objects
74. a selected object along any axis Objects are resized from their origin point Bryce 4 The Resize tool has seven different states As you move the pointer over the tool each state becomes active Resize Y up Resize X left Resize Z back Resize Z front Resize X right esize XYZ Resize Y down The resize tool has seven states As you move your cursor over the tool each state becomes active The different states let you resize the object along different axes Resizing along the Y axis increases decreases the object s height Resizing along the X axis increases decreases the object s width Using the Z axis for resizing increases decreases the object s depth To resize an object along a specific axis l Make sure the Edit palette is visible If it s not click the Edit text button at the top of the Working window 2 Move the Cursor over the Resize tool 3 When the state you want to use becomes active drag to resize the object For example if you re using ResizeY Up drag to the left increase the object s height in theY axis The more you drag the taller the object becomes Hold down Shift to constrain the resize increments to 50 intervals Arranging O bjects To resize an object in all directions l Make sure the Edit palette is visible If it s not click the Edit text button at the top of the Working window 2 Click the center of the Resize tool and drag left to increase the size of the
75. a tracking line extends from the stationary object Group Icon S This control appears only if your selection con tains multiple objects W hen you click this con trol all the objects in the selection are grouped Refer to Grouping Objects on page 308 for more on grouping 314 If this icon does not appear when you have a multiple selection it means that you can t group the selected objects because of some kind of object hierarchy conflict Refer to Object Hierarchies on page 303 for more information To group selected objects 1 Select all the objects you want grouped 2 Click the G icon that appears next to the object s bounding box A group bounding box appears around all the objects FEeEnr a A large bounding box around a number of objects indicates a group Ungroup Icon Uy This control only appears if you ve selected a group or anumber of objects contained ina group W hen you click this control any group in the selection is ungrouped If the selection contains nested groups you can continue click ing this control until all the groups are ungrouped or until the control disappears To ungroup a selected group of objects 1 Select all the objects you want ungrouped 2 Click the U icon that appears next to the object s bounding box 35 Material Icon K This control displays the Materials L ab Refer to Materials on page 189 for more on Materi als W hen you u
76. all the lights is created when you move the target object You can also use this feature to ensure that a light or the camera remains pointed at an object during the entire course of the anima tion You can also use it to create motions like a radar dish following a satellite or a sunflower following the sun A parent object cannot track its child object The original object pivots around its origin point so that it s always facing the target object Animating Techniques 382 To set up object tracking interactively 1 Select the object you want to remain stationary that is the one that tracks the target object 2 Move the cursor over the target icon that appears next to the object s bounding box 3 Drag the Target line from the icon to the target object The target object turns blue Asyou drag theTracking icon from the tracking object to the target a tracking line appears To set up object tracking using the Object Attributes dialog 1 Select the object you want to remain stationary 2 Click theA icon that appears next to the object s bounding box The Object Attributes dialog appears 3 Click the Linking tab 4 Click the Target Object Name menu and choose the name of the target object 383 Animating the Camera W hen you animate the camera you re changing the view of you scene over the course of the animation Since you re in 3D space you can move the camera to any position in
77. and brooding Use Frequency and Amplitude to control the types of cloud formationsin your scene 142 l Te Amplitude This graph shows the effects of different F requency and Amplitude settings on a sky Frequency values range from 2 at the top to 150 at the bottom T he A mplitude values range from 50 at the left to 500 on the right so To set Cloud Frequency and Amplitude 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Inthe Cloud Frequency and Amplitude control drag horizontally to control the frequency of your cloud formations Drag left and the spikes will get closer together resulting in smaller formations Drag right for larger more luxurious formations TheText Display area shows you the numerical value of the amplitude as you drag 143 3 Drag vertically to control the amplitude of your cloud formations Drag away from the horizontal center and the spikes increase in height resulting in formations with harder edges Drag toward the horizontal center for softer ed ged formations Note It is possible to invert the spikes T his means that you can exchange positive and nega tive spaces in your sky If you invert the ampli tude everything that was previously clear sky will be clouds while everything that was cloud will be clear sky To set Frequency and Amplitude numerically 1 If it s not alrea
78. any object in theVR movie and examine it from all sides as if you literally picked it up and turned it around and around in your hands Creating QuickTime VR Panoramas The process of creating a panorama involves completing a few easy steps To create QuickTime VR panoramas 1 2 QuickTimeVR Choose Default in the Document Setup dialog Click on the uppermostViews Memory Dot in the control palette to make sure your camera is level Set up your scene The important thing to remember is that for a successful 360 scene you need interesting objects all around your camera The best way to work on this is to go to the Top View and position objects all the way around the camera Keep the Nano Preview in CameraView mode to check your view while you are working in Top View Drag the tip of the camera around in the Working Window to check the scene the view of your scene from all directions Switch back to Camera View and do a quick test render once you have a good distribution of objects in a visually interesting scene After the render make any required position changes Choose File gt Document Setup and select QTVR Panorama This aspect ratio is optimized for use with Apple s Make QTVR Panorama tool though many aspects will work The preferred aspect is 13 4 W idth must be divisible by 96 and height must be u 2 B GE divisible by 4 The QTVR Panorama option makes sure your image meets
79. appears W hen the Specularity is set to zero the object appears dull Specularity set to 0 100 Specularity controls the intensity of the highlight of an object Specularity set to Setting Specularity Using a Texture When you assign a texture to the Specularity channel the grayscale values in a texture s alpha channel are applied to the object s highlight Bright areas of the alpha channel increase the intensity of the highlight and darker areas decrease the intensity The alpha channel may also create patterns in the highlight High Specularity values Lower Specularity values HE Alpha Channel W hen you use a texture to set the Specularity channel s value the highlight s intensity is determined by the texture s alpha channel values Specular Color Normally the color of an object s highlight would reflect the color of the light source M aterials However using Specular Color you can set a specific color for your highlight Specular Color applied to object s highlight Specular Color is the color of the object s highlight Specular Color is directly linked to the Specularity channel If the Specularity is set to zero the Specular Color is invisible By adding Specular Color you can make it appear as though a colored light is shining on the object Setting Specular Color Using a Tex ture When you assign a texture to the Specular Color channel the texture s color
80. are available Contact MetaCreations Corp for details C You and your employees and agents are required to protect the confidentiality of the Program You may not distribute or otherwise make the Program or Documentation available to any third party D You may not copy or reproduce the Program or Documentation for any purpose except to make one 1 archival copy of the Program in machine readable or printed form for backup purposes only in support of your use of the Program on a single computer You must reproduce and include the Company copyright notice on the backup copy of the Program E Any portion of the Program merged into or used in conjunction with another program will continue to be the property of the Company and subject to the terms and conditions of this Agreement You must reproduce and include Company s copyright notice on any portion merged in or used in conjunction with another program Bryce 4 F You may not sublease assign or otherwise transfer the Program or this license to any other person without the prior written consent of Company G You acknowledge that you are receiving aLIMITED LICENSE TO USE the Program and Documentation and that the Company retains title to the Program and Documentation You acknowledge that Company has a valuable proprietary interest in the Program and Documentation You may not use copy modify or transfer the Program or Documentation or any copy modification or merged portion in wh
81. at full size you ll have to render it Once it is rendered you can see the bitmap preview of the object using the Bitmap Preview mode Refer to The Rendering Procedure on page 404 for more on rendering and Display Modes on page 17 for more on Bitmap Preview mode 0 To see a full sized preview of the object you ll need to render the scene Primitives vs Procedural Objects Bryce s Create palette lets you create two differ ent types of basic object Primitives and Proce durals Primitives are basic geometric shapes such as the sphere cube pyramid torus cone cylin der plane and disk These shapes can be thought of as primary geometric building blocks from which more complex objects are constructed 99 Thistrain ismadeup of primitive and primitive derivative objects Primitives also have derivative groups such as the ellipsoid and squashed sphere which are derived from the Sphere which allow you to create different shapes without having to per form the transformations yourself Procedural objects are object that require spe cial constructions or procedures to create Procedures can include operations such as pre assignment of materials randomization of internal parameters or assignment of light properties This scene shows examples of procedural objects Bryce 4 Object Placement W hen you create a new object it can be placed in your scene either at absolute w
82. between seconds Release the mouse button when the Frame reaches the desired frame The Current Time Indicator also controls which portion of your animation is being displayed in the Working window W hen the indicator is at the beginning of the animation you re seeing the first frame of the animation in the Working window W hen you move the indicator the Working window displays a different portion of the animation Bryce 4 So when you move the indicator to the center of your animation range you re seeing what the animation looks like at the middle of the movie Use the CurrentT ime ndicator to move the current time to different points along the timeline To move the current time manually 1 Make sure the Animation controls are visible If it s not click the Time S election Palette toggle 2 Drag the CurrentTime Indicator along the Timeline Release the mouse button when the Text Display Area shows the desired time To move the current time numerically 1 Choose File menu gt Animation Setup The Animation Setup dialog appears 2 Inthe Current fields enter the hour minutes seconds and frame you want to move to The Frame field displays the number of the frame located at the specified time To save the position of the Current Time Indicator 1 Make sure the Animation controls are visible If it s not click the Time S election Palette toggle 2 Movethe CurrentTime Indicator to the position y
83. by placing rock objects throughout your scene with aterrain below them in one frame Then in a different frame select all the rocks and choose the Land Selection option W hen you run the animation all the rocks will appear to fall onto the terrain Refer to Animating on page 353 for more on animation 300 i gt p oo a T hese objects were aligned using the option Land Selection To snap object to the top surface of an object below it 1 Make sure the Edit palette is visible If it s not click the Edit text button at the top of the Working window 2 Select an object 3 Click the triangle icon next to the Align tool and choose Land Selection from the menu or Click the Down arrow icon that appears next to the object s bounding box 301 Anchor and Non Anchor Based Aligning Bryce provides two ways to align multiple objects anchor based aligning and non anchor based aligning Anchor based aligning considers the first selected object to be the anchor of the aligning operation All other objects are aligned to this object With non anchor based aligning objects are aligned to the bounding box of all the selected objects Aligning Numerically The most precise method of aligning objects is by using the 3D Transformations dialog The dialog uses Bryce units for positioning so you can use these increments to align objects based on grid increments 20 48 one grid unit
84. camera s movements will be altered so when you switch to Camera View the camera may not move as expected To display the camera s origin point 1 Switch to one of the orthogonal views or Director s View 2 Click the camera wireframe 3 Click theA icon that appears next to the camera s wireframe The Camera amp 2D Projection dialog appears 4 Click the General tab and enable the Show Origin Handle option To position the camera manually 1 Switch to Director s View or an orthogonal view 2 Drag the camera wireframe to a location in the scene or e Click the camera wireframe and use the tools in the Edit palette to move or rotate it To position the camera s origin manually 1 Inthe Camera amp 2D Projection dialog display the camera s origin point 340 2 Drag the green point to a location in the scene e Hold down Shift and click the origin point to reset it to the center of the camera object Aiming the Camera The only problem with positioning the Camera using the Orthogonal or Director s Views is that the view from the Camera remains fixed as you adjust its location so you may inadvertently lose the objects you were looking at when the position of the Camera changes O e For example at the beginning of thisanimation the Camera is pointing at the object in the center of the scene The view from the Camera shows all the
85. can see how theVolumetric W orld effect transforms a scene Visible sunlight is volumetric meaning that itis affected by all the objects within it Although Volumetric World is a very beautiful effect its also a time consuming one It will add considerably to your scene s rendering time 14 To add visible sunlight to your scene 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Atmosphere tab Click the Volumetric World button 5 Drag the slider or enter a value in the Quality field This corresponds to the Rough or Fine button in the Visible Light area in earlier versions of Bryce This option controls the quality of the light Using the Preset Skies Library The Preset Skies Library contains all the preset skies available in Bryce You can place them in your scene and edit them just as you would another object To add a sky from the Preset Skies library to your scene 1 Click the triangle icon next to the Sky amp Fog text button at the top of the Bryce window or click the arrow next to 55 the preview area in the Sky Lab dialog The Preset Skies Library appears Jetsinaam Use the Preset Skies Library to add pre made skies to your scene 2 Click on the preset thumbnails to view preset names and descriptions 3 Click the OK icon to add the selected sky to your scene
86. canyons by inverting the black and white values in your image To invert your terrain image l Make sure the Elevation tab is displayed If it s not click the Elevation title Bryce 4 2 Click the Invert button or press Command Ctrl All the black areas of your image become white and white areas become black To gradually invert your terrain image e Click and drag to the right over the Invert button The black areas in the existing Terrain Canvas progressively turn white Undoing Operations You can reverse any effect you apply to your image using the Undo button You can toggle between Undo and Redo by clicking the Undo button repeatedly To undo operations in the Terrain Editor l Make sure the Elevation tab is displayed If it s not click the Elevation title 2 Click the Undo button or press Command Z Ctrl Z The last operation you applied is undone Eroding Terrains Erosion simulates the effects of water erosion on your terrain objects The calculations in this effect simulate droplets of water falling on your terrain and then calculate where the droplets would trickle based on the shades of gray pro gressing towards black This effect works best on maps that have large sloping areas The Erode button simulates the effects of ero sion over a short period of time like decades Terrains To simulate the effects of centuries of erosion use the Eroded tool Thisis what a terrain looks l
87. cast shad ows If you want the cloud layer to cast shadows on the ground below enable the Cloud Shadows option Refer to Cloud Coverage on page 140 for more on this option To set shadow intensity 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Drag left or right inside the Shadow control thumbnail Dragging left decreases the intensity and dragging right increases it The cursor changes to a two headed arrow as you drag over the control Creating Skies To set shadow intensity numerically 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears Use the Sky Lab dialog to set sky attributes numerically 3 Click the Sun amp Moon tab to display the Sun amp Moon palette 4 Click the Shadow field then enter a value or drag the slider T his field governs the intensity of shadows rendered in your image The range is 0 to 100 and the default value is 90 Ambient Color TheAmbient Color is the color of all the light that surrounds the objects in your scene Light from the sun interacts with ambient color to produce the color for both highlights and shadows Ambient Color is used as the source color for material Ambience The Ambient Color tints the surfaces of all objects in your scene that have some level of ambience Any other c
88. channel is used as the Specular Color In other words the texture s color is applied to the object s highlight Specular Halo The Specular Halo channel lets you control the size of the Specular highlight The size is controlled by the luminance value of the component you select Brighter colors 200 create larger highlights and darker colors create smaller highlights Specular Halo set using bright colors Specular Halo set using dark colors Specular H alo controls the size of the highlight on your object Colors are expressed as RGB Red Green and Blue values Specular Halo channels use the values from each of these channels to set the size of the highlight If the values are all in balance that is all the same the highlight appears uniform However if one value is higher that the rest for example R 200 G 100 B 100 you ll get a highlight with a slightly colored ring for example a red ring Specular Halo with balanced color Specular Halo with varied RGB values W hen you use a balanced color asthe Specular H alo you get a uniform highlight If you use a color with varied RGB values slight rings appear on the highlight Depending on the component you use in this channel you may be able to set each color value differently to create different highlight effects The easiest way to use this channel is with a color When using acolor try picking more desaturated colors These colors prod
89. choose Reset Views or e Press the Option Alt key and click on the Views icon This option resets your View to Bryce s default setting Bryce 4 Selecting Objects Before you can perform any type of editing or transforming operation on an object you need to select it Besides selecting objects using the cursor Bryce s Selection tools let you select objects by type or family You can also cycle through all the objects in your scene To select an object e Click on any object A selected object s wireframe will appear red or Draga marquee around the object To select a number of objects e Draga marquee around a number of objects To step through all the objects in your scene e Press theTab key until the object you want selected appears in red To select all objects Choose Edit menu gt Select All or e Press Command A Ctrl A To select an object within a group Hold down Control and click the desired object To deselect all Choose Edit menu gt Deselect All or Click anywhere outside the selected area Bryce Basics 30 To add objects to a selection Hold down the Shift key while selecting the object To remove objects from a selection Shift click the selected object To select obscured objects 1 Hold down the Shift key and select through the obscuring object All objects underneath the cursor and behind the frontmost object will be selected or Drag
90. choose a resolution for the wireframe mode E Static is the resolution of the wireframe when the object is not moving and not selected The resolution is affected by what is entered Selected is the resolution of the wireframe when the object is selected Motion is the resolution of the wireframe when the object is being moved Window Backgrounds The background texture of the working window can add a great deal to the overall look of the interface It makes it easier to see wireframes and selected objects To select a background texture e Click the Background Paper button and choose a background from the menu Adding a background texture may slow down some machines If you need more speed for any reason select NoTexture and you will get a sim ple clean background with no texture To select a background color 1 Click the Background Paper button and choose Select Color from the menu 2 Usethe color picker to select a color Bryce Basics 20 Using the Bryce Interface The Bryce interface can be completely customized If you want to you can tear apart the interface and reposition any palette or you can choose to hide the entire interface and leave only the working window visible To move a palette Hold down the Spacebar and drag the desired palette to a new location When you break the interface apart you can see all the palettes at the same time You can move these palettes anywhe
91. component to a 2D picture A default picture appears in the Component window When you select 2D texture as a component the Component window displays a default picture in the preview area and shows the picture s current attributes 3 To change the picture click the pink button at the top of the component window The pink button displays the Pictures Library 211 The Pictures Library appears The Pictures dialog lets you select a 2D image to use as a Pict object 4 Click an image square to load an image 5 If the image you want is not in the library e Click the Load text button The Load Image dialog appears e Usethedialog controls to locate the picture you want to use and click Open or e In another application copy the picture you want to use to the Clipboard e Access the Picture dialog and click the Paste text button The picture is loaded into the first image box and its alpha channels are loaded into the second box W hen you load a new picture into the Picture dialog the main image is loaded into the first box and its alpha channel is loaded into the second box Bryce 4 You can invert the alpha channel by clicking the invert button a 6 Click the OK icon to exit the dialog The picture appears in the Component window Using the Pictures Editor The Pictures Editor in Bryce has three squared previews at the top of the window These three previews represent one image three diff
92. composition of the scene you can use any of the Views such as CameraView or Director s View to reposition or transform objects To switch between views e Click the triangle icon beside the View Control icon and choose Director s View from the menu Toggle between the views by clicking the icon either a director s chair or a camera As you work on the scene you may find that the camera object is somewhat distracting To avoid this you can hide the camera in the scene To hide the camera 1 Click the camera in the scene FECHE Tutorial 50 2 Click theA icon Object Attributes button that appears next to the camera s bounding box The Camera amp 2D Projection dialog appears 3 Enable the Invisible option Click the OK icon Daiidika inti yA 5 J i Tian ML 1 a a Ed J a i 1 Paw i 1h ii This option only hides the camera in the current file It remains hidden until you show it again To unhide the camera e Ifyou are in Camera mode double click the Trackball and select unhide invisible e Ifyou are using the Director s View select the camera and it automatically unhides In this lesson you ll use the Director s View to view and arrange objects The controls for positioning the camera are the same whether you re positioning the Director s View or the Camera View There are four controls you can use to position the camera the Camera controls the Trackball
93. create the final texture Blend Modes Components are combined using Blend modes These modes are filters applied to the components to determine how the properties in each component are combined with the other components properties to form the final texture The number of blend modes you can use varies depending on how many components you re using to build the texture If you re using only one component the properties in the component are applied directly to the final texture W hen you re using two components they re blended using a single 267 blend mode and the result is then applied as the final texture W hen you re using three components the first two components are blended together using a blend mode then the result of that blend is combined with the third component using a second blend mode The result of all the blending is then applied as the final texture Component 1 Component 2 Component 3 BLEND RESULT BLEND FINAL TEXTURE This diagram explains when the blend modes are applied as you combine components to form a texture Depending on the Blend mode the different types of output can affect each other during the combination process So its possible that the Bump output of one component may affect the Color output of another To apply a blend mode l
94. display the Create Palette Click the Water Plane icon A water plane appears with arandom water material applied It covers the whole of your image up to the bases of the mountains this is another of those infinite planes Click Edit to display the Edit Palette then click the triangle icon next to the word Edit This displays the Materials selection panel Select Waters amp Liquids then choose Waves of Reflection third row down three from left Click the OK icon to exit the Materials selection panel 6 With the water plane still selected use the Reposition tool to lower the plane along theY axis until it is just below the ground plane 7 Now render and you will see results that look like this A filled lake This concludes this beginners tutorial and shows how a basic landscape scene is constructed in Bryce This tutorial has only touched on avery small fraction of the controls and procedures available in Bryce You could go further with this image by adding some rocks to the foreground perhaps some vegetation all by following the basic Create Size Rotate Position and Apply Material Try different water materials for the water plane and different terrain and plane textures A different sky perhaps in Bryce the variations are literally endless 61 Bryce 4 The Advanced Tutorial Part 1 Creating and Importing Objects In the first part of this tutorial you will create an interior scene of a
95. effective for creating broad swooping cloud scenes When you view the camera in Director s View or one of the orthogonal views you ll be able to see the camera s Field of View displayed as a 3D pyramid that extends out from the camera wireframe The large triangle that extends out from the camera s wireframe represents its field of view As the field of view changes so does the shape of the triangle Bryce 4 To increase decrease the camera s field of view Drag the Field of View control Drag right to increase the field of view and left to decrease it Option Alt click on this control to reset to normal The normal or default setting is 60 Positioning the Camera Numerically The most precise way of positioning the view of your scene is by using the Camera amp 2D Projection dialog This dialog lets you enter values to set the camera position the position of the camera s origin point rotation and field of view The dialog can be used to adjust either the Camera View or the Director s View When you display the dialog you can see the numerical position of the camera and the position of its origin point You can also see the currently active Camera Mode The Camera and Lights Camera amp 2D Projection General Linking Animatio Object Name Camera Invisible Locked Show FOV Free Show Origin Handle Origin 102 4 30 72 102 40 8 i Position 102 4
96. example if you apply blue spots as a volume material you get a volume filled with blue spheres The channels then control whether those spheres are bright dark shiny or dull When the interior of an objectis filled with a texture the material channels control the surface properties of the elements within the texture In this example the Specularity channel is used to make the blue spheres within an object shiny Bryce 4 Volume materials are made up of thirteen channels divided into three groups Color channels Diffuse Color e Ambient Color e Specular Color e Transparent Color e Specular Halo e Volume Color Value channels e Diffusion e Ambience e Specularity Volume channels e Base Density e Edge Softness e Fuzzy Factor e Quality Speed The channels in the Color and Value groups work exactly as they do for surface materials except that the channel settings are applied to the object s volume instead of its surface Volume Channels TheVolume channels control special volume properties of the object s interior Base Density controls the density of the object This channel defines how much material there isin the interior of an object As a result Base Density controls how much light passes into the object A solid object doesn t allow any light to pass through it while less dense objects M aterials allow more light in Refer to Base Density on page 206 for more Edge Soft
97. gray data Because it creates boulder like structures this tool is good for making tidepools This tool creates boulder like structures within your Terrain Canvas 173 Cross Ridges This tool creates sharp ridgesin across pattern It creates very interesting canal like structures This tool creates canal like structures within your Terrain Canvas Cross Ridges 2 This tool is the inverse of the Cross Ridges tool Instead of creating canals it creates peaks ie This tool creates peak like structures within your Terrain Canvas Bryce 4 Bubble Ridges Similar to the Blob Maker the spherical struc ture this tool creates is of a consistent size Dragging this button allows you to place the structure anywhere you like in your canvas This tool creates a spherical structure within your Brush Size Brush Hardness Brush Flow Gray Level Control Brush Behavior Options Use the Paintbrush settings to control the attributes of your brush To set brush attributes terrain that can be placed at any point in your canvas Painting Terrains 1 Although you can create some very spectacular terrains using just the elevation tools there are 2 times when you want to create a preciseTerrain Canvas The Terrain Editor s paintbrush lets you paint any type of terrain you wish Using the Paintbrush you can re create real world topographical maps or design landscapes with specific conto
98. have a full range of resolutions without having to enter either excessive integer values or values with excessive places to the right of the decimal point To rotate an object numerically l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select an object 3 Click the triangle icon next to the Rotate tool and choose 3D Transformations from the menu The 3D Transformations dialog appears 293 4 Enter a degree value in one or all of the Rotate fields 3D Transformations Offset MEM o ll IF Rotate o o JLo Size 100 100 100 X Y Z Enter a degree value in the Rotate fields to rotate objects by a specific angle The degrees determine the angle of rotation For example to rotate an object 45 around Y enter 45 in the RotateY field To rotate around other axes just enter values in the appropriate fields Since you re dealing with World Space transformations objects are rotated with respect to the World Space X Y and Z axes You can also rotate an object numerically using the Object Attributes dialog The values in the Attributes dialog rotate the object using either Absolute coordinates or Object space coordinates Refer to Absolute Coordinates on page 283 and Object Space Coordinates on page 283 for more on the these coordinate systems Interactive Rotation Using the control points on an object s bounding
99. hite areas become the noisiest In this example Gaussian was applied to RND Continuous noise Clip aX b Clip is probably the filter you ll use most It s a contrast filter Thea variable controls the contrast and b controls the overall brightness For alow contrast effect make the wave in the graph smaller D ecrease the value of a to reduce the size of the wave and increase b to move the wave up Using this wave all the values will be expressed as mid gray Textures For ahigh contrast effect adjust the wave so that it hits both the top and bottom edges of the preview Increase the value of a and make b negative to move the curve down To invert the colors in your noise makea negative and increase b In this example different levels of Clip were applied to RND Continuous noise Altitude Minus Slope Xb a Altitude Slope This filter applies noise only at certain combinations of slope and altitude When a is positive and b is negative noise is applied at high altitudes and on flat surfaces When a is negative and b is positive noise is applied at low altitudes and on steep slopes 264 The Altitude M inus Slope filter works on the slope and altitude of an object in World Space In thisexample Altitude M inus Slope was applied to RND Continuous noise and then to objects in a scene Slope X a Slope b This filter applies noise based on an object s slope Slope can range anyw
100. in your scene this mode will help speed up rendering considerably To use Spatial Optimization e Click the triangle icon next to the Render Controls and choose either Spatial Optimization Off Spatial Optimization Low or Spatial Optimization High from the menu 48 Bit Dithering 48 bit dithering helps you work around limitations of computer displays It is a process that allows you to avoid color bands by smoothing Evening skies or moon rings are good candidates for this option Gamma Correction Gamma correction allows Bryce to compensate for some of the shortcomings of the computer displays Your images will be brighter and contain more true to nature colors Render Reporting This option when selected produces a summary report when your image is finished rendering The report tells you how long the render took including the antialiasing pass It also provides statistics on how many rays were shot to create the image and breakdowns for the different types of rays including a per pixel breakdown 407 To produce a render report e Click the triangle icon next to the Render Controls and choose Render Reporting from the menu Document Resolutions The menu commands at the end of the Render Options menu are quick ways to resize your document Values shown are expressed in pixels For customizing the size and aspect of your document and resulting render Render Modes Bryce offers several rendering modes
101. into the noise of acomponent Make sure that you aren t using a filter unnecessarily Not all noise needs filters Be careful when you apply a Global Filter as this adds even more complexity to the noise Bryce 4 Textures 218 CLO are Arranging Objects Arranging Objects in a Scene In ascene the arrangement of objects is as important as their form You can design beautiful landscapes or build complex models but if they re the wrong size or in the wrong position they won t look right in the scene To get the right look you ll need to position or rotate the objects to make sure they arein the right places within the scene or you may need to resize an object so that it is in proportion with the rest of the objects These kinds of operations are called transformations Bryce supports three basic types of transformations size position and rotation The tools in the Edit palette let you interactively perform these operations on any object in your scene As well the Object Attributes dialog lets you transform objects numerically for more precision As you arrange objects you ll probably need to create some kind of object hierarchy An object hierarchy lets you create a structure in your scene that organizes objects according to their spatial or logical relationships The structure can make arranging objects much easier and faster You can create an object hierarchy by grouping and linking objects
102. is merged with the current scene Holding down the O ption A It key while per forming this function will merge only the sky from the incoming scene Working in a Scene Displaying Your Scene The display of your scene is controlled by the display mode you selected when you set up the Working window You can also control how individual objects are displayed and how your scene is displayed in the Nano Preview Changing Object Display You can change how your objects are displayed using the Object menu commands Changing the object preview can greatly reduce redraw time in a complex scene The O bject s preview does not affect how the object renders To display objects as boxes 1 Choose Object menu gt Show Object as Box This command displays any selected object objects or group as box es This is useful when you just want to work with the object s position but don t need more details Keyboard Shortcut Command B Ctrl B To display objects as wireframes Choose Object menu gt Show Object as Lattice Bryce Basics Use this command to change objects shown as boxes back to wireframes Keyboard Shortcut Command L Ctrl4L Using the Nano Preview The Nano Preview is where your object is displayed before you render it The preview can display your scene from a number of different angles without affecting the position of the camera The Nano Preview displays a rendered preview of your scene To disp
103. is to pan the scene down with the Pan tool It will not change the perspective of the scene merely show more of what s higher 6 For this lesson use the camera controls N Render the scene 8 Save your scene and call it Grouped Building Sphere on a Pedestal The next step of this tutorial will have you work with an already existing scene file and merge it into the one you are creating 7 The Story So Far If you are continuing the tutorial you should have created a building with a roof walls doorway and are ready to add the centerpiece What You ll Need If you are starting at this point open the file called Grouped Building and you ll soon merge the file called Pedestal Merger Both files are located on the CD ROM in the Manual Tutorials folder Lesson 1 Merging an Existing Scene To merge another scene 1 Select Filemenu gt Merge An Open dialog box appears Use it to find the scene file you want to merge into your current scene 2 Navigate to the Manual Tutorial folder on the Bryce 4 CD ROM Select the scene file called Pedestal Merger and click the Open button The Wireframe for the merged scene appears in your scene and is selected The merged scene Bryce 4 3 Render the scene There is now a pedestal with a mirrored sphere on it There are lights in the scene as well The rendered scene Lesson 2 Adjusting Lights The merged objects should still be selected In th
104. level 1 Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select an object 3 Click the triangle icon next to the Align tool and choose Snap to Ground Landing Objects The Land Selection align option lets you snap an object to any object directly below it much like creating a gravity effect Bryce 4 When you activate the Land Section option Bryce looks snaps the selected object to the top of any object directly below its center Y control handle Ferrer Using Land Selection a selected object snaps to the top of any object that s directly below itsY control handle The second object must be directly below the Y control handle otherwise the object lands on the ground plane O In this example a corner of the selected object is over the land object but since there are not objects directly under itsY control handle the selected object lands on the ground Arranging O bjects If the selected object is below the ground plane it snaps up to the bottom of any object directly above its top center Y handle W hen the selected object is below ground it snaps up to the bottom of an object directly above itsY control handle Landing operations work best with objects that have not been rotated and that have no sloped characteristics This option can create many interesting effects For example you can quickly create falling rock animations
105. like any other object The Ground plane is created with a gray color as are all Bryce primitives Once you begin assigning textures to objects Ground objects 102 as well as all other primitive objects will inherit the texture assigned to the previous object Cloud Cloud planes are placed much higher in your scene since they re generally the highest objects in your environment To create a Cloud plane e Click the Cloud plane tool Cybi O Usethe Cloud plane to add clouds to your environment Once the plane appears in your scene you can edit it like any other object Cloud planes are automatically assigned a ran domly chosen texture from the Clouds amp Fogs Preset Materials Library You can change this material by selecting a different preset or creat ing anew material To change the Cloud plane s preset material 1 Click the second Triangle icon at the top of the Bryce environment The Preset Materials Library appears 2 Choose a library and material then click the OK icon 103 Infinite Slabs An infinite slab is a plane object that has depth An infinite plane is a plane object that has no depth T he plane has no effect on objects above it or below it an infinite slab can affect objects within it For example anything you place within the slab s depth will be affected by the slab s vol ume color Slabs are usually used to create water W hen you create a water slab you create water
106. low areas with very few high points Add Add combines colors so that they appear dramatically lighter H owever it doesn t have the same effect on Bump output Subtract When you combine grayscale components using Subtract they tend to turn out black or very dark When you use it with colored components the result is brilliant colors that tend to compliment the original colors Blend v1 and v2 These two blend modes let you use one of the components as an alpha channel for blending When you choose Blend v1 the noise in the first component is used as an alpha channel to blend the two components When you choose Blend v2 the noise in the second component is used as an alpha channel to blend the components Blend Slope Using Blend Slope components are combined according to an object s slope The first component is applied to areas that are flat and the other is applied to areas that are steep 269 Fast Slope Fast Slope works exactly like Blend Slope except that the transition from one component to the other is more abrupt Blend Altitude This mode blends components according to an object s altitude The first component appears at low altitudes and the second appears at high altitudes Blend Orientation In this mode one component is applied in all directions while the other is applied in only one direction You can use this mode to simulate things like moss that only grow on one side of a tree
107. mode objects appear as solids The col ors assigned to the object are also visible Object surfaces are effected by light sources Materials textures are not visible in this mode The Show Object as Box preview mode displays the object using only its bounding box You can move the box just as you would a nor mal object The box can also cast a shadow To display an object as a box 1 Select an object 2 Click Objects menu gt Show O bject as Box or Click the A icon that appears next to the In the shaded preview mode you ll be able to see all the object s bounding box to display the objects in your scene as solids Object Attributes dialog In the dialog click the Show as Box Rendered Preview button If you want to see what the object s surface To display an object as a wireframe looks like or how it is affected by light gels you ll have to render it l Select an object The Nano Preview shows you a small preview 2 Click Objects menu gt Show Object as of what the object looks like rendered Lattice or Click theA icon that appears next to the 0 object s bounding box to display the Object Attributes dialog In the dialog disable the Show as Box button TheNano P review of the object shows you a small preview of what the object will look like when its rendered Creating O bjects 98 Refer to U sing the Nano P review on page 24 for more on the Nano P review If you want to see the object
108. model remains in the background for the duration of the animation try substituting a simpler version e If your CameraView remains unchanged for an entire scene consider rendering a still image with just the scene s background elements Then use this image as a backdrop and animate only the foreground elements This technique requires some planning to make sure that shadows and transparent objects don t give the trick away Rendering Without Compression If you are not pressed for hard disk space it usually makes sense to render your animation without compression This ensures that you ll have a high quality copy of the animation to work with Working from your uncompressed original you can save copies experimenting with various compression settings until you are satisfied with both the image quality and playback rate An animation compressed multiple times degrades significantly so you should always 45 render without compression if you intend to do any postprocessing in another application Motion and Timing Principles As an animator the most important skill you can master is the ability to portray motion con vincingly whether it is intended to be realistic or exaggerated and cartoonish No matter how good a 3D modeler you are the timing of the events in your animation are of paramount importance Many of the principles of timing and motion developed by cell animators apply to 3D anima tion w
109. number of lights e Keep objects near the background simple e Limit the number of volume materials you apply e Limit the number of transparent and reflective objects Limit the number of frames per second to 15 which is adequate for QuickTime movies Video uses 30 fps and film 24 fps Divide animations into smaller files and eliminate objects that won t be seen on screen e Turn off AntiAliasing when previewing animations Working with Rendered Images Once your scene is rendered it becomes a 2D image that you can save as different formats and edit in other 2D image applications In Bryce the 2D image is used as the Bitmap display mode You can use the bitmap as guide for move objects or as a preview of your final image 45 Scaling Your Image The Pan and Zoom tools work independently in wireframe display mode and in bitmap display mode So if you use the Zoom tool to scale your wireframe scene down your rendered image remains unchanged You can then use the same tools and commands to scale your rendered image up or down independent of the scale of your wireframe scene If the image is scaled up sufficiently you can use the Pan tool to pan through the enlarged image Refer to Panning on page 27 and Zooming In and Out on page 26 for more on the Pan and Zoom tools Bryce 4 Rendering 416 1 Using Bryce with Other Applications Overview This chapter describes h
110. object or right to decrease it To resize an object from two directions along a single axis 1 Make sure the Edit palette is visible If it s not click the Edit text button at the top of the Working window 2 Move the cursor over the Resize tool 3 When the state you want to use becomes active hold down Option Alt drag in the direction you want to resize the object For example if you re using ResizeY Up when you hold down Option Alt as you drag the object becomes longer both up and down along they axis Objects can be resized using any of the three spatial definitions World Object or Camera The definition you choose depends on the effect you wish to create To choose a spatial option for resizing l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 288 2 Click the triangle icon next to the Resize tool and choose an option from the menu Object ace hired pace Lemara ipara imak Mip H Mip Y Tip 10 bres fans hes Object Space resizes your selection relative to itself see O bject Space on page 281 World Space resizes your selection in absolute world coordinates see World Space on page 280 Camera Space resizes your selection relative to the camera see Camera Space on page 282 When you set Object World or Camera space for the Resize tool it is also the option set for the other two trans
111. of all the objects including the camera The camera that generates the Director s View cannot be seen or positioned like an object You have to use the positioning controls to move this view As well the motion of this view is not recorded as part of an animation When you re working on astill image you can use Director s View to get a second perspective on your scene You can also render your image from either camera The Camera and Lights Camera View Director s View In a still image you can use both the Director sView and the Camera View together to get different perspectives on your scene The real power of the Director s View becomes obvious when you re working on camera animations Animating camera motions while in CameraView can be tricky at best and very unpredictable at worst However in Director s View you can see the camera as an object which means that you can set up camera motion just like you would any other object To switch to Director s View e Click the triangle icon next to the View Control icon and choose Director s View from the menu Swapping Director s Views for Camera View The Director s View and the Camera View are interchangeable So you can move the Camera View to the position of the Director s View or vice versa Even though you can t directly position the cam era that produces the D irector sView in the Working window you can set up a Director s
112. of a complex object like this castle together You can also create groups to maintain the spatial relationships between objects as you transform them 309 You can also create a group to maintain the spatial relationships between objects as you transform them like the boards in this fence You can place as many objects as you like in your group You can even nest groups within groups Nesting can be an easy way of managing more complex scenes Groups are essential to creating Boolean objects Boolean operations will not work unless the objects are part of a group Refer to Creating Boolean Objects on page 114 for more on Booleans You cannot create a group using a child object If a child object is part of your selection the G icon will not appear meaning that you can t cre ate a group from the objects To create a new group 1 Select all the objects you want to group 2 Choose Objects menu gt Group or press Command Ctrl G You can also click the G button next to the selected objects bounding box Click the G button next to a selection s bounding box to create a group Bryce 4 To select objects within a group Hold down Control Ctrl and click on the object inside the group bounding box Families Families are a way of creating logical groups Unlike regular groups families are not treated as a single unit for transformations Families help you keep track of elements in you s
113. of object into another type of object with a single click So you can change a square into a light a terrain into a sphere or an infinite plane into a cone Any transformations you applied to the original object are preserved through the conversion The Convert tool lets you quickly turn any object into any other In this example the object changed from an Egyptian pyramid 323 to a rocky desert by converting the pyramid primitive into a plane Conversions cannot be animated You can t have a box that turns into a cone over time To convert an object to another type of object 1 Select the object you want to convert 2 Click the Edit button at the top of the Bryce window to display the Edit palette WwW Click the double headed arrow in the top left corner of the palette and choose an object type from the pop up palette that appears The pop up palette that appears in the E dit palette displays all the object types you can convert your selected object to Bryce 4 E diting Objects 324 TheCameraand Lights The View of Your Scene and Lighting in Bryce You can think of the view of your scene as the view seen through a window onto a whole new world The view you see through this virtual window is determined by the orientation and position of a camera As you move the camera you get a different view of your world How much of the world is visible is determined by the lighting The position of
114. of stars or have a bright rainbow streaking across the roof of your world One of the most spectacular effects is the Volumetric World effect W hen this effect is enabled all the light in your scene appears as Creating Skies visible rays This is similar to the effects of light shining through clouds on a hazy day The other worldly look of this spaceship landing was created using Volumetric World Like any other scene setting skies can be animated Any property of a sky can be changed at different points along the animation timeline W hen the animation plays the sky property will appear to change over time Using this technique you can create a scene that changes from day to night or from clear to cloudy Refer to Animating Skies on page 393 for more on animating skies The Sky amp Fog Palette The Sky amp Fog palette is where you ll set up the attributes of your environment The palette uses visual controls in the form of thumbnails D24 to help you see how changing the value of an attribute affects your sky Sky Mode Shadow Intensity Fog Height Haze Intensity Cloud Altitude Cloud Coverage Cloud Color Ambient Color Sky Dome Color Sky Mode Options Haze Color The Sky amp Fog palette s thumbnails let you set values for sky attributes The name of the control you re adjusting appears in the Text Display area of the Control palette You can also use this area to help guide you if y
115. of the Preview Area To collapse all hierarchies select Collapse all hierarchies from the menu to the right of the Preview Area A right facing arrow indicates a closed hierarchy and a down facing arrow indicates an expanded listing Editing Property Timelines in the Sequencer Each object in the Hierarchy list has anumber of timelines associated with it W hen you display an object s properties you can see the timelines associated with each object To display object s property timelines e To display an individual object s property timelines click the name of the object whose properties you want to display 368 e To display all the property timelines in the Hierarchy List area either hold down Option Alt while you click or select Expand all timelines from the menu to the right of the Preview Area These timelines represent the various animatable properties for an object type Different types of objects have different animatable properties Recorded Key Event Object Sphere 1 Position Animatable Paahi properties For example this is the listing for a sphere object W hen the object s property timelines are displayed you can see the key events recorded for each property Recorded Key Events Object Terrain 1 Position Rotation Animatable Scale Properties Shear Origin Gradient Shift Geometry Thisthe listing for a terrain object H ere you can see that there are several dif
116. on our website http www metacreations com support In addition to frequently asked questions FAQs the website provides troubleshooting techniques late breaking product news and other resources to help you get the most out of Bryce Phone Support Phone support hours are Monday Friday 8 00 AM 5 00 PM Pacific Standard Time excluding holidays Call 831 430 4063 W hen you call please have your serial number available and be at the com puter for which you need assistance For international support please contact your local distributor To locate the distributor near est to you check the web site at http www metacreations com support intl Creative Support You can also refer to forums and mail lists on the MetaCreations website for questions about creative techniques Bryce Overview What is Bryce Bryce is a stand alone application that allows you to create and animate virtual environ ments W ith Bryce you can create any type of environ ment you can envison from the ivory beaches of Tahiti to the silvery rings of Saturn Bryce s user interface contains all the tools you ll need to create your environments For example Bryce includes controls for man aging infinite skies that let you set everything from time of day to the color and frequency of clouds Using the sky controls you can also set light direction sun moonlight atmospheric depth haze with intensity and color height fog w
117. on the materials grid There are two types of materials you can create Surface materials which define the surface properties of an object and Volume materials which define the properties of an object s vol ume as well as its surface Refer to The Materi als Lab on page 227 for more on the Materials L ab When you re creating aVolume material the settings available in the Materials Lab change The settings that appear let you set up the volu metric properties of the material Refer to Understanding Volume Material Channels on page 193 for more on Volume materials W hen you re creating volume materials the settingsin the Materials Lab change Some of the surface material settings are replaced by volume effects settings The Advanced Motion Lab The Advanced Motion Lab lets you fine tune your animations After you ve created your key frames using the Animation controls you can use the tools available in this lab to control the speed at which objects move along a motion path adjust the position of key frames and pre view your changes a i The Advanced Motion Lab lets you refine the action in your animations Use theVelocity Curve editor to create different velocity effects and the Hierarchy area to control when object transformations occur Bryce 4 There are three areas within the Advanced Motion Lab that let you edit specific aspects of your animations the Time Mapping Curve
118. only a small curve it acts like a contrast filter As it approaches the height limits set by b it bounces back on itself This creates high contrast breaks in the noise For color output use this filter to get areas of high contrast alternating color When you set the value of a to ahigh number you ll get areas with a larger amount of noise et SEP bats SiMe eave In this example Saw Wave was applied to RND Continuous noise Sine Wave Sin aX b This filter creates noise that appears as large number of lines that are oriented in the same 263 direction Use this filter to generate wood grains Thea variable controls the number of lines Higher values create a better effect i In this example SineWave was applied to RND Continuous noise Absolute Abs aX b This filter works like a Difference effect W hen it s applied you ll get more light areas in your noise and a higher level of detail in a bump map To get additional bump information using this filter set a to 2 and b to 1 In this example A bsolute was applied to RND Continuous noise Bryce 4 XPower X PWR a b This filter smooths out the darkest areas of your noise However it has less effect on lighter areas and no effect on white In this example X Power was applied to RND Continuous noise Gaussian a X b This filter smooths out darker areas of your noise and makes lighter areas noisier W
119. opposite direction from the selected corner point e Hold down Option Alt while dragging to resize from the center of the object 291 e Hold down Shift to constrain resizing to 50 increments To resize an object from the bottom center 1 Select an object 2 Click theY facial control point and hold down the mouse button then press Command Option Ctrl Alt and drag the point The object resizes in all directions from the bottom center of the object This transformation may be useful if the object is on the ground and you want it to remain there Using the Keyboard You can also you use the keyboard keys to resize objects doubles a selected object s size halves a selected object s size returns the object to unity size and snaps it to the Grid Rotating Objects Most object have a specific up down left right back and front associated with them when you create them W hen you place the object in a scene its orientation may need to be altered to achieve a desired effect For example an airplane that s taking off should be tilted upwards or tilted downwards when it s landing There are three ways of rotating objects in Bryce e Using the Rotate tool to resize an object along different axes Bryce 4 e Using the 3D Transformation dialog which lets you enter precise rotation angles Using the object s control points to interactively rotate the object Using the Rotate tool The Ro
120. passage of an entire month just by adjusting the moon attributes To animate Sun or Moon position 1 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 2 Movethe CurrentTime Indicator to the point in the Timeline where you want the sky to change Animating Techniques 3 Adjust the position of the sun or moon using the Sun Position control in the Sky amp Fog palette 4 Movethe CurrentTime Indicator to a different point on the timeline 5 Change the position of the sun or moon again 6 Continue moving the Current Time Indicator and changing the sun or moon position until you achieve the desired effect Animating Terrains Terrain objects are animated by changing their properties in the Terrain E ditor This section assumes that you re familiar with the concepts and procedures involved in creating terrains Refer to Creating Terrains on page 164 for more on creating and editing ter rains By changing the shape of your landscape at dif ferent point on the Timeline you can simulate geological events like earthquakes or erosion 396 The appearance of cracksin the earth during an earthquake can be created by animating the geometry of the terrain There are several techniques you can use to control how the shape of your terrain changes You can use the grayscale paintbrush to totally change the geometry of the terrain by adding new peaks and valley or you can use the
121. properties The Animation Process Animation is a cooperative process between you and Bryce You set up the arrangement of objects and scene settings and then you adjust those settings over time Bryce steps in and fills in the gaps between adjustments W hen you play the animation motion is created The steps to creating an animation are as fol lows e Create objects using the Create tools or the Terrain Editor e Build ascene by arranging and transforming objects lights and the camera Adjust the position orientation or scale of objects Each time you make an adjustment you create a key event which indicates a point where an object property was changed Adjust the shape or placement of the motion path e Adjust the speed at which the object moves along the motion path using the Advanced Motion Lab e Render the animation as a movie file You can render the animation as a QuickTime AVI movie file or as a set of frames Animation Tools Bryce 3D s animation tools are designed to help you quickly and easily animate the properties of your scene Animation Controls The animation controls let you record an ani mation and preview it in the Working Window Animation in Bryce 38 You can also use the controls to change the cur rent time or move to different points in time Time Selec Timeline tion Palette Time Dots Animation Preview Key frame controls controls Use the animation contro
122. right and the Z axis represents distances backwards and forwards Y World space is defined by three axes that extend out infinitely from a center point called world center When you use World Space for transformations objects move in relation to this absolute coordinate system W hen you transform objects in relation to world space they move along the three absolute axes 280 Object Space Because Object space ignores the absolute coordinates the object becomes taller without being skewed If you used World space the object would become deformed since it increases along the absoluteY axis W hen Bryce creates an object it defines the up down right left back and front of the object These definitions remain with the object no matter what transformations you apply to it So in asense each object carries with it its own coordinate system Object space is defined by three axes that extend out from the center of the object When you transform an object using Object space the object moves in relation to its internal coordinate system For example you can increase the height of an object based on its own Y axis Thisisan example of an object transformed using World Space and then using O bject Space W hen you transform an object using O bject space it moves along an axis that extends from its center not an absolute axis 28 1 Bryce 4 Camera Space Camera Space is defined by three axes X Y
123. right corner of the Terrain Canvas Frame and drag over a gradient in the palette The gradient you selected appears in the Gradient bar and is mapped to the Terrain Canvas and the 3D Terrain Preview 2 Drag the gradient up or down to map the colors to altitudes The colors at the bottom of the gradient represent the lowest altitude and those at the top represent the highest The Gradient Bar has two modifiers e Opt Alt resets the Gradient Bar e Command F Ctrl F flips the colors in the gradient To return to grayscale e Click the Grayscale to switch back to the default gray gradient Although gradients are meant to be used only in the Terrain Editor you can apply the gradi ent to the Terrain s Diffuse channel The gradi ent then becomes the terrain s Diffuse color This allows you to render the gradient with the terrain To remove a gradient from a terrain s Diffuse channel 1 Open the terrain in the Terrain Editor 2 Click the Color Grayscale toggle Bryce 4 Clipping Terrains Using the Terrain Editor s clipping controls you determine which values in your terrain are rendered as the final terrain object The Clip ping controls next to the Gradient bar repre sent the render range for the terrain Anything outside the range included in the brackets will not be rendered You can use these controls to eliminate any unwanted information from the terrain without altering its basic shape For exam
124. selection relative to the camera see Camera Space on page 282 The three spatial options are also available for the Resize and Reposition tools W hen you select O bject World or Camera space for the Rotation tool it is also set for the other two tools Spatial options are global for all transformation The option you choose in the Edit palette does not affect the 3D Transformations dialog To undo rotation operations 1 Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Click the triangle icon next to the Rotate tool and choose Unrotate from the menu 292 Numerical Rotation In a complex scene orienting objects may require more precision than the Rotation tool offers The 3D Transformations dialog lets you enter specific rotation angles for a selected object All transformations performed using this dialog use World Space coordinates regardless of the Spatial option you chose for the Rotate tool Rotation values are expressed as degrees with 360 being a single full rotation Since rotations are relative you may enter negative values and cumulative values greater than 360 or less than 360 In this dialog Bryce units have been transposed for the sake of simplicity For instance an object at Unity size of 2048x2048x2048 is seen in the 3D Transformations dialog box as 20 48x20 48x20 48 Moving the decimal two points to the left lets you
125. self luminous gaseous materials F lat shading mode does not shade an object Bryce 4 meaning that light sources have no effect on the color or brightness of the object The F lat shading mode applies your material as a volume material but does not apply any shading W hen this mode is active Diffusion Ambience Specularity Ambient Color Specular Color and Transparency Color have no effect The color of the material is determined entirely by the Diffuse Color channel Full Shading Full shading mode is designed for hard edged sharp objects like rocks W hen Full shading mode is active the visible portions of the material are shaded and can be affected by light sources M aterials The Full shading mode applies your material asa volumetric material and applies shading to the visible portions of the material Since light sources can affect portions of your material shadows will appear within the object This can greatly increase rendering time If you don t need to see shadows in the object make sure the Receive Shadows filter is disabled Usually you should disable this filter unless you re creating very specialized effects Light Sensitive Light Sensitive mode is designed for creating visible light effects such as light beams Light Sensitive mode does not shade objects but the particles in your material are sensitive to light In this mode Density doesn t control density as much as it sets the
126. settings by clicking on the top Memory Dot Bryce 4 Working with Sky Modes The Sky modes act as the base of your sky The Sky modes control lets you set the base colors and light tones for your environment T here are four modes available Soft Sky Dark Sky Custom Sky and Atmosphere Off As you switch between the modes the thumbnail also changes to give you a preview of what the mode looks like fart dey Darker y Cuchoas Sky Hin agtieie OTT The four Sky modes control the base colors and tones used to create your sky To select a sky mode e Click the Sky mode thumbnail to cycle through the four modes or e Drag left or right inside the thumbnail to cycle through the modes or e Click the triangle icon next to the thumbnail and choose a mode from the menu Sky Modes Soft Sky is the default state of the sky It features softer shades of blue and lighter tones Creating Skies Darker Sky is a darker version of Soft Sky It uses darker shades of color and tones This mode is good for creating more brooding skies Custom Sky lets you choose your own colors for the sky this way you can create some truly alien environments W hen this mode is selected the standard behavior of colors in the sky with respect to sun position is disabled Solar Halo Color Horizon Color Sky Color In Custom Sky mode you can pick your own colors for the sky Atmosphere Off disables the standard sky color behav
127. sized objects far away appear exactly the same as those up close Bryce uses an orthogonal projection of your objects to diminate perspective distortion This perspective free view is called an orthogonal projection In Bryce all views other than your Main View that is Top Bottom Right Left Front and Back are orthogonal projections T hey are not generated by the Bryce Basics camera and so do not contain the perspective distortion that would necessarily come with a camera view As a result Camera controls do not work in these views You can navigate within the orthogonal views using the Zoom and Pan tools If you press the Render button whilein an orthogonal view Brycewill quickly set up the camera position you need and render your image There may be slight differences between what you see in the wireframe projection and what you seein therendered image asa result of the added perspective distortion in the rendered image Zooming In and Out In Bryce there is a difference between moving the camera and using the zoom tools When you move the Camera you re moving in 3D space W hen you use the pan and zoom controls you re transforming a 2D projection of your 3D scene your camera position does not change When you use the Zoom tool you are essentially making the 2D projection larger or smaller Your camera position in 3D space does not change To zoom in Click on the Zoom I
128. technical inspiration on textures and the Deep Texture Editor Box Design by Magdelana Bassett and Darin Sullivan Quality Assurance testing by Meredith Keiser Fernando Corrado Kevin Prendergast and Stephen Watts The Bryce User Guide was written by E rick Vera updated by Lynn Flink and Donna Ford edited by Valarie Sanford project management by Erick Vera art directed by Garvin Soutar illustrated by Garvin Soutar and Heather Chargin production by Erick Vera prepress production by Rich O Rielly and Erick Vera review and validation by Brian Wagner and Ales H olecek tutorials written and illustrated by Peter Sharpe http www petersharpe com and Susan Kitchens http www auntialias com Chapter openers by Garvin Soutar Section dividers illustrated by Bill Munns Cover artwork by Robert Bailey and Jackson Ting amp MetaCreations The Visual Computing Software Company W elcome to Bryce 4 Welcome to Bryce 4 the leading 3D program for desktop artists and animators web design ers and multimedia producers Bryce is ideal for creating 3D graphics for magazines ads or virtually any illustration that would benefit from the powerful 3D impact of realistic per spective and shading Bryce s easy animation features let you create great animations for video and multimedia Bryce s key event and timeline based anima tion lets you create incredibly realistic fully animated 3D worlds where river
129. that let you produce images that can be used to create different effects For example the Mask Render mode lets you produce an image that can be used as an alpha channel in other graphics applications To choose a Render mode e Click the triangle icon next to the Render controls and choose a mode from the menu Perspective Render This mode renders a fully raytraced color image based on your current camera s position and view Bryce 4 Mask Render This mode renders any selected object or objects in as antialiased white shapes against a black background You can use this image as a mask or alpha channel in other 2D image editing programs An example of an image rendered as a mask using M ask Render mode 360 Panorama Rendered 360 images will have little resem blanceto the wireframe working window behind it this makes flipping back and forth between wireframe and bitmap modes during composi tion fairly difficult F or this reason we recom mend working in standard Perspective Render mode as you compose your image For a good 360 panoramic image you need a natural distribution of objects on all sides of the camera Before beginning a 360 panoramic render you should follow these steps 1 Switch to the Top view using the View controls and position objects around the camera while in Perspective Render mode 2 Display the Document Setup dialog using File menu gt Document Setup and either sel
130. the Preset Materials Library on page 232 for more on the Preset Materials Library The Sky amp Fog Preset library contains pre made skies that you can add to your scene to quickly create an environment Refer to Using the Preset Skies Library on page 155 for more on the Preset Sky amp Fog Library The Menu Bar The Bryce menu bar contains three menus the File menu the Edit menu and the Objects menu These menus provide access to several Bryce functions and editors The display of the menu bar depends on the state of the application W hen the application interface snaps to the edges of your Working window the menu bar is hidden until you pass the pointer over the menu bar area ICS This section describes how to perform most of the basic functions in Bryce and how to set up the application Y fae ap UU gt lt ma Overview Setting Application Preferences By setting application Preferences you can customize Bryce to suit the way you work You do not have to restart Bryce to make these changes take effect Application Preferences are set in the Preferences dialog Preferences Launch to default state Launch to previous state Image with Scene Open Save Create object within view Create objects at world center Copy sky to new document The Preferences dialog lets you set the opening state of the application and customizeit To set the application s la
131. the light sources in your scene can determine everything from visibility to the time of day to the color of the atmosphere The View of Your Scene The view of your scene refers to the portion of the scene visible in the Working window There are eight views of your scene available in Bryce the Camera View which is the view produced by the Camera in the scene the Director sView which shows your scene from the perspective of a director sitting outside of the scene and the orthogonal projections Top Bottom L eft Right Back and Front which are perspective free views of your scene Camera View Camera View is produced by the Camera which exists in 3D space meaning that you can view your scene from anywhere within your Bryce environment even underneath it The Camera View can be positioned using the positioning tools or by repositioning the Camerain the scene The Camera has a wireframe which can be dragged in the Working window and its motions can be recorded as an animation However the wireframe is only visible in the Director s View or one of the orthogonal views Director s View The Director s View gives you the freedom to look at your scene from any perspective while still being able to manipulate the Camera as an object The Director s View motions are not recorded as part of an animation This means that you can move to any position without inadvertently changing the view of your scene in the a
132. the Position Z field to set the object s position on the Z axis This axis moves the object backwards or forwards W hen you select multiple objects and access this dialog there are no values displayed in the Position fields If you then enter a value in any offset field the selected objects are moved to the new coordinate essentially aligning them in the same place relative to the designated axis or axes To rotate an object 1 Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enter a value in the Rotate X field to set the object s rotation around the X axis You can enter negative values values greater than 360 or values less than 360 Bryce reduces the value to an absolute value within a range of 0 360 318 4 Enter a value in the RotateY field to set the object s position on theY axis 5 Enter a value in the Rotate Z field to set the object s position on the Z axis To set an object s size l Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enter a value in the Size X field to set the object s size in the X axis You can enter negative values here if you need to 4 Enter a value in the SizeyY field to set the object s size in theY axis 5 Enter a value in the Size Z field to set the object s size in the Z axis W hen you select multiple objects and access this dialog there are no values displayed in the Size fields If you
133. the intensity of the cloud definition Increasing the ampli tude will make cloud contours harder while decreasing it will result in softer edged more diffuse cloud formations Glossary antialiasing The process of eliminating alias ing by higher resolution sampling so that hard but jagged edges appear smooth and clean aspect ratio The relationship between the width and height of your document expressed in pixels as a width to height ratio auto update A feature in Bryce s Sky amp Fog palette and Nano preview which will automati cally update your changes into your rendered scene or Nano preview respectively banking Camera rotation around its Z axis kind of a left right tilt Also known as roll it creates the illusion that your horizon is tilted batch rendering A process that will allow you to automate the rendering of multiple scenes Just drag and drop a group of scene files on the Bryce application icon and Bryce will do the rest bitmap Literally a map of bits Your screen is comprised of pixels and each one of those pixels expresses a level of color whether it is one bit black and white or 24 bit millions of colors Your image when rendered can be thought of as a pixel by pixel map of color hence the term Bitmap boolean rendering A rendering process wherein either the space taken up by negative objects is subtracted from positive objects yielding an object with portions r
134. the left side of the building However the camera trajectory may have some funny little kinks in it You can drag the points of the camera trajectory to reshape it To adjust the height 1 85 View your scene from the side by choosing Camera View Options menu gt From Right Your scene changes to side view You may need to zoom out in order to see the entire camera path Click the Zoom out tool to do so First you ll adjust the camera s height so that it is level with the sphere as it circles around it Bryce 4 2 Drag the point on the right up so that it is level with the sphere Your scene should look like the one shown Adjusting the height 3 Drag the other handles up except for the first and last of the camera Your scene should look like the one shown Adjusting the camera view To continue adjusting you will need to look at the scene from different perspectives More adjustments can be made from Front View 4 Change to Front View by choosing View Options menu gt From Front or press the 4 key Zoom out if needed using the Zoom out tool located to the lower right of the Working Window on the Display palette Tutorial 86 5 Drag the point of the camera up so that it forms one end of astraight line between the sphere and the boolean sphere as shown Fine tuning the adjustments Note that you might need to Zoom out here to see the same view as the image above The dotted line o
135. the scene You can have your camera circle around the scene zoom into it or even fly under it There are two ways of animating the camera in Bryce using the Camera Position controls or by moving the camera as an object The easiest way of animating the camera is to use the Trackball or other Camera Position controls in CameraView while Auto K ey mode is enabled Any changes you make to the posi tion of the camera are automatically recorded as part of a key event W hen you play the ani mation your camera changes are added to all the other changes in scene properties to create the action in your animation W hile working in Camera View may be the eas iest way of animating the camera it s not the most precise Because of the view s first person perspective it can be hard to see the exact path of the camera as it moves This can make creat ing a precise motion difficult However if you switch views to an orthogonal view or the Director s View you ll be able to see the camera as an object in the scene Then you can select the camera and set up key events for its position just as you would for any other object Also you can display the camera s motion path so you can make precise adjust ments to its movements After you re done setting up the key events for the camera you can see the changes in the Sequencer in the Advanced Motion Lab There you can rearrange the order of events or change how long it takes to
136. the terrain is faceted Keep Gradient makes the gradient the terrain s diffuse color Terrain Canvas TheTerrain Canvas displays the grayscale image that is used to create the terrain object You can think of the Terrain Canvas as a top view of the terrain object you re creating TheTerrain Canvas is where you paint the height map for your terrain The image in the center of this area is the canvas Around the canvas are the painting tools and zoom area controls Bryce 4 Paintbrush Controls Color Gra dient Strip Clipping Bracket Zoom Area Controls Brush Mode Selector TheTerrain Canvas displays the grayscale image that is used to create your terrain The main tools in this area are the grayscale paintbrush and the height picker The paint brush lets you paint images using different shades of gray The Height Picker lets you pick up gray levels from other parts of your image to set the gray level of the paintbrush The left side of the frame includes all the paint brush controls Size Hardness Flow and Level as well as the Grid selector which con trols the resolution of the grayscale data The right side contains a gradient strip and bracket for clipping operations and controls for color mapping The bottom part of the frame includes a Brush Mode selector and Zoom Area controls 3D Terrain Preview The 3D Terrain Preview in the lower left corner of your screen displays the resulting terrain o
137. thee a For example you can use the large arrows to step to the first sphere created in your scene and then the smaller arrows to step through all other spheres in your scene 2 Click the smaller backwards arrow to step backwards through each object of the type in aselection One advantage to making selections with this technique is that you can select objects within a Group Simply clicking on a Grouped object will not necessarily select the entire group using the VCR controls to select within a Group allows you to reposition objects or assign textures to objects within a Group without having to first Ungroup them To step sequentially through every object in your scene 1 Click the triangle icon in the Selection palette and choose AlternateVCR Mode 2 Click the larger backwards or forwards arrow To step sequentially through families 1 Click the triangle icon in the selection palette and choose AlternateVCR Mode 2 Click the smaller backwards or forwards arrow To temporarily remove all unselected objects from the scene 1 Select an object 2 Click the Solo Mode button in the center of the VCR controls The button color changes to red a In Solo Mode you can only edit the selected objects all the other objects remain in place but uneditable If you re working on a very complex scene Solo Mode speeds up your work significantly as Bryce does not have to calculate and draw extraneous wireframe obje
138. then enter a value in any Size field the selected objects are scaled to the new coordinate Editing Link Attributes Link attributes control how an object is linked to another The controls on the Linking tab of the Object Attributes dialog let you set parent child link attributes and tracking attributes Linking When you link an object to another you create a parent child relationship Transformations applied to the parent object affect the child but transformations applied to the child object do not affect the parent Refer to Linking Objects on page 305 for more on linking 319 The Link options let you set the parent object for the selected object and choose which parent object transformations will affect the child Object Parent Name Sphere 2 Propagate Distance Rotation Offset Size The Link options let you set up the attributes of a parent child link To link objects 1 Display the Object Attributes dialog 2 Click the Linking tab 3 Click the Object Parent Name field and choose aname from the menu that appears Choose None to break a link 4 Enable a Propagate option These options control which Parent object transformations affect the child Tracking When you set up atracking link the stationary object tracks the target object as it moves or rotates W henever the target object moves the stationary object pivots so that its always facing the target Bryce 4 The
139. these criteria Click the triangle icon next to the Render controls and choose Select 360 Panorama from the menu Click the Render button to do a quick test render The panoramic render mode necessarily introduces some distortion into your image and this may change the way you want your objects to appear Make any position changes you like W hen you do a panoramic render your wire frame scene will bear little resemblance to the rendered scene Thisis why you should work on your scene in standard D efault mode and switching to Panoramic rendering after every thing is set up Choose File menu gt Render To Disk The Render to Disk dialog appears Leave the default settings The Output Size in Pixels was set by the QTVR Panorama option in the Document Setup dialog The Print Resolution defaults to 72dpi which is the only acceptable setting for the screen resolution VR movies and the Output Size in Inches is extra information You can however use these features to your benefit if you need to print out a 2D version of your VR scene Click the OK icon In the Save dialog choose QuickTimeVR then click the Save button 16 Specify the location and file name for your 430 rendered QuickTimeVR panorama To export a QuickTime VR Panorama 1 Follow the steps above through step 11 2 Click the Render button if you made any changes after your test render 3 When the rendering is done choose File men
140. to create your environment The view of your scene shown in the Working window is taken from a camera that you can move around for different views of your scene ra x i 3 eE a eee tel E eel ee ae TheWorking window displaysall the objects that make up your scene The Working window also has several display modes that let you view am as a wireframe ren dered object or combination of both Refer to Display Modes on page 17 for more information Nano Preview The Nano Preview feature displays a rendered preview of your scene As you update your scene Nano Preview shows your changes You can immediately see how your adjustments to object position or other properties affect the final look of the scene Several display options let you control how The Nano Preview window shows a small rendered version of your scene As you change the scene the display updates to show your changes your scene appears in the Nano Preview and can be very helpful when you re working on a complex scene You can also use the Nano Preview s preset viewing positions to see your scene from differ ent angles that help you quickly see the effects of your changes in 3D space The Memory Dots along the side of the Nano Preview let you store your favorite camera posi tions Refer to Using the Nano Preview on page 24 for more on working with the Nano Preview View Control View Control lets you adjust the
141. to decrease the value or right to increase it 4 Drag over theY field in the Frequency area to set the Phase noise frequency in theY axis Bryce 4 5 Drag over the Z field in the Frequency area to set the Phase noise frequency in the Z axis You can also drag over thescroll arrows to speed up the increments Phase Noise Orientation Phase noise orientation controls the direction of the noise within the phase The number of dimensions in the phase determines how many axes you can use to adjust the orientation You can edit the noise orientation using the Direction numerical fields T he fields let you enter precise angles for noise orientation You can also use the scroll arrows to set the angle in increments fe Direction XY 45 YZ The Direction fields let you enter rotation angles to precisely control the noise direction along the X Y or Z axes Textures Like frequency changing the orientation of the phase noise in only one or two axes can create some very interesting results In this example the phase noise orientation was changed in only theY axis and then applied to 3D noise To change the orientation of phase noise 1 Display the Deep Texture Editor 2 Display the Phase E ditor 3 Drag over the XY field in the Direction area to set the noise angle in the X and Y axes Drag left to decrease the value or right to increase it 4 Drag over theYZ field in the Direction area to set the no
142. use is active click the mouse button 298 Anchor Objects An anchor object is the object in an alignment operation that does not move All the other objects move in relation to the anchor object The anchor object is the first object you selected Snap To Options Bryce s snap to options let you automatically align objects to the grid world center ground or aland object To snap objects to the Grid l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select an object 3 Click the triangle icon next to the align tool and choose Snap to Grid Refer to Using the Grid on page 297 for more on the grid To snap objects to the center of the anchor object l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select an object 3 Click the triangle icon next to the align tool and choose Snap Together The X Y and Z centers of all selected objects are aligned the X Y and Z center of the anchor object in the selection 299 To snap object to the World Center 1 Make sure the Edit palette is visible If it s not click the Edit text button at the top of the Working window 2 Select an object 3 Click the triangle icon next to the Align tool and choose Snap to World Center The selected objects move to coordinate X 0 Y Z 0 or World Center To drop or lift objects to ground
143. view of your scene without moving the camera TheView Control lets you control how you see your scene Using this control you can see your scene from the top bottom left right front or back You can also set your scene to continuously rotate so you can see it from any angle Refer to View Control on page 9 for more on using the View Control Camera Controls Camera Controls change the position of the camera specifically along the X Y and Z axes The CameraTrackball lets you move the camera in any direction and along any axis Bryce 4 Refer to Camera Controls on page 9 for more on moving the camera es N _4 w amp Use the Camera controls to adjust the position of the camera Render Controls Render Controls let you render your scene to see all the materials and lighting effects you added og D The Render controls let you render your scene asa 2D image The center button starts the rendering process and the other buttons control rendering options Refer to Rendering a Scene on page 410 for more on rendering Text Display Area The area just below the Render Controls is reserved for momentary display of text informa tion This area identifies the names of interface elements as you pass your cursor over them as well as displaying information about total num ber of polygons in a scene and current control settings Bryce O verview 10 3 objects 33025 polyg
144. way can you make meaningful adjustments to the component values For example if you set both Transparency and Reflection to 100 you ll get an unusually bright object that doesn t look very realistic The reason for this is that the object is emitting more light than it is receiving something it couldn t do in reality Since material channels simulate real world surface properties you should try to keep channel values within a realistic range For example hereTransparency and Reflection are both set to 100 With these settings you re saying that 100 of the light that hits the object passes through its surface and 100 of the light that hits the object is also reflected off its surface The result is an object that emits more light than it receives because it s reflecting the light that hits it as well as the light from behind it 191 In reality an object can only reflect a portion of the light that s passing through it So Transparency and Reflection values should always add up to 100 A good rule of thumb to keep in mind while you re setting these channels is that the Transparency and Reflection channels should always add up to 100 and Diffusion and Ambience values should also always add up to 100 Each surface material is made up of fourteen channels divided into three groups Color channels Diffuse Color e Ambient Color e Specular Color e Transparent Color e Specular Halo e Volume Co
145. width of the secondary rainbow Bryce 4 Star Fields Stars in Bryce are randomly generated star maps They are infinitely distant so they do not get closer as you move the camera Star Fields are affected by the moon s brightness and color In this example you can see how the moon affects the color and intensity of the stars around it You can also add comets to your Star Fields Comets appear at random positions You ll usually only get one or two comets per starfield To add a Star Field l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Sun amp Moon tab 4 Click the Starfield button at the bottom of the palette To add comets to a Star Field 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window Creating Skies 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Sun amp Moon tab 4 Click the Comets button at the bottom of the palette Volumetric World The Volumetric World effect simulates the effects of particles in the air being illuminated by light sources In Bryce this effect turns all the light sources in your scene into visible light sources Sunlight also becomes visible so that any color you applied to the sun appears everywhere in the scene Normal Environment In this example you
146. with realistic volume This means that if you sink an object into the water it will be affected by the colors or textures you assign to the slab s vol ume In an infinite slab the plane in the scene has depth that affects the objects within it The realistic look of a water slab depends almost entirely on the material you assign to it TheVolume color plays an essential role in cre ating realistic water effects Refer to Volume Color on page 206 for more on Volume Color and materials Bryce 4 To create an Infinite Slab 1 Click the plane tool and choose the Water Slab icon from the popup Surface Volume The popup that appears when you click the Water plane tool lets you choose between an infinite plane Surface and an infinite slab Volume 2 Select the slab 3 Click theA icon that appears next to its bounding box The Object Attributes dialog appears 4 Enter a depth value in the SizeY field and click the OK icon Creating Stones The Stone object tool creates random organic Stone shapes that can be assigned materials and positioned throughout your scene To create a Stone Object e Click the Stone object tool enecra gt Use the Stone object tool to create randomly generated stones Creating O bjects Stones objects are mesh based and can be smoothed or unsmoothed using the Select Mesh dialog Refer to Editing Imported Meshes and Stones on page 322 for more informati
147. 0 F uzzy Factor controls dullness sharpness of the texture within your object As you increase the dullness of your object it becomes less dense so you may have to increase the Base Density to compensate Likewise as you increase the sharpness of the object it becomes more dense You can use this channel to smooth sharp looking clouds or sharpen dull stone textures Quality Speed Quality S peed controls the render quality of the texture This channel represents the inverse relationship between render quality and rendering speed As you increase the render quality of the material you decrease the speed at which its rendered As you increase the speed at which a material is rendered you decrease its quality eed set to set to 100 Quality Speed set to set to 0 The Quality S peed value controls the quality of the texture s render in relation to how fast it renders Quality Sp Bryce 4 The material loses detail as the quality decreases Detail is introduced as it increases For still images you probably want to increase the quality of the material and sacrifice speed since the scene only has to be rendered once For animations you probably want to sacrifice quality since the scene will have to be rendered once for each frame in the movie Material Components This section describes the various components you can use to set a material channel value It also describes how to set the parameters for each com
148. 1 Creating Terrains on page 53 to create the terrain and Lesson 3 Applying Textures on page 56 to apply the texture This terrain needs to be rotated through 180 degrees about the X or Z axis to create the interior of the lake 59 To rotate an object Click Edit then the Rotation control Move the mouse pointer over the X or Z axis rotation ring 2 Hold down the Shift key this causes the rotation to be carried out in 45 degree increments then click and drag horizontally on the rotation ring You ll see the angle of rotation displayed at the bottom left of your screen Drag until you see either 180 or 180 The terrain will now be upside down and your screen should look like this An inverted terrain 4 With Terrain 3 still selected click on the Object Attributes button to display the Object Attributes box then click Negative It is now a negative boolean object This means that Bryce will cut this shape from the terrain 5 Exit by clicking the OK icon You ll notice that the Terrain 3 wireframe is dotted since it is now Negative Bryce 4 6 Lower Terrain 3 until the square base which is now on top is just above the ground plane 7 Click Edit and use the Reposition tool to position it along theY axis 8 Your screen should look like this a a kas migi rem SS Se 9 Sime a a se a a a a oa 4 aa Positioning the inverted terrain To group th
149. 3 Click the Render button and you should see results similar to the image below A rendered terrain To switch back to Wireframe mode 1 Move the cursor just to the right of your image area and the Advanced Display Palette appears 55 2 Near the bottom of the palette is the Display Modes button W hen you place the cursor over this button the words Display Modes appear at bottom left Display Modes button The Display M odes button 3 Click this button once to return to Wireframe display mode or click the Escape key to toggle between the modes Lesson 2 Adjusting the Terrain Notice that the terrains mountains look a bit peaky and not very natural as a result This can be corrected in the Terrain E ditor To load the Terrain Editor 1 Select Terrain 2 and click the Editor button the E button located in the vertical list of buttons associated with the selected terrain object Your screen is overlaid by the Terrain Editor Bryce 4 Click the Smoothing button twice then exit the Terrain Editor by clicking the OK icon Smoothing the terrain 3 4 Select Terrain 1 by clicking it it becomes red Click the Editor button to display the Terrain Editor then click the Smoothing button once Exit the Terrain Editor by clicking the OK icon then render by clicking the Render button Your image should look like the one below Both smoothed terrains Tutorial 56 Lesson 3 Applying T
150. 3 Select all the objects in the scene to be hotspot links Render the scene 5 Select either File menu gt E xport Image or gt Render To Disk Select HTML files htm as the type of file to export render to disk and name the file 7 Fillin the settings in the HTML dialog Your image is exported in J PEG format Realmovie Animations The RealMovie format is a new way of viewing streamable movies through the internet Bryce RealMovie RM movies are streamable using any possible throughput so they are ready to go with RealM ovie servers To create a RealMovie animation l Create an animation in Bryce 2 Select File menu gt Render Animation 3 Select RealMovie as the Output Module Format 4 Set the filename to save as and go QuickTime Movies Bryce creates pre flattened QuickTime moves that are ready to go wherever you wish to take them be it the internet or your friend s com puter 424 To create a QuickTime movie l Create an animation in Bryce 2 Select File menu gt Render Animation 3 Select QuickTime Movie 4 Click Edit to adjust the details of the animation 5 Set the filename to Save As and go QuickTime VR Panorama Movies Bryce can now generate QuickTimeVR Pan orama Movies directly Panorama movies are movies from which you can interactively swing your viewing angle around 360 degrees This type of movie is created from a single 360 degree Panorama image You can generate a QT
151. 30 72 102 40 8 Rotate 135 00 X E Zz o o B Panv 0 Fov 60 PanH 0 Scale 100 The Camera amp 2D Projection dialog lets you view and set position camera mode and origin point position options for the current camera The dialog uses ether Absolute or Relative coordinates for positioning values There are different options available in the dialog depending on whether you re in Camera View or Director s View W hen you re in Camera View the only Camera Mode available is Free As well the Origin fields are only available if you re using Free Mode Since the camera is an object there are several more controls available when you re in Camera View These controls let you set linking and animation options Refer to Setting Camera Object Properties on page 329 for more To position the camera s origin point numerically 1 Double click either the Trackball or one of the Camera controls The Camera amp 2D Projection dialog appears 2 With the Camera View active make sure the General tab is visible 3 Click the Free Mode button 4 Enter values in the Origin X Y and Z fields To set the position of the camera numerically 1 Double click either the Trackball or one of the Camera controls The Camera amp 2D Projection dialog appears 2 With the Camera View active make sure the General tab is visible 3 Enter values in the Position X Y and Z fields You can enter negative values her
152. 38 rotation An object s rotation in 3D space expressed in degrees synonymous with orien tation scale Values that express the space an object occupies synonymous with Size though Size implies an absolute space scene a The complete content of your Bryce world b The two dimensional screen projec tion of your 3D scene c The file that Bryce saves containing all information regarding your landscape secondary rays When a primary virtual light ray strikes an object if that object is reflective or transparent another secondary ray is fired from that location either bounced if reflective or bent if transparent refracted to continue through the scene This process is repeated up to six times to find ahome for the ray and therefore a final color for a pixel in your scene Secondary rays are not quantified in the Ren der Report shadow rays Oncea primary or secondary vir tual light ray has found a final resting place it must determine whether or not to create a shadow behind the object To do so another ray is fired from that location and this is a shadow ray size Values that express the space an object occupies synonymous with Scale though Scale implies a relative size sky dome A secondary environmental ambient light used to create a color cast in ascene where there is little visible global light smoothing mported objects consist of polyhe dral faces which when rendered appear quite chunky This
153. 3D textures have three different types of outputs Color Alpha channel and Bump These outputs are used differently by the material channels Bryce 4 Color channels use the texture s color to set the value of the channel For example if you use a texture in the Diffuse channel the colors in the texture appear wherever the object reflects light diffusely Diffuse color set using a texture W hen you usea texture to set the value of a Color channel the color information is used to set the material channel value In this example the Diffuse color was set using a texture Diffuse color set using a color Value Optics and Volume channels use the alpha channel information from a texture to set the value of the material channel For example when you use a texture to set Specularity the texture s alpha channel information determines which areas of the object are shiny As a result you ll see the pattern of the texture on the object Specularity set Specularity set using a value using a texture W hen you use a texture to set the value of an Intensity channel the alpha channel information is used to set the material channel value In this example Specularity was set using a texture The Bump information in a 3D texture is used only by the Bump Height channel The Bump channel in the texture determines the pattern of bumps or dents in the object In fact you won t be able to see the effects of the Bump M ateri
154. D Disperse Size R otate scatters resizes and rotates your selection randomly along the horizontal X and Z plane 3D Disperse scatters your selection randomly in 3D space 3D Disperse R otate scatters and rotates your selection randomly in 3D space 3D Disperse Size scatters and resizes your selection randomly in 3D space 3D Disperse Size R otate scatters resizes and rotates your selection randomly in 3D space Click the Randomize Sphere The selected objects are randomized To randomize objects interactively The Randomize tool has eight different states W hen you click on the tool it cycles though its different modes Arranging O bjects 2 302 1 Select a number of objects Drag over the Randomize sphere Release the mouse button when you achieve the desired effect Object Hierarchies An object hierarchy lets you create relationships between objects by grouping a linking object together A hierarchy adds structure to the objects in your scene This can make arranging and animating objects much easier W hen you re arranging objects a hierarchy can make positioning and rotating easier since you can transform an entire hierarchy all at once instead of separately The same is true for animating You can quickly create motion animations by changing the position of aparent object since all its children will move with it Hierarchies can be created by either grouping or linking objects Grou
155. Display the Deep Texture Editor 2 Click the Arrow between components and choose a mode from the menu k The arrows between components in the D eep Texture Editor provide access to the Blend M odes menu Bryce 4 e Click the arrow on the left to choose a Blend Mode to combine components 1 and 2 e Click the arrow on the right to choose a Blend Mode to combine the results of Component 1 and 2 with 3 There are nineteen blend modes you can use to combine your components Parallel This mode does not blend components Use it when each component has a different output type If two components share an output type only the first output will be applied to the final texture For example if Component 1 has output Color and Bump and component 2 has output Color and Alpha only the color from Component 1 will be applied to the texture Combine Combine is a blend mode for colors only W hen you use this blend mode the first color in Component 2 is used as an alpha channel W herever that color appears in Component 2 it is replaced with the colors from Component 1 For example lets say Component 2 has Yellow Green and Blue and Component 1 has Orange Purple and Black as its color scheme When you combine them using the Combine blend mode Yellow disappears from Component 2 Everywhere that Yellow appeared you ll see Orange Purple and Black Average Average is normal blend mode where all the component val
156. General tab of the Object Attributes dialog describe an object s position orientation and size in 3D space You can adjust these attributes by enter ing values in one or all of the numeric fields Origin tpi 0 n Position 10 24 o Rotate Size 20 48 p 20 48 20 48 The Offset Rotate and Size fields let you numerically transform the selected object The values in this dialog use either Absolute or Definition coordinates for transformations Absolute coordinates use the World Space X Y and Z axes as a reference for transformations Definition coordinates redefine how the object is created in Object Space Refer to Coordi nate Systems on page 283 for more on these coordinate systems Using Definition coordinates can create some unpredictable results because you re redefining the entire object when you change the O ffset Rotate and Size values E diting Objects To set an object s origin point l Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enter values in the Origin X Y and Z fields To set an object s position l Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enter a value in the Position X field to set the object s position on the X axis This axis moves the object left or right 4 Enter a value in the Position Y field to set the object s position on theY axis This axis moves the object up or down 5 Enter avalue in
157. Most objects affected by gravity also follow curved rather than straight trajecto ries Bryce s motion paths can be used to create any type of trajectory Secondary Motion Secondary motion adds realism and credibility to ascene A character turning his head to stare at something in disbelief shouldn t just turn his head his jaw should drop and his eyes should blink as well The viewer focuses on the main action but registers the secondary motion as Animation in Bryce 46 supporting it Bryce s Advanced Motion Lab gives you enough control to manage even the finest details of your animation so you can add this kind of secondary detail Exaggeration E xaggerating an action emphasizes it making it more prominent For example if intrigue is called for have a character sneak instead of walk If you want your animation to resemble footage from a hand held camera give your camera an exaggerated bobbing motion Virtually any type of action can be exaggerated to get an idea across Timing Timing is as important in animation as it is in any dramatic form Consider the difference between an abrupt stop and a gradual slow down Each conveys a completely different impression In general a motion that continues at the same pace lacks interest and seems unreal If you are trying to animate realistic character action act out the sequence yourself timing how long each pose is held and how long each action takes with
158. Refraction is linked to Transparency If Transparency is set to zero this channel has no effect Setting Refraction Using a Texture You cannot use a texture to set the value of the Refraction channel You can only use a value to set this channel Reflection The Reflection channel controls how much light direct or indirect is reflected off the object s surface Unlike Diffusion which 205 scatters light Reflection directs light back at its source giving the object a mirrorlike appearance Incoming Light Surface is Reflected Light Reflective Viewer sees object on thi surface of object Reflection determines how much light is reflected off the surface of the object The higher the Reflection setting the more reflective the surface At 50 half the light that hits the object s surface is reflected at 100 all light is reflected lt a Reflection set to 100 Reflection controls how much light is reflected off the surface of an object Reflection set to 50 As you increase the Reflection value the color of the object changes since you can see more of the environment in the object s surface Setting Reflection Using a Texture When you apply a texture to the Reflection channel the texture s alpha channel is used to Bryce 4 determine which areas of the object are reflective Lighter areas of the alpha channel are reflective while darker areas are not Volume Mater
159. Scene on page 25 for more on using the Advanced Display palette tools TheA dvanced D isplay palette contains tools for changing the Working indow display The Animation Controls The Animation controls lets you set up key frames and edit the timeline of your animation The Animation controls display the timeline of your animation Bryce 4 It also contains controls for previewing your animation adding and deleting key frames and accessing the Advanced Motion Lab Refer to Setting Up an Animation on page 357 for more on using the Animation controls Selection Palette The Selection palette contains tools for select ing specific types of objects in your scene You do not see this palette in the default Working window To view it you must use the Time Selection Palette toggle at the far bottom right of your Working window to swap the Animation controls for the Selection palette Using the palette tools you can select objects by type by group or family Refer to Selecting Objects on page 30 for more on selecting objects Ses ONO0008408 3 1 20 The Selection palette contains tools that let you set objects by type or family TheVCR controls available in this palette let you cycle though the selections and enables Solo mode Refer to The VCR Controls on page 32 for more on using the VCR controls UsetheVCR Controls to cycle through all the objects in your scene and activate Solo mode The Ed
160. Select the object you want to add to the library 2 Click the Triangle icon next to the Create button at the top of the Bryce window The Creating O bjects selected object appears in the preview area of the Object Preset Library dialog Sonem Objets al The object preview area displays the object you selected 3 Click a category name The library switches to the category you selected The new preset will be added to the category you select 4 Click theTriangle icon in the bottom right corner of the object preview and choose a view option from the menu Book Hermod Ulm f ra Op Chane i fonder With Seulral ikg Use theTriangle icon at the bottom of the preview area to display a list of preview options Normal is the default view of your selected object Up Close displays a close up of your object Render With Neutral Sky displays your object with a flat sky instead of the sky applied to your scene 5 Set up the preview of the object e Drag the preview area to rotate the view of the object 20 e Hold down the Spacebar and drag up down right or left to pan the object preview e Hold down Command Ctrl and drag in the preview area to zoom in and out of the preview Click the Add button at the bottom of the dialog The Add Object dialog appears Enter aname for the new preset in the Preset Name field Enter a description of the preset in the Description field and click the OK icon T
161. Stretched Cone Squashed Cone E x Creating a Pict Object A PictObjectisa2D picture that is applied toa 2D finite plane The object is basically a picture on aframe The Frame is a2D plane meaning that it has no depth If you view it from the side it disappears Creating O bjects Using a Pict Object is a quick way of creating very complex looking objects The only prob lem is that you can only view them from one angle so the front of the Pict Object must always be facing the camera TheAlpha channel of the object can be used to create transparencies in the Pict Object This object was created using a 2D Pict Object however if you move the camera the 2D nature of the object is very obvious A good way of ensuring that your 2D Pict O bject alwayslooks right is to haveit track the camera Refer to Tracking Objects on page 382 for more on tracking Alpha Channels and Pict Objects The picture you use must have an Alpha chan nel Refer to Alpha Channels on page 109 for more on Alpha channels The alpha channel of your Pict images will allow you to specify visible and invisible por tions of your picture texture 106 For example you can clip out a picture s back ground so that only the main object in the pic ture is visible Thisiswhat the car image looks like with and without an alpha channel applied The shadow cast by the image will be in the shape of the picture s alp
162. The Animation Preview controls let you move between the key frames in your animation To End gine ae Previous Key frame Next Key frame Use theAnimation Preview Controls to move between key framesin your animation To Start Stop Play The larger buttons move to the beginning and the end of the animation The smaller buttons move to the next and previous key frames Using the Movie Preview In addition to viewing still images in the nano preview window you can use the same window to see a movie preview Used this way the movie preview window provides a simple quick way to see a rendered version of your animation without having to leave Bryce See Previewing Animations on page 363 for more information Time Dots TheTime Dots let you save positions on the timeline You can use the dots to quickly jump between areas of the timeline you re working on Use theT ime dots to quickly move between saved positions along the timeline Key Frame Controls The Key Frame controls let you add and delete key frames in your animation Key frame Indicator rr B Add frame Delete frame Use the Key F rame controls to add and delete key frames from the timeline The Key frame indicator is only active when the current time is at a key frame The Add Key frame plus button lets you add a key frame W hen you are in Camera View with nothing selected Add frame automatically key frames the camera In Director
163. The knob in the top left corner of the component window resets the component to the way it looked when you first opened the editor Textures Saving Textures You can save your texture as part of texture list so you can access it quickly from the Materials Lab To save a texture 1 Inthe Combination component window click the knob in the top right corner of the component window The knob in the top right corner of the Combination component window lets you save your texture The SaveTexture dialog appears 2 Enter aname for the new texture and click the OK icon The new texture appears at the bottom of the texture list The list can be accessed from the Materials L ab Tips for Speeding Up Textures Textures can be the most powerful effects you create in Bryce They can also be the most costly The more complex the texture the longer it takes to calculate and the longer it takes to apply to an object which finally increases the rendering time W hen you re creating the texture you always have to keep in mind that it s part of a material which is part of an object All these parts can contribute to the rendering time 216 The material that contains the texture may have several complex attributes of its own like Transparency and Reflection e The size of the object may also contribute to the rendering time Consider the effect of applying a complex texture to a complex material onto an infinite pl
164. This cage was created by using blend transparency to ounch out areas of the object s surface Anything less than 100 Transparency results in normal transparent areas Fuzzy Fuzzy mode changes the effective Transparency based on the thickness of the object Asa 222 result objects appear fuzzy on the edges and solid at the center shaded with this mode appear transparent and self illuminating When you apply a material using F uzzy shading mode the edges of the object appear blurred while the center remains solid Since Bryce uses depth information to synthesize this blurry effect it is not available for 2D objects such as Squares or Disks Use the Transparency setting to adjust the degree of fuzziness Light Light is a very specialized shading mode best used to create visible lighting effects O bjects 223 The Light shading mode is designed to create simple light effects If you apply it to a cone object it looks like a cone of light Only the Diffuse Ambient and Transparent Color channels are used to determine the color of the light All other channels are ignored This mode is useful for creating point lights without the rendering overhead that comes with true volume light objects that is light sensitive volume materials Volume Material Shading Modes This sections explains the volume material shading modes Flat Shading F lat shading mode is designed for clouds gases and other
165. Tracking options let you set the target object for the selected object and define which axis of the stationary object will face the target Track Object Name Cube 1 Orientation X 3J Y 2 Z J X J Y 2 Z TheTracking options let you set the attributes for a link between a stationary object and its target To set an object to track another l Display the Object Attributes dialog 2 Click the Linking tab 3 Click the Track Object Name field and choose aname from the menu that appears Choose None to break a tracking link 4 Enable one of the Orientation options These options set which object axis will track the target Editing Animation Attributes Animation attributes control the display of an object s motion path A motion path is a graph ical representation of an object s trajectory over the course of the animation Refer to Motion Paths on page 376 for more on motion paths The options on the Animation tab of the Object Attributes dialog let you control how an object s motion path is displayed in the Work ing window and how that path is drawn Motion Path Display Options Normally a motion path is displayed as it is being drawn and when the object is selected The motion path display options on the Anima E diting Objects tion tab of the Object Attributes dialog let you control when the motion path is displayed Snr The Motion Path D isplay options let you control when an object s moti
166. VR movie from Export Image or Render To Disk For it to look right you must follow all the setup steps as described in QuickTime VR on page 429 Briefly you must Change the aspect ratio of the document to 13 4 by clicking the QTVR Panorama option in the Document Setup dialog e Select 360 Panorama in the options given by clicking on the triangle next to the render controls W hen you use Render To Disk you can option ally select 90deg counterclockwise rotation for QTVR to save memory 425 Using BryceTalk Using BryceTalk you can do the following Set up your BryceTalk account e Start or end a BryceTalk session Change rooms start a new room or close a room e Participate in discussions in multiple rooms Communicating with Bryce Users While using Bryce you can communicate with other Bryce users Using BryceTalk you can exchange messages with other people in real time This means that you could be typing mes sages from Chicago to someone who is still awake in Paris However you must be a regis tered Bryce user in order to send and receive messages If you haven t registered already this is an excellent time to do so You can ask questions share ideas and tips about using Bryce and meet other Bryce users W ho knows you may find your long lost Uncle John communicating here Bryce 4 ce CORLEY SPE eet Zed SWest are here Zed Reminds me of the joke about the two New Hamps
167. Yellow to approximate colors for print almost always used with a fourth ink black K to com pensate for ink impurities conversion The process of changing an object of one type into an object of another type Use the little arrow in the Edit palette deformation A special form of 3D transforma tion which will deform an object s geometry creating bulges twists bends and more Bryce 3D does not support this kind of transforma tion but you can certainly import deformed objects from other modeling applications via Bryce s Import DXF and 3DMF feature depth cueing The effect we use to create the appearance that wireframes far away are dim 435 mer than wireframes closer to the camera This effect is adjustable derivative objects Most primitives available in the Create palette also have a few derivative objects as well For instance the Sphere is accompanied by an Ellipsoid and a Squashed Sphere both are considered to be Spheres by Bryce but they have had some post processing applied to change their sizes diffuse Light that is evenly reflected from an object s surface visible regardless of the angle from which it is viewed Diffuse is associated with matte objects document resolution The actual size of your working document area expressed in pixels When your Render Resolution is set to 1 1 the Render resolution is the same DXF Originally developed for use with AutoCad this is the most common 3D
168. a light icon after a bit the entire timeline is displayed 5 Click the cameraicon The green light appears and the display in the right window changes to show your scene from the camera s perspective Release the mouse a aa a a A E E E S The camera s perspective Adjusting the scale See how the animation preview and the The word camera displays in Red Velocity area work together 6 Click the Play button under the animation preview window The animation plays while crosshairs mark the current time along the Velocity line 4 Click the word Camera A number of camera attributes are displayed as shown Click the word Path Position You ll use one of the preset Velocity curves to put a little variety in the camera motion 7 Click the curve that matches the one shown a E Cd a ge a a a a m a a G iD Sw wr Camera Attributes Velocity curve 93 Bryce 4 Itis aslight S curve The curve is displayed in the Velocity Controls section 8 Click the Play button The animation begins slowly proceeds at a constant pace for atime and then slows down toward the end When the velocity curve is flatter camera motion is slower W hen the curve is steeper the motion is swifter 9 Ifyou would like to try other velocity curves from the presets click them and they ll appear in the Velocity Controls section Play the animation and note the differences in camera velocity A downward curve
169. a material Texture Structure A Bryce texture can be made up of three components These components contribute the raw patterns or textures within a texture Each component can then contribute one of three types of output to the final texture These outputs are then combined to create the final texture Component 1 Component 2 Component 3 COMBINED Result FINAL TEXTURE This diagram shows the structure of a texture Within each component is a combination of colors and noise that create a pattern Noise is what creates the pattern within the texture The shape of the noise inside a component is determined by the phase of the noise and the filter applied to it The filter can create coherent patterns random spots or anything in between Refer to Noise on page 248 Phase on page 255 and Filtering on page 261 for more on Noise Phase and Filtering Textures Component 1 Component 2 Component 3 NOISE NOISE NOISE FILTER FILTER FILTER C A B C A B C A B COMBINED Result FINAL TEXTURE This diagram shows the structure of a texture including the structure of a component A component can contrib
170. a stopwatch Timing is one of the most difficult aspects of animation to master The key events you define at different points on the time line need to be synchronized with those that came before and those that follow Fortunately you can use the interactive nature of computer animation to fine tune your timing Test your animation fre quently by previewing it in the Working win dow or by dragging the Current Time indicator back and forth between key events Adjust the event s position in the Advanced Motion Lab until you re satisfied with the timing Tutorial Welcome Welcome to the Bryce tutorial T his tutorial introduces you to all the major features and functions of Bryce The main goal of this tutorial is to teach you the basic techniques you ll need to know to create incredible landscapes and environments There are two separate tutorials a basic tutorial that shows you how to create a terrain customize the sky and create a body of water The teaches you how to create a more complex environment and how to create an animation Each section of this tutorial is self contained so you can start from any point For example if you need to know about positioning the camera but already know how to create skies start the tutorial at the Camera lesson All the files necessary for completing the lessons are provided for you on the Bryce CD ROM Bryce files have a BR4 file extension To help you follow along every lesso
171. abling Auto Record mode TheTimeline options menu located at the right edge of the controls lets you enable or disable Bryce s automatic animation system Ticker Marks UsetheTimeline options menu lets you to enable or disable animation Animating When you enable Auto Record mode every object transformation or change of property you perform is recorded as a key event A key event can store any change in size position orientation material property sky property light property or geometry However a key event can only store one change per property at specific point in time for each object in the scene This means that at a single point in time you can only have one change in position size material or geometry per object recorded as a key event If you keep changing the same properties at the same point in time the changes are recorded on top of existing changes Only the last change you perform is recorded as the key event To record more than one change in the same object s property you have to move to a different point in time Then each change can be recorded as a separate key event and applied to the animation FETZ BF lan For example if you move an object up and down atthe same point in time only the last transformation is recorded as the key event 362 but if you move the object up at one point in time and then move the object down ata different pointin time both transforma
172. accessing the E ditors TheTriangle icon for this palette opens the Pre set Materials Library Refer to Transforming Objects on page 285 for more on the Edit pal ette The Sky amp Fog Palette The controls available on this palette let you add shadows fog and haze and also set the altitude frequency and amplitude of clouds The palette lets you control the color of clouds in your sky and the position of the sun and moon Tp tel The Sky amp Fog palette contains tools for creating the environment of your Bryce scene The memory dots along the side of the palette let you store your favorite sky and fog settings TheTriangle icon for this palette opens the Pre set Sky amp Fog Library Refer to The Sky amp Fog Palette on page 124 for more on the Sky amp Fog palette Advanced Display Palette TheA dvanced Display is not visible in the main interface It only appears when you pass the mouse over the right side of the Working win dow After you re finished working with the pal ette it gradually fades away so that it does not clutter the screen TheAdvanced Display palette contains tools for controlling the display of the interface and enabling disabling the Nano Editor and Plop Render features You can also control the reso lution of the Wireframes preview zoom in and out enable or disable wireframe shadows access different shaders and set underground and depth cues Refer to Viewing Your
173. ack to your eye Objects appear green because they reflect green light Objects are reflective because they reflect light An object appears shiny because it reflects light back at you An object appears transparent because light passes through its surface hits the objects behind it and is reflected back through the surface Bryce s material channels simulate all these behaviors W hen you set a channel value you re setting how your object s surface interacts with light that hits it whether that light is from a direct source like the sun or an indirect source like light reflected off other surfaces Light Source Material channels simulate physical properties of an object W hen you set channel values you re defining how the object s surface or volume interacts with light When you re creating volume materials your settings not only control how light interacts with the surface of the object but also how it interacts with the object s volume The effects of the channels are additive meaning that each value you set directly affects all the other values So if you set the Diffuse 190 Color to yellow and theAmbient Color to Blue the object will have a greenish tint Channels are interdependent For example you won t see the effects of the Transparent Color if the object is not transparent When you re using these channels it s important to understand the physical property they re simulating Only in this
174. adjust a light s falloff l Inthe Edit Lights dialog click the triangle icon at the bottom of the dialog and choose either Linear Falloff Ranged Falloff Squared Falloff or No Falloff from the menu 2 A dialog box appears into which you enter a distance or range if appropriate for the type of falloff you selected Creating Visible Lights Visible lights make your light source visible in the scene like the ball of light that appears around alamppost on a foggy night There are two types of visible lights e SurfaceVisible Lights e VolumeVisible Lights When you create a surface visible light the light from the object appears as a semi transparent shape extending out from the light source Surface Visible lights have the same attributes as anon visible light so you can use the Edge Softness control to make the shape that extends from the light fuzzier at the edges to give it a more realistic feel or the Falloff options to adjust the range the light The properties within the light are controlled by the default Surface Material applied to the light object The material can be edited in the The Camera and Lights Materials Lab By changing the material you can change the color of the light the intensity of the light s color and many other properties When you create a surface visible light source it appears asa semitransparent object in the scene When you create aVolume Visible light source a pres
175. age 421 for more on using Distance Render images Altitude Render This mode results in a grayscale image with objects represented in shades of gray based upon their height You can use Altitude Render images in the same way you can Distance Render images to create special effects in other applications An example of an image rendered using Altitude R ender mode Preview Render Modes Preview Render modes are accessed using the Render Controls and provide lower quality renders that you can use to preview you image Fast Preview When this mode is enabled the rendering ignores areas of low frequency and raytraces areas to high frequency only This results in accelerated renders that are great for previewing during a session However it also Bryce 4 results in some patchiness in certain mid frequency areas so it should not be used for final output To enable Fast Preview Mode 1 Click the Fast Preview button in the Render Controls W hen the button appears depressed the mode is enabled W hen its unpressed the mode is off Textures On Off When this mode is enabled all textural parameters are disabled This mode performs the following procedures to speed up a rendering e Objects with properties like transparency reflection and bumpy textures are rendered in flat opaque shades e Fog Haze and Clouds are disabled e Any item with a procedural texture is rendered with a color drawn from the ambi
176. ajectory Creating O bjects All the objects attached to a path have the same trajectory but they can move at different rates For example this caterpillar is made up cylinders all attached to the same path but they re moving a different rates so it looks like the body is slithering You can also align objects differently to the same path So object may appear to tilt differ ently as they follow the same trajectory Since geometric paths are objects they can also be attached to other paths Some very complex types of motion can be created using this tech nique 118 TS hat Den eee For example you can simulate the motion of the solar system by attaching an object on a circular path to circular geometric path The object on the circular path would act like a moon orbiting around a planet which is also orbiting around the Sun To create a geometric path Choose Objects menu gt Create Path A default shaped path object appears in your scene To convert a motion path into a geometric path object l Select an object with a motion path 2 Choose Objects menu gt Create Path A path object with the same shape as the path you selected is created To link an object to a path 1 Select the object you want to attach to the path 2 Move the cursor over the Link icon that appears next to its bounding box Taj 3 Drag the linking control handle from the object to path object Using the Presets O
177. al tab is displayed 3 Enable the Locked button To unlock an object 1 Click the Time Selection Palette toggle at the bottom of the Working window to display the Selection palette HEH UsetheTime Selection Palette toggle to switch between the Animation controls and the Selection palette 2 Click an object type button or hold down the mouse while passing the pointer over an object type button and choose the desired object from the menu that appears Show as Box This option displays any selected object objects or group as a box This is useful when you just want to work with the object s position but don t need more details It can speed up work in a complex scene because it displays simpler objects You can still manipulate your object using the bounding box control points To display an object as a box 1 Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enable the Show as Box button Show Origin Point This option displays the selected object s origin point Once its displayed you can edit the posi Bryce 4 tion of the point to change the object s center of rotation Refer to Object Origin Points on page 286 for more on origin points To display an object s origin point l Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enable the Show Origin Point button Editing Transformation Attributes The numeric entry fields on the
178. als Height value unless you assign a texture to the channel ump Heig ump Heig using a value using a texture Bump channel information from a texture is used to determine the pattern of bumps or dents in an object You must assign a texture to the Bump H eight channel to see the bumps or dents To use a 3D texture as a component 1 Inthe Materials Lab click a channel column A randomly selected texture appears in the Component window When you select 3D texture as a component the Component window displays a randomly selected texture in the preview area and shows the texture s current attributes 2 Ifyou want to change this texture click the triangle button next to the texture name at the top of the window and choose a preset texture from the menu The triangle button next to the 3D texture s namein the component window provides access to all the preset 3D textures available in Bryce 210 The texture you selected appears in the Component window 2D Textures 2D textures are pictures you ve created in another application or ones you select from the Pictures Library The data in the channels of these pictures are used as values in the material channels To use a 2D texture as a component l in the Materials Lab click a channel column A texture appears in the texture component window 2 Inthe Component window click the P button at the bottom of the Component window The P button changes the
179. ame of your scene appears N Click the gray Family button underneath the Object Attributes button The Family dialog box appears The gray color is selected and the Default Family name displays at the bottom of the dialog box Tutorial 3 Click the bottom left color maroon The text display now reads Family 21 Type the words Boolean Roof The text changes The Family dialog box 4 Click the OK icon to exit the Family dialog box The dialog box disappears and the Family button has changed to the maroon color Deselect the object by clicking the background of the image The wireframe has now changed to maroon instead of gray The family name and color now displays under the families menu You can check this out Locate the Select Families icon on the Selection Palette Click the icon anda menu appears Notice that one of the items there is the family you just created Boolean Roof Select that item on the menu Your group the boolean roof is selected again Note the other family besides the Default Family Family 17 is the family color for the camera which is always present in your scene The Select Families menu 7 Save your scene file and give it the name Rendered Boolean A copy of the scene file at this stage is located on the Bryce 4 CD ROM in the Manual Tutorial folder It is called Rendered Boolean Building the Walls In this next section you will create walls for your roof usin
180. amera view and the last F ly around position becomes the new Camera View Keyboard Shortcut Command Y Ctrl Y In Fly around view Bryce positions the Camera on an imaginary monorail track above and away Using the View Control from your scene such that you can see the whole scene from all sides as the camera moves f Bryce lets you view your scene from several around it y y y preset positions Main Top Front and Side Bottom Right Left and Back All theses views with the exception of the Main View are special a Orthogonal projections which allow e Click the Fly around view icon next to the perspective free views well suited for View control The View control icon alignment operations changes to the F ly around control icon To switch to Fly around view The View control is an interactive way of cycling through the various preset views The current position of the View control indicates To switch back to Camera view the view you re seeing in the Working window e Click on the Fly around view icon again Bryce Basics 28 TheView Control lets you select from different views of your scene To switch views using the View control e Click or drag the Views control until you reach the view you are looking for Every time you click the control Bryce displays a different preset view To switch views using the View control menu e Click the triangle icon next to the View control and select a view option
181. amp Fog text button 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Sun amp Moon tab 4 Click the Disable Sun Light button Working with the Moon The moon is the most prominent object in the night sky In a night scene it provides all the natural light in the environment Like the sun the moon s attributes can greatly affect the final look of your scene Its position in the sky effects all the angles and intensities of all the shadows in the scene The brightness is affected by the illumination reflected off the earth The brighter the earthshine the brighter the moon appears Unlike the sun the moon has phases which simulate the effects of the earth s shadow 148 passing over the face of the moon during a month The moon s position and phases can be animated using the Animation controls and the timeline Refer to Animating Sun or Moon Position on page 395 for more on animating the moon Positioning the Moon The moon is positioned at the same time as the Sun The two are always at opposite ends of the sky so wherever the sun is positioned the moon is directly opposite In the Sun Moon control on the Sky amp Fog palette the moon s position is represented by the smaller highlight portion of the Sun Position trackball The position of the moon is represented by the smaller highlight portion of the position control trackball You can position the moon by either moving t
182. and click the Play button in the Animation controls Using Director s View Director s View is similar to Camera View except that in this view you can see the camera as an object in the scene and the movements of the Director s camera are not recorded as key events In Director sView you see the camera as an object in the Working window You can change this view using any of the Camera Position controlsin the Control Palette 385 In Director s View you can move the view of the scene using the Trackball or the Camera Posi tion tools The view of the scene changes in the Working window but no new key events are created You can also preview the animation while in Director s View In the Working window you can see all the object s moving along their motion paths including the camera To animate the camera using Director s View 1 In theWorking window click the triangle icon next to the View Control and choose Director s View from the menu 2 Movethe CurrentTime Indicator in the Timeline to the point where you want to start changing the position of the camera 3 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 4 Drag the Camera wireframe in theWorking window to a new position 5 Ifyou want to see the results of your changes click the Play button in the Animation controls Displaying the Camera s Trajectory If you re setting up a precise path for the cam e
183. and whether or not it s locked There are two ways of editing an object s attributes the O bject Attributes dialog and the Object Controls that appear next to the object s bounding box E diting Objects Object Attributes Dialog The Object Attributes dialog contains three tabs which let you set various object properties e General contains options that let you set the object name position size rotation and display quality e Linking contains options that let you set up alink between two objects You can also use this tab s options to set up a tracking link Animation contains options for controlling the display of motion paths and setting motion path type tra a s Bont te eats Pika a pima ee ihar mA a amm Fi in a a ee oe ee ae il F E erecen re a ac Use the O bject A ttributes dialog to set transformation linking and animation object properties To display the Object Attributes dialog 1 Select an object 2 Choose Objects menu gt E dit Attributes or press Command O ption E Ctrl Alt E or click the A button next to the object s bounding box 32 Object Attribute Icons The Object Attribute icons appear as a list of buttons along the right side of an object s bounding box The icons that appear in this list vary depending on the type and number of objects selected These icons let you e Access the Object Attributes dialog the Material Composer a
184. ane The time to calculate this object would be staggering A good rule of thumb when working with complex objects and textures is to make the texture element as simple as possible These tips are meant only asa precaution to pre vent you from inadvertently creating a huge tex ture T hat doesn t mean that you shouldn t use the more complex features as well after all they were created for a reason You should just use them cautiously Noise e Useasimpler noise type Some noise types like Vortex require more time to process than others e Restrict the amount of noise you add to each component in fact not all the components need to have noise e Watch the frequency of the noise Higher frequency noise requires more time to calculate then lower frequency noise e Watch the number of octaves in the noise Each octave adds another level of complexity Phase e When you re designing the phase you may want to use simpler noise e Cut down on the number of phase types you combine If each component has a 277 different type of phase combining them can increase calculation times Watch the amplitude of the noise Higher amplitude phase takes much longer to calculate Apply Global Phase cautiously This is the quickest way of increasing the complexity of your texture because global phase introduces more complexity into each component simultaneously Filtering Filtering introduces complexity or detail
185. animation last Get your stopwatch watch or clock with a sweep second hand Or start counting very slowly Envision what the camera does while timing the sequence You may narrate the animation sequence out loud to get a sense of how long the clip should last Mark the beginning time envision the sequence and then mark the end How many seconds did it take For this example assume 9 seconds The narrative goes something like this Start Approach doorway close up around around around around recede roof back Cut Ol To make the marked path go away press the space bar The red mark disappears Lesson 2 Setting up the Timeline for the Sequence Time line animation settings 9 seconds 10 frames per second Now that you know your sequence will be 9 seconds it s time to set it up and begin animating the camera To set up the Timeline l1 Choose FileMenu menu gt Animation Setup A dialog box appears Enter 9 seconds in the Duration portion and change the frames per second FPS field to 10 Your dialog box should look like the one shown Animation Setup Hour Minute Second Frame Frame o 00 00 00 0 Current ja 10 Hour Minute Second Frame Frame Duration o oo 9 Jf oo so Scale Extend or Clip Play Once Display SMPTE Time 3 Repeat 3 Frame Count 3 Pendulum Animation Setup W hen you exit the dialog box theTime Scrubber and Cu
186. animation sequence Continue with the scene file you have been working with or use Animation Smooth Cam scene file from the Manual Tutorials folder on the CD ROM To create a rough animation you need to change the render size of your scene to a smaller image 89 To create a test render 1 Choose Filemenu gt Document Setup A dialog box appears Change the render size to 0 25 as shown Exit the dialog box i bagi bapu Aimealion Smaoth Ciar laro ocr Cit ie Heed ee a Lethe Cope Halki a M pees d Oemar Poe AD d unaes J a k Plane r ee Mini Ers a Marai epii en hasi De NEN 22 DE ae i iM dEi Ma ti i Ea Yi a iad i iini b itm Mr tis has 160 2i LEE E TERI s a D ocument Setup 2 Click the Render button to test render your scene The rendered image is much smaller Choose Filemenu gt Render Animation A dialog box appears This dialog box allows you to choose your settings for this test render T here are three sections to the box the Range to Render the Compression Settings and the File location and name dnimaben degen Gan ra etna anion erty large g j m el Binkey T pam paie l pomadon oa Hi oe a ere a ee bee SS Render Animation dialog box Bryce 4 4 Inthe Output Module section click the 9 Click the Play button to watch your Edit button A Compression Options animation ideo Doxey peas 10 Switch back to Bryce and save your scene
187. ar output the box appears gray Refer to Texture Components on page 209 for more on using textures in materials In the Deep Texture Editor the output type for a component is indicated by the three output buttons along the left side of the Component Window The three buttons along the right side of the Component window indicate the output type for a component If a button appears depressed it means that the component produces the selected output type 241 Assigning Output Types A texture can produce all three output types or only one The number of output types for the final texture depends on the output you assign to the components A component can produce one or all three types of outputs You can assign more than one component to the same output type If you do have more than one component with the same output type the output information will be blended to produce a final output For example if you have two components that produce Color output when you combine them the colors from both components are blended together and the result is applied to the final texture In order to produce an output type a final texture must contain at least one component that produces the type of output you want For example if you want your final texture to contain color output at least one of its components must produce color output Each output type contributes something different to the final material Color Output
188. around the entire scene To create a camera orbit 1 Switch to Director s View or one of the orthogonal views 2 Click the triangle icon in the Animation controls and make sure Auto Key is enabled Animating Techniques 3 Click the Camera wireframe in the Working window 4 Click theA icon that appears next to the camera wireframe The Camera amp 2D Projection dialog appears 5 Click the General tab 6 Click the Show Origin Handle button and click the OK icon 7 Drag the ring handle to a position in the scene 8 Rotate the object using the Rotation tool in the Edit palette or the Trackball Animating Materials The action in your scene can include much more that just motion Many subtle or dramatic effects can be created by changing the proper ties of an object s surface over the course of the animation This section assumes that you re familiar with the concepts and procedures involved in creating material and textures Refer to Building M ate rials on page 230 for more on creating materi alsand Textures on page 237 for more on editing textures By animating an object s texture you can create subtle effects like changing the color of an object to simulate things like a tomato ripening You can also create more dramatic effects like changing all the properties of a material at 388 once Using this technique you can change an object from marble to metal or glass to wood In this an
189. arrow drag the object to a new location e Hold down Command Option Ctrl Alt while dragging to constrain movement to the X axis e Hold down Option Alt while dragging to constrain movement to theY axis Hold down Command Ctr while dragging to constrain movement to the Z axis You can change modifiers mid drag as you like Nudging Objects Nudging lets you move objects by pressing the arrow keys and the PageUp and PageDown keys Nudging uses World Space coordinates to reposition objects Each time you press a key the object is moved in 1 4 unity size increments 512 Bryce units Refer to Bryce Units on page 282 for more on Unity Tee ee Por Lr 8 Ht i PageUp jtt ja PageDown ng Ti Up EENE ight Left De Dena Down UsetheArrow PageU p and PageD own keys to nudge objects in World Space 296 To nudge an object along the X axis 1 Select one or more objects 2 Press either the Right or L eft arrow keys e Hold down Shift to nudge objects in 1 2 unity size increments 1024 Bryce units e Hold down Option Alt to nudge objects in 1 256 unity size increments 8 Bryce units To nudge an object along the Y axis 1 Select one or more objects 2 Press either the PageUp or PageDown arrow keys e Hold down Shift to nudge objects in 1 2 unity size increments 1024 Bryce units e Hold down Option Alt to nudge objects in 1 256 unity size increments 8 Bryce units To nudge an obj
190. as Program contained on the medium in this package and licenses its use You assume full responsibility for the selection of the Program to achieve your intended results and for the installation use and results obtained from the Program License A n consideration of the payment of a license fee you are granted a personal non transferable and non exclusive license to use the Program under the terms stated in this Agreement You own the diskette or other physical media on which the Program is provided under the terms of this Agreement but all title and ownership of the Program and enclosed related documentation hereinafter referred to as Documentation and all other rights not expressly granted to you under this Agreement remain with the Company B The Program may be used by you only on a single computer Therefore you must treat this software just like a book With the exception of Item D below just like a book means that this software may be used by any number of people and may be freely moved from one computer location to another so long as there is no possibility of it being used at one location while the same copy is at the same time being used at another location J ust as the same copy of a book cannot be read by two different people in two different places at the same time neither can the same copy of software be used by two different people in two different places at the same time Site licenses for multiple single users
191. as it moves along a motion path The align options let you force the object s orientation to match the slope of the motion path so that as the path curves up the object tilts up Do Not Align J Align The Align options let you control how an object is aligned to its motion path To set align options 1 Display the Object Attributes dialog 2 Click the Animation tab 3 Enable one of the following options Do Not Align disables aligning The shape of the curve has no effect on the object s orientation This is the default setting 321 Align adjusts the object so that its orientation matches the shape of the path Motion Path Geometry Options The shape of a motion path is determined by the position of the object as it moves through the animation The motion path geometry options let you change the shape of the path to create different effects Make One Shot Make Repeat Make Pendulum Make Circular The Motion Path Geometry options let you control the shape of an object s motion path To set motion path geometry options 1 Display the Object Attributes dialog 2 Click the Animation tab 3 Enable one or all of the options Make One Shot restores the path to its original shape meaning the shape created by changes in the object s position Make Repeat creates a loop in the action The motion on the path will continuously repeat Make Pendulum creates a repeating cycle in the action along a path Th
192. at you re using noise patterns orientations frequencies and modes to design how the basic Noise will be displaced Using the Phase Editor you can perform several functions e Create 1D 2D or 3D phase Change the type of noise e Change the frequency of the phase e Change the orientation of the phase e Change the noise octaves e Change the noise modulations 257 Octaves Noise Mode Noiseype YP Phase Bvig Frequenc Number of Dimensionscontols Diection Conty The Phase E ditor lets you create noise to use as phase W hile the Phase Editor lets you create the noise pattern or grain within the phase the Phase palette controls how that phase is applied to the component or the combined texture To display the Phase Editor l Display the Deep Texture Editor 2 Click the Phase button at the bottom of the editor The Phase palette appears 3 Click the top left corner of the palette The corner turns green as you pass your cursor over it The top left corner of the P hase palette lets you display the Phase E ditor Bryce 4 Creating Phase Phase is designed using the Phase E ditor The phase creation process involves several steps Choose the number of dimensions in the phase e Choose a noise type This gives the basis for creating a phase pattern or grain e Adjust the frequency of the noise Adjust the orientation of the noise e Apply amodifier to the noise by choosing a
193. ated the camera trajectory converted the trajectory to a path and adjusted the camera s velocity on that path You have walked through a fair portion of the power of creating Bryce scenes and animating them For additional ideas of ways to animate this scene or for other tips check out the BryceWorld website under the Links menu 94 Creating Objects Overview Objects are the building blocks of your Bryce world T hey can be used as props to populate a scene or add detail to landscapes An object is the most basic item in Bryce Objects can be anything from terrains to peb bles In Bryce there are several ways of creat ing objects Some objects use unique editors others can be created by a simple one step click There are two main tools for creating objects The Create palette which contains tools for creating objects with a single click and the Preset Objects Library which contains pre made objects you can add to your scene Objects in the Scene Every object in the scene has a bounding box The box acts like a visual guide that tells you how much space it occupies in 3D space It also provides access to a series of tools that let you edit an object s attributes and placement race An object s bounding box lets you see how much space it occupies in 3D space The buttons around the edges let you set an object s attributes The black points on the edges of the box are called control handles The
194. belled X Y and Z The X axis runs from front right to back left into the scene TheY axis runs vertically top to bottom in the sceneThe Z axis runs from front left to back right into the scene 53 The Sky and Fog Palette Click Sky and Fog to display the Sky and Fog Palette The Sky and Fog Palette allows you to edit the various components of a sky preset or even to design your own The Sky and Fog palette Lesson 1 Creating Terrains Let s begin by creating a scene which contains mountains a sky a ground plane and a desert lake To create a terrain 1 Create a terrain by clicking Create to display the Create Palette then clicking the Terrain Object in the Create Palette The terrain appears in your scene This is labelled by Bryce as Terrain 1 Note the Nano Preview image shows the terrain rendered in the default colors Your scene in Wireframe mode should look like this Terrain 1 Bryce 4 Tutorial Click the Object Attributes button to display the Object Attributes box and notice that the name of your first terrain is Terrain 1 The Object Attributes button is at the top of the buttons associated with the selected object s bounding box Click the OK icon at the bottom right of this box to exit we will return to the Object Attributes box later on With the terrain selected outlined in red click Edit and use the Reposition tool to move the terrain into the rear left of your scene As
195. between are various shades of gray depending on their dis tance from the camera This grayscale information can be used to cre ate photographic depth of field effects For example if you take an image that has a light house in the foreground and a fishing village in the background and render it using Distance render mode you can take the image into Adobe Photoshop and create an image where the lighthouse is in sharp focus while the vil lage is blurred You can add depth to your scene by taking a scene you created in Bryce 421 rendering it as a distance mask using Distance Render mode and using an image editing application to place the distance mask into the original image s alpha channel Once the Distance render isin the alpha channel you can apply filters to create photographic depth of field To render a scene as a distance mask 1 Click the triangle next to the Render controls and choose Distance Render from the menu N Choose File menu gt Export and choose PICT Using Photoshop The following procedure uses Adobe Photo shop as a post production application The steps for Painter would be almost the same Bryce 4 To create depth of field using Photoshop 1 Render the scene normally using Perspective Render mode 2 Save the image in a convenient location 3 Render the scene again this time using Mask Render mode 4 Save the mask image to the same location 5 Open the
196. between tessellation types To switch between Grid and Adaptive tessella tions click on the triangle to the left of the pre viewer and select the tessellation type Terrains Grid Tessellations Grid tessellates the original height field with a grid In order to achieve a good mesh representation of the source terrain selecting Grid requires a large number of polygons However this method is suitable for geometric shapes Adaptive Tessellations Adaptive achieves much lower polygon counts with good representation of the terrain This is an excellent choice when the terrain models natural landscapes Exporting to MetaStream W hen exporting to MetaStream MetaCre ations multi resolution streaming file format you can select additional options Clamp Min and Clamp Max These options define the lowest and highest polygon counts within the multi resolution mesh To reset the Clamp Min and Clamp Max Select Reset Clamps within the Options menu To apply the Clamps 1 Use the slider to set the desired lower polygon count 2 Select Options menu gt Clamp Min 3 Use the slider to set the desired higher polygon count 4 Select Options menu gt Clamp Max 186 If Clamp Min and Clamp Max are set to the same amount the M etaStream file will contain a single resolution Handling Image Maps The second area of the E xport Terrain Lab deals exclusively with handling image maps A large part of the a
197. bits the earth The changein the phases of the moon can indicate the passage of time The moon phase is a visual clue to the time of the month In an animation you can use the moon phase to simulate the passage of a time Refer to Animating Sky amp Fog settings on page 393 for more The phase is controlled using the Moon Phase controls in the Sky Lab palette To set the moon s phase l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Sun amp Moon tab Creating Skies 4 Drag over the Moon Phase control The phase changes as you drag Moon Image p 56 lt The Moon Phase control lets you set the phases of the moon 5 Click the OK icon to exit the dialog Moon Brightness and Sharpness The moon is directly affected by the light reflected from the earth The brighter the reflection the brighter the moon s shadow In Bryce this effect is controlled by the Earthshine setting which makes the moon brighter or darker A realistic moon does not have sharp edges and may appear blurry on hazy nights The Softness control lets you set the moon s edge softness to give a more realistic feel To set the brightness of the moon s shadow l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab but
198. bject Library The Presets O bject Library contains all the pre set objects distributed with Bryce as well as presents you add Objects in the library are either 3D models or geometric paths Refer to Creating Geometric Paths on page 117 for more on geometric paths You can place objects from the library any where in your scene and edit them just as you would any object To add an object from the Preset Object Library to your scene 1 Click the Triangle icon next to the Create button at the top of the Bryce environment The O bject Preset Library appears Use the Preset O bject Library to add 3D models to your scene 2 Click on the name of a category to the left of thumbnails Bryce 4 3 Click on the preset thumbnails to view preset names and descriptions 4 Click OK to add the selected object to your scene The Create palette does not need to be active for you to access the O bject P resets Library Adding and Deleting Preset Categories and Objects You can add preset categories such as flowers trees and rocks or specific objects within cate gories to the preset library The preset library retains all Boolean grouping and textural prop erties of the objects placed within it To add a preset category Choose Add Category and enter a category name To delete a preset category Select the name of the category e Click Delete Category To add an object to the preset library 1
199. bject based on the image in the Terrain Can Terrains vas As you edit the terrain image the preview updates to show the result of your changes The 3D Terrain Preview shows the terrain object that will be produced from the image in the Terrain Canvas The preview of your terrain can be rotated so you can see your terrain object from different angles To rotate the terrain preview e Click and drag the preview object in the direction you want to rotate the terrain Animation Controls TheAnimation controls at the bottom of the editor let you create key frames for your terrain Any change you make to the geometry of the terrain can be stored in a key frame and ani mated Current Time Indicator Preview Controls Key Frame Controls TheAnimation controls let you create key frames for the terrain so you can animate the terrain editing process 160 TheTimeline that runs along the bottom of the editor displays the length of the animation The Current Time Indicator within the timeline lets you set the current time of the animation The buttons in the Animation controls let you preview the animation The buttons beside the preview controls let you add and delete key frames from the Timeline Working in the Terrain Editor Using Terrain Editor Tools Most of the tools in the Terrain Editor are dis played as control dots These dots let you apply an effect or operation to the terrain gradually or at 100
200. bjects remains constant only your view of the scene changes The controls described in this section can be used to position either the Camera View or the Director s View However some controls like the Trackball are limited when you re in Camera View The controls behave differently depending on the Camera Mode you select Bryce has two sets of controls for positioning your view of the scene the Trackball and the Camera controls TheTrackball lets you adjust the position of the camera as well as its orientation Field of View d Banking Control Camera Trackball TheTrackball lets you adjust the position and orientation of the camera The Camera and Lights The Camera controls change the position of the camera along the X Y and Z axes Y Z Control X Z Control X Y Control The Camera controls let you adjust the position of the camera in the X Y and Z axis Camera Modes The cameras in Bryce have four modes that affect the behavior of the all the positioning controls T hree of the modes are only available when you re in Director s View The only mode available in Camera View is Free Trackball Mode In this mode the camera orbits around your scene The center of the orbit or origin is the center point of abox which encompasses all the objects in your scene T In Trackball mode the camera orbits around the center point of a box that surrounds all the objects in your scene a W
201. ble Cast Shadows option The light from this source can illuminate the surface of an object but does not create shadows Light Preview The Light Preview area displays the effects of your changes to the intensity and edge softness of a light You can have this preview display the light against a neutral background or show the light in the scene 346 To set the preview options e Inthe Edit Lights dialog click the triangle icon at the bottom right corner of the preview area and choose a preview option Render in Scene displays your scene in the Preview area This lets you see how the changes you make to the selected light will impact your entire scene Render Against Neutral displays the light against a flat background This lets you isolate the light so you can clearly see subtle changes Light Attributes The light editor lets you adjust three attributes which let you create more realistic looking light sources e The light s spread e Edge Softness e Falloff The spread of the spotlight also called the Half Angle controls the size of the light cone projected T he size of the light s wireframe determines the spread of the light The bigger the wireframe the larger the spread a The size of a light s wireframe controls the light s spread ee J a A7 To adjust the spread of a spotlight 1 Selecta spotlight 2 Drag the one of its bounding box control points to set
202. box you can freely rotate an object directly in the Working window Rotation control points appear when you hold down Command Ctrl and pass your cursor over the object s bounding box The corner Bryce 4 control points let you free rotate your object The control points at the center of each face rotate the object along a single axis An object s bounding box has control points at the corners and at the center of each face that can be used to rotate the object To rotate around a single axis l Select an object 2 Hold down Command Ctrl and drag on any face control point You can tell which axis you re rotating around by releasing the Command Ctrl key for amoment The cursor changes to an X Y or Z To free rotate an object 1 Select an object 2 Hold down Command Ctrl and drag on any corner control point e Hold down Option Alt to rotate in very fine increments e Hold down Shift to constrain rotations to 45 increments Arranging O bjects Positioning Objects The composition of your scene depends on the position of the objects relative to other objects In most cases you ll need to use the Reposition tool in conjunction with the Resize and Rotation tools to create the desired relationships Positioning applies to objects groups and families as well as lights and the camera In this section the term object also refers to the camera and lights Bryce lets you position objects in four
203. building with vaulted ceiling The centerpiece of this room is a mirrored sphere that you ll import Then you ll place lights to light your scene In the next part you ll animate the camera to fly through the scene The Story So Far Before starting this lesson you should know how to use Bryce s tools to create and adjust objects and how to position and move the camera Refer to the previous sections of this tutorial for review if needed Launch Bryce and choose Filemenu gt New Document Set the file to the size of 480x360 What You ll Need To complete these lessons you ll create most of the objects you ll need to use Creating the Interior Scene In this series of lessons you will construct a building out of Bryce primitives You ll use Bryce s edit controls to change their size position and rotation as needed to make the building You ll also use booleans to carve one piece out of another Then you will work with basic scene organization using Bryce s Family controls Next you will add an object of interest to your building by placing a sphere on a pedestal Then you will light the interior of your scene Tutorial In Part 2 of the tutorial you will animate the camera to fly through the building and create an animation You ll work with pre production animated scene planning planning your animation timeline setting keyframes and animating your camera You ll also learn some steps to tweak your cam
204. buttons along the bottom of the editor let you display the three editing palettes The palettes let you control the noise phase and filtering applied to the texture Phase e Noise Filter The three buttons along the bottom of the editor let you display the editing palettes You can access the Noise and Phase Editors from within the Noise and Phase palettes Bryce 4 Working in the Deep Texture Editor This section describes how to use the Deep Texture Editor to create and store textures Building Textures A texture is a combination of components You build textures by designing or editing components i e colors noise phase or filters and combining them using Blend modes To build a texture 1 Display the Deep Texture Editor 2 Click the Component Selector to choose the number of components you want to use to build the texture The component windows become active 3 In the first component window click one of the Output buttons to choose an output type 4 f your component contains color click one of the color circles and choose a color to apply to the texture You can choose up to three colors for each component 5 Click the triangle icon below the color circles and choose a Color Blending mode for your colors 6 Click the Noise button at the bottom of the editor The Noise palette appears 7 Adjust the noise in the component by e Dragging the Noise slider on the Noise palette
205. buttons are enabled 6 Enter avaluein the Color field or use the slider to set how much of the haze color is blended with the sun 7 Enter a value in the Luminance field or use the slider to set the intensity of the haze color when it s blended Bryce 4 8 To get the best effect set both these fields to 100 Setting the Color Perspective Color perspective is the change in color with distance that characterizes the appearance of distant scenes in Nature Dark areas turn blue and light ones yellow to orange to red In Bryce you can make things change any color you like with distance Color perspective is half of aerial perspective while the other half is the loss of contrast with distance Color perspective controls the rate at which the red green and blue components of the atmosphere come in with distance In Nature the atmosphere is white or a pale shade of gray The blue component of that shade comes in faster than the green which in turn comes in faster than the red This is because the Earth s atmosphere scatters blue light more efficiently than green and red least efficiently of all The net result is that as a dark area recedes into the distance it will turn blue before it turns white or pale gray in the far distance Similarly white areas will turn yellow then orange then red with increasing distance The default values of color perspective are very delicate If you mess with them expect bizarre results
206. camera position by dragging the Camera toa position in the scene and then swapping the Camera position with the D irector sView posi tion To swap the Director s View position for the Camera View position e Click the triangle icon next to the Camera controls and choose either Camera gt D irector or Director gt Camera from the menu Orthogonal Views There are six other views available through the View controls but these views are not generated by any camera The other views Top Bottom Left Right Back and Front are perspective free views of your scene called 331 orthogonal projections W hen you re using one of these views you cannot use the Camera controls Refer to Orthogonality and Views on page 25 for more on orthogonal views The orthogonal views are another way of seeing the camera as an object in the scene This can be invaluable when you re animating the camera or setting up a complex scene Using the orthogonal views you can quickly move to different views of your scene T hese views also let you see the camera as an object If you hit the Render button whilein an orthogo nal view Bryce moves the camera to the position you need and renders your image Refer to Rendering on page 403 for more on rendering Bryce 4 Positioning the View of Your Scene When you position a view you re affecting the position and orientation of a camera not the scene The scale and position of o
207. ccur A key event that occurs at 00 00 01 00 will still occur at the same time regardless of where it riot tee i For example the events on the path above occur at 00 00 00 01 00 00 01 00 and 00 00 02 00 W hen you change the shape of the path the direction in which the object travels changes but all the events still occur at the same they did in the original path Since Bryce treats the motion path as a Bezier curve you can edit it just as you would any curve in any 2D illustration application You can also display the curves tangents which indicate the angle of the curve W hen you display the path s tangents you can see the angles of its curve points 378 Motion Path Modifiers There are a number of modifiers you can apply to the path change the way motion occurs along the path Normally an object moves from the first key event on the path to the last over the course of the animation If you want the object to move backwards along the path or repeat its action you would have to reposition the object and set up new key events The modifiers let you create these types of effects automatically For example if you wanted to animate the motion of a grandfather clock pendulum you have to set up the forward motion and then the backward motion However using the Pendulum modifier you just have to set up the forward motion path Since the modifier changes the object s behavior so that it moves forward tha
208. ce Refer to Transparent Color on page 203 and Specular Halo on page 200 M aterials The remaining color channel Volume Color controls the color of the interior of the object Refer to Volume Color on page 206 for more information Value Channels The second group of channels the Value group controls how much light affects an object The channels in the Value group are Diffusion Ambience Specularity Metallicity and Bump Height Diffusion Ambience and Specularity define how the surface interacts with direct light T hey let you control how much direct light affects the surface of an object In a physical environment these channels control how shiny dark or bright the object appears Refer to Diffusion on page 196 Ambience on page 197 and Specularity on page 199 for more information Metallicity is related to Reflection It determines how much reflected light is filtered through the Diffuse Color Refer to Volume Material Channels on page 206 for more information Bump Height controls the height of any bumps or dents on the object s surface Refer to Bump Height on page 202 for more information Optics Channels The Optics group of channels controls the intensity of optical effects produced by the object s surface The channels in the Optics group are Transparency Reflection and Refraction Transparency and Reflection channels control how indirect light interac
209. cene and can be used for selection purposes For example you can put all the elements that make up the background of your scene in to one family all the items with a particular material in an another all trees in another and so on Each family has a different object color The color appears only when the object is not selected since a selected object s bounding box appears red You can easily see which objects belong to the same family when there no objects selected in theWorking window To create a new family l Select all the objects you want in the family Arranging O bjects 2 Click the colored box next to the selection s bounding box The Family dialog appears Click the gray box next to a selection s bounding box to create a family 3 Click on acolor The color is applied to the bounding box of all the objects in the family 4 You adjust these colors by dragging the rectangular color swatch at the bottom of the dialog It s best not to use black or white since they are difficult to see or red since it s the color of a selected object 5 Enter aname for the family in the text field To select a family 1 If the Animation controls are visible at the bottom of the Bryce window click the Time Selection Palette toggle to display the Selection palette e If there is nothing at the bottom of the window move your cursor over the bottom area The Selection palette appears 2 Click the Family bu
210. cene mountains deserts islands or even floating cities In Bryce a terrain object is a height map which determines the shape of your landscape You can make subtle adjust ments to the map that can result in new moun tain ranges or river beds Bryce creates a terrain s shape by converting brightness values in grayscale images into a height map W hite areas in the image result in the highest altitudes and black areas result in the lowest The Terrain Editor lets you gener ate the grayscale images that are used to create terrain objects Creating terrains in the Terrain Editor isa two step process First generate the source of your terrain image by using the preset effects painting an image using the paintbrush or importing a picture Then filter the image The editor s Filtering tools let you fine tune the grayscale values in your terrain You can also animate the creation of a terrain Using the Animation controls available at the bottom of the editor you can changethe shape 2 Click the terrain object tool A randomly of your terrain object over time You can ani generated terrain appears in your scene mate the formation of mountains and valleys or the gradual destruction of the landscape a The Terrain Editor Once you have a terrain object you can custom TheTerrain Editor can be used to generatethe ize it in the editor grayscale image that is converted into a terrain object It can also be used to edit an exis
211. ces 8 Click the OK icon to exit the Render Animation dialog box Your scene begins rendering each frame At the end of the render Bryce automatically launches the Movie Player application Lesson 1 Converting the Trajectory to a Path To work on the timing and velocity of your sequence you will convert your trajectory into a single path object To convert from Trajectory to path Playing heanimation 1 Look at your scene from Top View Tutorial 90 2 Select your camera by clicking it The trajectory line went away when the camera was constrained to the path All of 3 Choose Objects menu gt Create Path A the keyframed motion information for the new path object appears occupying the camera went away with the trajectory sane space and shape as the camera The location information of the trajectory trajectory is preserved in the path which is present The path is an object type in Bryce You in your scene can mew L YOU Fanera eD Mat patli 7 Click the Selection Animation toggle to 4 Select the camera again it got deselected switch to the Animation palette and click when you created the path Click the the Play button The scrubber moves but triangle on the Selection Palette and the camera does not choose Camera to select the camera Notice that there is an option there for You ll re set the keyframes for camera motion selecting paths as well The Camera andits for the beginning and end of the sequence trajecto
212. components and adding volumes you need not use all the features of the lab all at once The more complex your material the longer it takes to render so you should use complexity only where its necessary Rendering Transparency Reflection and Refraction always require longer rendering time but when you add the complexity of creating transparent reflective or refractive volumes your rendering time can increase exponentially If you find that your scene is taking too long to render you may want to try setting the Transparency Reflection and Refraction values to zero Additionally use Full Shading Volume textures sparingly This type of material creates specific types of effects so you should limit these materials to specific areas of your scene If you 235 Bryce 4 M aterials 236 We j ros mi E E Textures Textures and Materials The thing that makes Bryce so unique is its materials A material can truly bring any object to life and textures are the power behind the material A material can make your object shiny dull or transparent but the textures within that material are what make it look like wood rock water or clouds Textures define the color pattern or bumps within a material A material can contain up to four textures These textures can be used to drive the channels that make up the material So by altering the make up or pattern of a texture you can dramatically alter the appearance of
213. corresponds to a backwards motion along the path When you are through experimenting with the curves click the S shaped curve from Step 7 10 Click the arrow in the lower right corner to leave the Advanced Motion Lab You return to your scene TheAdvanced Motion Lab does not have the standard okay and cancel buttons because all velocity adjustments are live edits You can t undo them Il Save your scene file Congratulations You are nearly there It s time for another test render Lesson 4 Another Test Render Before your test render double check your render settings To render 1 Choose Filemenu gt Document Setup 2 Inthe Document Setup dialog box ensure that you are rendering at the smallest ratio 1 0 25 Tutorial 3 Switch back to Camera View 4 Select Filemenu gt Render Animation The Render Animation dialog box appears Change the name of this test file to Render 2 5 Click the Set button In the Save dialog box add test path to the name Click Save 6 Click the OK icon to exit the Render Animation dialog box Your animation begins rendering Final Comments Compare the two test animations See the difference in movement For your final render you may render at a larger size or for more fun try creating a Volumetric World to add drama to those light rays that enter the building through the arches Congratulations You have now created a scene set up your animation cre
214. ct This is how you create a transition from rock to To animate between materials glass or wood to metal 1 Select an object 2 Click the M icon that appears next to the object s bounding box The Materials Lab appears 3 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 4 Movethe CurrentTime Indicator to the point where you want to start changing the material 5 Set up a material by setting channel values and texture components 6 Move the CurrentTime Indicator to a different point on the Timeline 7 The current time appears in the counter o E U i next to the preview controls The transition between rock and glass in these temple 7 Set up adifferent material by choosing columns was created using two completely different different components or applying a preset materials 8 Click the OK icon to exit the Materials Lab Animating between materials is exactly like cre ating two different materials for the same Previewing Material Animations object As long as the Auto K ey mode is enabled all your settings are recorded as key events So you can set up a material at one point in time and then move to a different point on the Timeline and create a completely different material Any change you make to a material s properties are displayed in the Material Preview area When you play a material animation the same preview area shows you the transition of the material from one
215. ct key events on different timelines 2 Drag one of the selected key events All the other selected key events move also To delete a key event from a timeline 1 Select the key event or group of events you want to delete 2 Press Delete The key event is removed from the timeline To copy a key event on a timeline 1 Hold down Option Alt and drag a key event The original remains in the same place but the copy moves as you drag Time Mapping Curves TheTime Mapping editor displays a curve which represents the time mapping curve applied to the events in a property timeline Each property in the Hierarchy List can have its own time mapping curve By adjusting the 3 1 shape of this curve you can change when events occur and how long it takes to complete an event The curve acts like a filter Time from the actual animation is remapped according to shape of the curve to produce the final time Depending on the shape of the curve events can occur faster or slower Time Mapping curves can only remap the time availablein the animation You cannot add more time or reduce the amount of time in an anima tion Editing Time Mapping Curves The horizontal axis in the editor displays all the time in the animation The vertical axis displays the time map for the properties timeline The key events recorded for an object property are displayed as horizontal dotted lines The curve in the middle represents the time mappin
216. cts Editing Your Scene s Contents Bryce supports several of the basic editing features you find in most applications You can cut copy and paste objects between the clipboard and your scene Cutting and Pasting Objects To cut and paste an object 1l Select an object 2 Choose Edit menu gt Cut or Press Command X Ctrl X The selected item is removed from your scene and placed on the clipboard 3 Choose Edit menu gt Paste or press Command V Ctrl V To copy and paste an object l Select an object N Choose E dit menu gt Copy or press Command C Ctrl C A copy of the selected item is placed on the clipboard 3 Choose Edit menu gt Paste or press Command V Ctrl V Copying and Pasting Materials Using the Copy Paste Material commands you can edit an object s material without affecting the object Bryce 4 To copy and paste an object s material 1l Select an object 2 Choose Edit menu gt Copy Material or press Command O ption C CtrI AIt c The selected item s material is copied to the clipboard 3 Choose Edit menu gt Paste Material or press Command O ption V Ctrl AIt v Copying and Pasting Matrices Using the Copy Paste Matrix commands you can copy information about an object s location size and orientation values to the clipboard and then paste them onto other objects To copy and paste an object s matrix 1 Select an object 2 Choose Edit menu gt Copy Matrix o
217. cursor over an arrow point it changes to a letter to identify the axis of constraint E W hen you pass over a the tip of an arrow the cursor changes to a letter to identify the axis of constraint Camera Control Options The Camera controls have options that lets you move the camera to create specific views To use a Camera control option e Click the triangle icon next to the Camera controls and choose an option from the menu irat ka ll penbe to teton 9 Trips free Camera Click the triangle icon next to the Camera controls to display the options menu The Camera and Lights 336 Center Scene rotates the camera so that all items in your scene are centered in the Working window This option only affects the camera s rotation not its offset If you can t see all the objects in your scene after using this option try pulling your camera back a bit with one of the Z controls Center Selection rotates your camera such that any selected object or objects will be centered in your view This option does not reposition the object itself only the camera s rotation relative to the selected object Eye Level Camera repositions the camera to just above ground level Use this command especially in conjunction with the Trackball s Tripod mode to create the feeling of large looming mountains or other objects This is also effective in concert with the Field of View control Choose Camera gt
218. d this initial keyframe at the beginning if needed The key highlights to a darker green color indicating that there is keyframe information stored for that point in time 2 Drag the Scrubber three ticks to the right The time reading is 00 00 01 05 for one second frame 5 You are now ready to drag the camera to a new position for this point in time 3 Drag the camera to the interior of the room as shown i ee Positioning the camera Tutorial 8 A blue point appears where the camera was just located and a blue trajectory line links the first point with the new camera location The trajectory is the line along which the camera will move Drag the Scrubber another three ticks to the right The time reading is 00 00 03 00 three seconds Drag the camera so that itis on the left side of the mirrored sphere wireframe as shown The blue trajectory follows the camera s position and a blue point is left in the spot where the camera was previously Drag to the next position 6 Note Do not drag the camera by the blue handlein the center of the camera you will be dragging and adjusting the actual key position rather than the camera itself We ll get into adjustment of the key position later in this tutorial Drag the Scrubber another three ticks to the right The time reading is 00 00 04 05 four seconds 5th frame Drag the camera so that itis on the far side top of the sphere wireframe as
219. dd depth to the road as it moves away from the camera Notice how the feeling of depth was created without the addition of background objects You can set intensity height and color attributes for the fog Fog 10 For example you can see how the fog changes in these skies as the F og value changes Fog 90 The fog acts as aglobal layer covering the entire scene Its color and intensity are the same throughout the scene To set the amount of Fog l Display the Sky amp Fog palette by clicking the Sky amp Fog text button Bryce 4 2 Drag horizontally inside the Fog thumbnail to increase or decrease the amount of fog in your rendered scene Drag to the left to decrease the amount of fog and to the right to increase it To set Fog height l Display the Sky amp Fog palette by clicking the Sky amp Fog text button 2 Drag vertically inside the Fog control to increase or decrease the height of your fog Drag up to increase the height and down to decrease it The height and amount values are displayed in the Text area of the Control palette as you drag To set Fog color 1 Display the Sky amp Fog palette by clicking the Sky amp Fog text button 2 Click the color swatch beneath the Fog thumbnail and choose acolor from the color picker To set Fog attributes numerically 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab b
220. de the alpha channel from texture C acts like a map that tells Bryce where to apply the values from textureA and texture B All the white areas of the alpha M aterials channel use values from texture A black areas in the alpha channel use values from texture B Gray areas in the alpha channel use a combination of both textures Alpha Channel Texture Used Texture A Combination of E A and B i Texture B In the example that follows three textures were combined using Mode ABC in the Diffuse Color channel Textue Using ModeABC to combine the three textures the spot texture A appears in the white areas of the checker texture s alpha channel C and the lines texture B appears in the black areas of the alpha channel To use Mode ABC to blend textures 1 Inthe Materials Lab Control Ctrl click the C column of achannel 220 Component indicators appear in theA B and C columns of the channel Component indicatorsin theA B and C columns of a channel indicate that you re using M ode ABC to blend texture components Shading Modes The shading mode cannot only determine how the Shading refers to the process of applying material is applied to the surface of the object but how it s material channel values to an object W hen an applied to its volume as well object is shaded the different values in the material are applied to the object The shading To choose a shading mode modes available in Bryce det
221. decrease the intensity Bump Height The Bump Height controls the height of bumps in an object s surface The bumps on an object s surface are determined by the texture s Bump channel The Bump Height channel is linked to the Bump channel in the texture If you usea texture without a Bump channel this channel has no effect You can enter negative values in this channel which turns bumps into dents Bump Height set to Bump Height set to Bump H eight controls the height of bumps on the surface of your object M aterials Transparency The Transparency channel controls how much light can pass through the object s surface Direct Light The amount of light that can pass through an object s surface is set with theTransparency channel The higher the Transparency value the more of the surrounding environmentis visible through the object s surface If there is no other light being reflected an object set at 100 Transparency appears invisible Transparency set Transparency set to to 0 100 Transparency controls how much of the surrounding environment is visible through the object s surface To create a realistic transparent object you need to pay attention to details You ll need to combine the effects of the other channels to simulate a realistic object For example transparent bubbles all have highlights so you ll need to add Specularity Balloons have a flatter surface so you ll need to add mo
222. der e Theimage map controls The mesh previewer allows you to instantly examine the quality of the current tessellation To manipulate the mesh e To rotate the mesh click and drag in the previ ewer To zoom the mesh in and out Command Control click and drag in the previewer To change the previewer display mode select one of the buttons to the right of the previewer Available preview modes are W ireframe Shaded Textured and Textured With W ireframe O verlay e To adjust the colors of the wireframe and the shaded preview select the color swatches underneath the preview mode buttons Bryce 4 To adjust the polygon count use the slider below the previewer to adjust the polygon count This changes the quality of your mesh The number of polygons in the mesh is displayed in the right bottom corner of the previewer Preview Options Selections on the right hand side of the Pre view window allow you to preview your terrain in the following ways e Wireframe Shaded e Textured Textured with Wireframe Overlay Types of Tessellations You can create two different types of tessella tions in the Export Terrain Lab Grid and Adaptive The default method is Adaptive The initial tes sellation is set to 6 000 polygons If this is not sufficient you can add polygons by selecting Add Polygons in the Options Menu This can be found at the right bottom corner of the pre viewer To switch
223. design your phase using the Phase E ditor Bryce 4 Textures The Phase palette controls the amplitude The phase amplitude controls the intensity of the displacement As the amplitude is increased there is more interference with the original noise Open Phase kit Component Indocat Amplitude Slider The Phase palette lets you increase or decrease the amplitude of the phasein a component You won t have to increase the amplitude very much before you start seeing the phase pattern you designed interfere with the existing noise In fact it s probably a good idea to keep the phase amplitude low so that the phase pattern doesn t overwhelm the noise Original Noise Phase 50 Phase 250 This graph shows how the phase interacts with the noiseat different amplitude settings To display the Phase palette l Display the Deep Texture Editor 2 Click the Phase button at the bottom of the editor The Phase palette appears The three buttons at the bottom of the D eep Texture E ditor let you display the Noise Phase and Filter palettes or 256 e Click the Phase button in the bottom right corner of any of the component windows The three buttons along the outside of a component window let you display the Noise Phase and F ilter palettes The Phase Editor looks a lot like the Noise Editor It has the same type of tools and they work exactly like they do in the Noise Editor The difference is th
224. dify the clouds to change the appearance of the scene 4 Click the words Sky amp Fog and to the right of the Sun Position Trackball you ll see the Sky Memory Dots and underneath you ll see a triangle icon 5 Click the triangle icon then deselect the option Cumulus Clouds by clicking it The terrains after texture has been applied The check mark should have disappeared The original sky preset had both cumulus Creating the Sky and stratus clouds in it and by deselecting one you changed it to a completely The Story So Far en 6 Now render your scene by clicking the Before starting this lesson you should know Render button and you should see how to create a terrain something like this What You ll Need To complete these lessons you ll need an existing terrain If you ve been following this tutorial from the beginning you can use your existing file Otherwise you can use the preset file provided for you The file is called Basic Tutorial Finished Terrain and is located on the CD ROM in the Manual Tutorials folder Lesson 1 Adding a Sky Preset Now let us add asky preset to the image A modified sky Lesson 2 Adjusting the Sky To add a sky preset l Click Sky and Fog then click the triangle icon next to Sky amp Fog Now we ll tweak the image a bit more 57 Bryce 4 To adjust the sky 1 If needed click the words Sky amp Fog to display the Sky amp Fog Palette Move the mouse pointer ov
225. display hidden palettes Move your cursor over the right edge of the Bryce window 2 tos E atda x x amp bii eS ee Hidden palettes appear when you pass your cursor over them then they slowly disappear Along the right you ll find the Display palette Most of Bryce s tools have several options that extend their function W henever you see a triangle next to a tool you know that there are more options available To display option menus e Click the triangle icon The option menu appears t z t s Object Space A triangleicon next to a tool indicates that there are more options available Now that you re familiar with how to access the tools in Bryce you can set up a new document Refer to U sing the Bryce Interface on page 20 for more on using the interface Lesson 1 Setting Up a New Document W hen you set up a new document you re defining the size of your working space in pixels The larger the resolution the larger your working space The resolution you choose depends on what type of scene you want to create To help you decide on a resolution Bryce provides several presets aspect ratios for the most commonly used types of documents Refer to Setting Up the Working Window on page 17 for a complete discussion of resolutions and aspect ratios 49 To set up a new document 1 Choose File menu gt New Document The Document Setup dialog appears If you hav
226. display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Atmosphere tab 4 Click the Blend with Sun button 5 Make sure the Blend Fog button is enabled 6 Enter avalue in the Color field or drag the slider to set how much of the fog color is blended with the sun 7 Enter avalue in the Luminance field or drag the slider to set the intensity of the fog color when it s blended To get the best effect set both these fields to 100 Localized Fog There may be times when you want to create localized pockets of fog For this type of effect you ll need to use an object with a volume material applied to it this way the object looks like fog The area covered by the fog is then controlled by the size of the object A flattened sphere usually makes a good fog volume In this example fog only appears around the base of the castle This effect was created by applying a volume material to a flattened sphere object This technique can also be used to create visible smoke or gas To create localized fog 1 Display the Create palette 2 Click the Sphere tool A sphere object appears in the scene 3 Squash and stretch the sphere until it is the desired shape Refer to Transforming Objects on page 285 for more on transforming objects 4 With the object selected click the M icon that appears next to its bounding box The
227. ds allow you to see either a rendered preview or a storyboard Using the Movie Preview Window Using the movie preview window you can see a rendered version of your animation quickly To preview your animation 1 Create an animation 2 Click the Animation Preview Button Using the Storyboard Preview Using the storyboard preview feature you can review or navigate your animation frame by frame To view your storyboard 1 Create an animation 2 Click and hold down on the Animation Preview button Bryce 4 3 Select Storyboard 4 Click on the Animation Preview button All of the frames appear in a grid pattern as they are rendered When the rendering is finished the movie plays in the movie nano preview To stop the movie preview e You can stop the preview at any time by clicking the mouse To exit movie preview mode e To exit movie preview mode completely press the Esc key or redraw render your scene Additional Features of the Storyboard If you pause in the storyboard portion of the animation preview you can perform various manipulations on your animation You can e Click on a frame to select it e Set the current time to that frame Drag the scrubber and move forward or backwards through the animation To render any of the frames double click the corresponding storyboard image As you perform these manipulations the animation updates in realtime in the movie preview window
228. dy visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab Drag the slider or enter a value in the Frequency field Frequency The Frequency field controls the frequency scale of cloud formationsin your scene The range is 200 to 200 and the default value is 25 5 Drag the slider or enter a value in the Amplitude field Amplitude E The Amplitude field controls the amplitude edge softness of cloudsin your scene T he rangeis 500 to 500 and the default value is 100 Bryce 4 Linking Clouds to the Camera View If you move the camera view during an animation the clouds in your environment will appear to zoom by creating a kind of time lapsed effect If you want the clouds to appear fixed as you move the camera link the cloud in the sky to the camera view This way wherever the camera moves the clouds will follow so that they seem to remain stationary To link clouds to view 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Click the Link Clouds to View button Refer to Animating Skies on page 393 for more on animating skies Using a Fixed Cloud Plane As you move higher up in a Bryce environment the cloud pattern shifts so t
229. dy will be A The replacement of any medium not meeting Company s Limited Warranty explained above and which is returned to Company or an authorized Company distributor or dealer with a copy of your receipt or B If Company is unable to deliver a replacement medium which conforms to the warranty provided under this Agreement you may terminate this Agreement by returning the Program and Documentation to Company authorized Company Distributor or dealer from whom you obtained the Program and your license fee will be refunded Product Returns If you must ship the Program and Documentation to an authorized Company Distributor dealer or to Company you must prepay shipping and either insure the Program and Documentation or assume all risk of loss or damage in transit To replace a defective medium during the ninety 90 day warranty period if you are returning the medium to Company please send us your name and address the defective medium and a copy of your receipt at the address provided below In no event will Company be liable to you for any damages direct indirect incidental or consequential including damages for any lost profits lost savings or other incidental or consequential damages arising out of the use or inability to use such Program and Documentation even if Company has been advised of the possibility of such damages or for any claim by any other party Some states do not allow the limitation or exclusion of liabilit
230. e You can make sample storyboards by drawing a series of horizontal screen outlines on a sheet of paper using a 4 to 3 aspect ratio ratio of width to height Draw the screens as large as k necessary and leave a block of space for the You can use a storyboard to help layout the action in your narration or description You can also purchase animation cartooning storyboards at art supply stores Storyboard Preview You can see a storyboard preview of your ani mation See See Previewing Animations on page 363 for more information Simplifying Your Scenes In general the 3D scenes you create for anima tion need not be as complex as a typical illustra tion scene The viewer s eye tends to be drawn toward motion and foreground elements Static objects and background elements are scanned only casually By reducing unnecessary detail you can reduce rendering times dramatically and keep the size Animation in Bryce 44 of your scene files manageable W hen prepar ing a scene for animation keep the following guidelines in mind Refine your animation Keep the objects as simple as possible Detail is usually lost in an animation e Use fewer objects and limit the number of reflective and transparent objects e Use the minimum number of lights required to achieve an effect Additional light adds significantly to the rendering time e Limit the number of objects with complex materials e If acomplex
231. e Technically since the Bryce environment is infinite the range is infinite as well but higher values can create unpredictable results The default values are 102 40 30 72 and 102 40 To rotate the camera numerically 1 Double click either the Trackball or one of the Camera controls The Camera amp 2D Projection dialog appears 2 With the Camera View active make sure the General tab is visible 3 Enter values in the Rotate X Y and Z fields Values are expressed in degrees X Y and Z rotations are also known as Yaw Pitch and Roll The Z rotation or Roll field describes the current value for the Banking control You can enter negative values in these fields The effective range is 999 Default values are 0 135 and 0 To set the Field of View numerically 1 Double click either the Trackball or one of the Camera controls The Camera amp 2D Projection dialog appears 2 With the Camera View active make sure the General tab is visible 3 Enter a value in the Field of View field The value in this field expressed in degrees describes current settings for the Field of View control T he effective range is 1 to 180 and the default value is 60 Manually Positioning the Camera You can manually position the camera by adjusting the position of the camera wireframe in the Working window The camera wireframe is only visible when you re in Director s View or one of the orthogonal views In the
232. e These attributes are applied to all the component elements For example the Combination noise values affect the noise within each component Global changes give you a way of applying a last layer of complexity to your texture Global Colors The colors in the Combination component interact with the combined colors in the three components They act as a final color filter for Textures the texture After the colors in each component are combined they are blended with the combination component colors to produce the colors in the final texture You can also apply a final Color Blending method to the combination component The Blending method you apply to the combination component is applied on top of the other modes used in the components For example if you choose Altitude in the Combination component the texture color is applied using the blend modes in the components and then also applied by altitude This example showsa texture containing a texture with different Color Blending modes in it To add colors directly to a texture 1 Click the top color circle in the combination component window and choose a color from the palette The color circlesin the Combination component window let you apply colors directly to the final texture 210 2 Repeat for each of the other two color circles Global Noise When you change the noise in the Combination component i e globally it applies to all the components
233. e name of the link in quotes followed by the url also in quotes 3 Delete the entire line for any links you want to remove from your list Enter the name of any new link a comma and any amount of space followed by the url of the new link in quotes 5 Ifyou want to add a dividing line to your menu place an underlinein quotes in both the link label and url 6 Save the file Your menu should now reflect your new links Create HTML Images Use Bryce to get your Bryce images on the web Bryce will export an HTML page with your ren dered image along with any hotspot links asso ciated with the objects in your Bryce scene With the HTML dialog you can set your web page title the server directory for the page either your local hard disk for editing or the web site it is going on directly the name of the J PEG file for the image your e mail address and the Background URL leave this blank if you wish to not have one Also in the dialog are two slider settings you can adjust one for the level of J PEG compres sion and the other for how precise you wish the hotspot polygons to be Bryce will then gen erate the HTML page and the JPEG image file for you ready to be brought straight onto the web Using Bryce with O ther Applications To create an HTML page 1 Edit the attributes of the objects in the scene you want to be hotspot links 2 Select the Linking Tab and enter the URL into the web Link box
234. e values with the maximum of the Terrain and Filter values 3 Click Apply Using Creation Models Bryce provides a selection of terrain models This terrain was altered by blending a filtering effect from which you can choose W hen you select a with the original canvas terrain from the list of models you get a ran domized version of the model you select To blend the Filtering graph with the Terrain Canvas To access a terrain model 1 Adjust the Filtering graph to achieve the 1 From theTerrain Editor select the Pictures desired effect tab 2 Click the triangle icon below the Filtering 2 Click and hold on Load Image graph and choose an option from the 3 Select a model from the menu that MSNA appears Horizontal horizontally blends your Filtering graph expressed as a grayscale The last model you selected will always be gradient with your Terrain Canvas the default model Terrains 180 Creating Terrains Using Pictures TheTerrain Editor converts grayscale values in the Terrain Canvas into altitudes to create ter rain objects You can take advantage of this pro cess to create unique terrains based on the grayscale values in a picture TheTerrain Editor s Picture tab lets you import a picture into the Terrain Canvas You can then apply elevation effects or filter it just as you would any other Terrain Canvas The Pictures Tab The PictureTab is made of three picture squares and a blend control The first two
235. e M icon Alternatively you can choose Objects menu gt Edit Material or display the Edit palette and click the Edit Material tool The contents of the composer depend on the material currently applied to the object If there is no material the default material s settings appear A Quick Tour of the Materials Lab The Materials Lab is set up like a visual chart that lets you see all the different channels that make up your material At a glance you can see all the settings for each material channel and the texture components used to drive channel values In the top left corner is the mode toggle button This button lets you switch between surface material and volume material The buttons also indicate what type of material you re creating Surface is enabled by default W hen you toggle Bryce 4 to Volume the channels in the lab change to display the volume channels Use the toggle button to switch between material types Material Preview Window On the left side of the Materials Lab is the Material Preview This little window shows you what your material will look like when its applied to an object The preview updates as you adjust the channels v Copy Paste The Material Preview shows you what your material will look like when it s applied to an object You can drag the preview to get a different view of the object The Materials Grid The center of the Materials Lab is call the Material Grid Th
236. e Phase control lets you adjust the amplitude of the phase in any of the texture s components e Move the component indicator at the top of the control to the component you want to edit e Adjust the Phase slider to increase decrease the amplitude of the phase 9 Ifyou want to change the pattern in the texture apply a filter e Click the Filter button at the bottom of the editor The Filtering control appears Clip aX b The Filtering control displays a graphical representation of the filter applied to your texture By changing the equation of the filter to the value of the variables you can change the patterns within the cloud texture e Move the component indicator at the top of the control to the component you want to edit Creating Skies e Change the filter equation and variable values to adjust the filter applied to your texture Filtering isa rather complex operation Try experimenting with different equations and see what happens 10 Click the OK icon to exit the editor Cloud Coverage Cloud Coverage controls the quantity of clouds you can see in the sky A high coverage means that there is a very dense cloud layer and a low setting means that there are very few clouds in the sky Cloud coverage also indirectly controls the brightness of the environment The more cloud coverage you have in a sky the darker the environment since less sunlight can pass through the clouds Adjusting cloud co
237. e Picture Library from the Materials Lab 1 Select an object 2 Click the M icon that appears next to the object s bounding box The Materials Lab appears 3 Click on one of the columns in the grid to activate a component window 4 In the window click the P button in the bottom left corner A default picture appears in the window 5 Click the Pink button at the top of the window The Picture Library appears To access the Picture Library from the Light Editor 1 Select alight source 2 Click the E icon that appears next to the object s bounding box The Light Editor appears 3 Click the 2D Texture button at the bottom of the editor The library appears Previewing Pictures The three most prominent items at the top of the library are the RGB Image Alpha and Combined preview windows The first window Creating O bjects displays the current picture the second win dow displays the alpha channel associated with the picture and the third displays the resulting picture after the alpha channel is combined with the picture rar RGB Image e Image p Channel The three windows at the top of the editor display the RGM Image its alpha channel and the result of combining the two Picture Thumbnails Below the three preview windows are the pic ture thumbnails that display a small preview of each picture in the library The gray thumbnails represent empty slots in the library When you load images
238. e Selection Palette Toggle TheTime Selection Palette toggle lets you switch between the Animation controls and the Selection palette Use theTime Selection Palette toggle to switch between palettes Advanced Motion Lab Button TheAdvanced Motion Lab button opens the Advanced Motion Lab Use the Advanced Motion Lab button to enter the Advanced M otion Lab The Advanced Motion Lab The Advanced Motion Lab contains tools that let you control the detailed properties of your animation You can use the lab to view object hierarchies remap key events and adjust the position of key frames on the timeline Time Mapping Curve Editor Preview Area Hierarchy Area The Advanced M otion Lab lets you control the speed of objects along a motion path and the placement of key frames on the timeline Hierarchy List Area Sequencer The Hierarchy List Area displays the scene s hierarchical structure including links and groups You can view all the hierarchies expanded or just the parent objects in the scene You can also expand an object s listing to show all of its properties The Sequencer The Sequencer lets you see the key frames recorded for each property within an object Each property has its own timeline track Key frames are displayed as white marks on the 41 timeline The current time is indicated by the Current Time bar Hierarchy List Object Timeline Position Rotation Scale Key frame Shear Orig
239. e Sky Lab palette appears 3 Click the Sun amp Moon tab 4 Click the Link Sun to View button When this option is enabled your sun will always remain in the same position relative to the camera W herever you move the camera the sun will follow This is an easy way of seeing how a sunset will look against different skylines Sun Color Light in nature is not usually visible until it strikes an object W hen you re using normal light apurple sunlight color will not paint your entire sky purple but objects in your scene will reflect purple W hen you re using Visible W orld choosing pur ple will paint your entire scene purple The grayscale bar at the bottom of the color palette lets you set the intensity of the sun Black turns the sun off and white sets the sun to its brightest intensity You can also use the color palette to set the intensity of the sun Black represents the lowest intensity and white the highest Creating Skies To set the Sun Color 1 Display the Sky amp Fog palette by clicking the Sky amp Fog text button 2 Click the Sun Color swatch and choose a color from the color picker Disabling the Sun You can also remove the sun from the sky altogether by disabling it W hen the sun is disabled the only light visible in your scene comes from individual light sources The scene will still be illuminated To disable the Sun l Display the Sky amp Fog palette by clicking the Sky
240. e an existing document you are prompted to save it Document Setup mani Aiki Hacc irri tied srmn rei Dorimerj Arecirprr fr ir aren UnA Am aes hasen Amin J F res laga m tATu Paama Jarake S ra ht Din Maaie fia FOEN E Fenis PRIAMO y Tam er ilia CERE e 1 L Hi r ae a i io iLi r Mi aas 1260 EH s lon dh Lee idl we ta i iasa 1 40 HTI 2 2 j Sea EEE Usethe Document Setup dialogto set the resolution and aspect ratio of your scene 2 Click the Photo preset The Resolution and Aspect Ratio fields update automatically If your monitor is set to a lower resolution you may need to choose a different preset Try Standard if Photo is too large for your screen 3 Click the checkmark icon also referred to as the OK icon at the bottom of the dialog to accept your changes and exit the dialog Now that you have a document you can start creating a scene W hen you re working through the tutorial it s a good idea to start with a blank scene at the beginning of each new section Bryce 4 Lesson 2 Positioning the Camera When you first create a file you ll be viewing the scene through the Director s View In this view you can see all the objects in the scene including the camera The other main view is called the Camera View which is the view as seen through the camera You can switch between the two views to get a different perspective on your scene When you re working on setting up the
241. e applies the texture to a virtual sphere and then projects it onto your object Cylindrical In this mode your texture is mapped onto the front of your object wrapping around the right and left sides all the way to the back Edge pixels going to the center appear on the top and bottom of your object Cylindrical mode wraps a texture around the object starting from the front 214 Reflection Map In this mode a 2D projection of your texture is applied to a virtual sohere that surrounds your scene The texture is then reflected off of the sphere and onto your object Parametric Scaled Reflection Map Reflection Map mode applies a reverse image of your texture to your object This mode works best on objects with irregular surfaces It also works well with terrains Random This mode randomly applies a 2D projection of the texture all over the surface of your object Random mode applies the texture all over the object in a random pattern 25 Object Top This mode applies a 2D projection of the texture to the top of your object The texture rotates and scales along with the object ObjectTop mode applies the texture to the top of the object Object Front This mode applies a 2D projection of the texture to the front of your object The texture rotates and scales along with the object Object Front mode applies the texture to the front of the object Bryce 4 Mapping Mode Modifiers
242. e frames within the Working Area of your animations timeline Refer to Setting Up the Working Area on page 360 for more on theWorking Area To start the rendering of a movie 1 Choose File gt Render Movie The Render Movie dialog appears 2 Enter destination and name for the movie W Choose a file format for the movie 4 Choose a compression option from the menu 5 Enable a render range option Bryce 4 If you choose Frames enter a start and end frame number for the range 6 Click the OK icon Bryce starts rendering each frame in the movie Batch Rendering Batch Rendering lets you render a number of files at the same time This way instead of rendering each scene as you create it you can set up anumber of scenes save them and then render them all at once at a convenient time To perform a batch render 1 Save anumber of scenes to a folder 2 Dragall the files on the Bryce application Bryce opens the file renders it saves it and then opens and renders the next file You can render any number of files this way Fast Render Strategies There are several techniques you can use to speed up the rendering process These techniques are most useful when rendering animations where you may have a large number of images to render You can greatly increase the speed of a render just by using the Preview Render modes Below is atable showing the time it takes to a render a scene containing complex mat
243. e let you position the Camera along specific axes and change its orientation As you create and position the objects in your scene you can use the position and orientation of the camera called Camera Space as a reference for several transformation operations You can rotate position and resize objects using Camera Space Refer to Camera Space on page 282 for more information When you ve completed your scene the Camera View can be used to create the final rendered image or animation You can reposition the camera again and render the scene from several different viewpoints The camera can also be animated just like any other object You can record changes in its position at different points along the timeline When you run the animation the view from your camera appears to change like the view seen from an airplane as it flies through a landscape Refer to Animating the Camera on page 383 for more on animating the camera When you re in Camera View a small camera icon appears in the View control C40 The camera icon in theView Control indicates that you re in Camera View To switch to Camera View e Click the triangle icon next to the View Control icon and choose Camera View from the menu or Click and drag over the View Control until the Cameraicon appears 329 Setting Camera Object Properties Since the Camera acts as an object there are several object properties you can use to set how it
244. e ll start with that 2 Click the Object Attributes button next to the sphere s bounding box The Object Attributes dialog box appears Under the title Sphere 1 the button for Neutral is selected That is the default for all Brycean objects 3 Click the button next to Negative Click the OK icon to exit the Object Attributes dialog box The sphere s wireframe changes to dotted lines Object Attributes General Linking Object Name Sphere 1 Hidden Locked Show As Box Show Origin Handie Neutral Positive Negative Intersect Transfer Material of Negative Boolean Origin o E0 20 48 ja Position 3 07 20 48 Rotate o o jf o Size 76 80 30 72 76 80 8 x Y z Eee a Setting an object to negative Next make the pyramid positive 4 Select the Pyramid by clicking it Its wireframe turns red You could use the Object Attributes dialog box to make the pyramid positive H owever Bryce has an easier way Simply type P for positive The wireframe doesn t change its line is still solid You can check the O bject Attributes dialog box to confirm that the change occurred if you want To make an object negative type N To make it intersect type l To make it neutral type the letter O Tip Lesson 5 Creating a Group To make the boolean effect work you must group the objects together The pyramid is already selected Add the sphere to your s
245. e object will move forward on the path and then back Make Circular closes the path to create a circular path The object will move along the path until it reaches the end It then swings around to the front of the path and starts over You must have at least four position key frame points for this feature to work Bryce 4 Editing Toruses A torus object is any pre made donut shaped object in Bryce TheTorus editor lets you adjust the inner radius of any torus object Edit Torus 4 100 Radius Use theTorus editor to adjust the inner radius of a torus object To display the Torus editor 1 Click aTorus object 2 Click the E button that appears next to the object s bounding box To adjust the inner radius e Press and drag on the spinning Torus Release the mouse when the radius is the size you want To accept your changes and exit the Torus Editor e Click anywhere outside theTorus E ditor or press the Return Enter key To exit the Editor without accepting any changes Press the Escape key E diting Objects Editing Imported Meshes and Stones Imported objects such as DXF or 3DMF objects and Bryce s Stone objects are both treated as meshes inside Bryce The Mesh Editor lets you adjust the smooth ness of an object s surface You can smooth objects that are very rough or remove the smoothing previously applied to DXF objects It is not a good idea to smooth or unsmooth Sto
246. e smaller more subtle changes like a mountain eroding over time Therolling motion in thisterrain was created by applying the erode effect at one point in theT imeline and then undoing it in another 398 You can also use this technique to record howa terrain object was formed By adjusting the Current Time as you add elements to the ter rain you ll have a complete record of all your steps To animate terrain geometry 1 Click aterrain object 2 Click the E icon that appears next to the terrain object s bounding box The Terrain Editor appears 3 Click the triangle icon in the Animation controls and make sure Auto K ey is enabled 4 Movethe CurrentTime Indicator to the point in the Timeline where you want the terrain to change 5 Paint new areas in the terrain using the Grayscale paintbrush or Apply one of the effects in the Elevation tab 6 Move the CurrentTime Indicator to a different point on the Timeline 7 Change the shape of the terrain again using an effect or the paintbrush 8 Continue moving the Current Time Indicator and changing the terrain s shape until you achieve the desired effect 9 Click the OK icon to exit the editor Animating Terrain Filtering By animating the shape of a terrain object s fil tering graph you can create some very specific geometry effects 399 For example you can make specific areas of your terrain sink to simulate the damage caused by an earthquake To cr
247. e square Adding Color to Terrains Color in the Terrain Editor is used as a visual aid to help you see the relationship between color values and altitude This color only exists in the Terrain Editor and is not applied to the terrain object You can apply a color gradient to your Terrain Canvas to help you visualize the relationship between color values and altitude When you apply color in the editor it maps a gradient to the altitudes in your Terrain Canvas For example if you apply a gradient from blue to yellow blue might represent the lowest alti tude while yellow may represent the highest Which colors are mapped to which altitudes is left completely up to you 182 Gradients can be extremely useful when you re filtering terrains as they make the differences between gray levels more visible You can apply a color gradient to your Terrain Canvasit also appearsin the Filtering tab This makes it easier to see the differences in gray levels Mapping Color to Your Terrain Canvas TheTerrain Editor s color picker contains all the gradient you can apply to your terrain The gradient you select is applied to both the Ter rain Canvas and the 3D Terrain Preview Gradient Bar Color Picker Color Grayscale Toggle Use the Color Picker button to choose a color gradient and the gradient bar to set color mapping 183 To map colors to your Terrain Canvas 1 Click the Color Picker button in the bottom
248. e terrains 1 With Terrain 3 still selected hold down the Shift key and click one of the other terrains to select Group 1 together with Terrain 3 2 Click the Group button Tutorial 60 3 When you render now by clicking the Render button you will see a hole has appeared in the ground plane A holein the ground plane It looks a little on the small side for a lake though more a pothole Let s make it bigger 4 Return to Wireframe mode by clicking the Selection Animation toggle found in the lower right corner of the Bryce window then click the Terrain icon in the Selection Palette at the bottom of the screen Keep the mouse button depressed 5 You ll see Terrain Terrain 2 and Terrain 3 listed select Terrain 3 Terrain 3 should now be the only selected object Although it is part of a group this terrain can still be repositioned resized and rotated singly 6 With Terrain 3 selected use the Resize tool to make it bigger and the Reposition tool to fine tune the positioning Watch the Nano Preview to check the effect you re creating W hen you lower the terrain keep the square bottom above the ground plane otherwise the hole will disappear 7 When you ve adjusted the size and position of the hole you should see something like this after rendering Anenlarged holein the ground plane Lesson 3 Filling the Lake Now we ll fill the hole with water To fill the lake 1 2 Click Create to
249. e texture s Alpha output is used to determine which areas Textures are the most diffuse and which are the least diffuse Original Texture Material containing texture The texture in this example was applied to the Diffuse channel of the object s material You can see how thealpha pattern in the texture controls the diffuse intensity on the object s surface To assign Alpha output to a texture l Display the Deep Texture Editor 2 Inthe desired component window click theA button on the right side of the component window Bump Output The Bump output is used only by the Bump Height material channel to determine the pattern and height of the bumps in a material Original Texture Material containing texture The texture in this example was applied to the Bump H eight channel of the object s material You can see how the bump output in the texture controls the pattern of bumps on the object s surface 242 To assign Bump output to a texture l Display the Deep Texture Editor 2 In the desired component window click the B button on the right side of the component window Component Elements A texture is made up of components E ach of those components can contain several elements that determine the color pattern grain or bumps in the component The Component window You can have up to three components in your texture As you activate components a component window becomes active E ac
250. e the entire scene up or down relative to the atmosphere To set Haze color l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the color swatch beneath the Haze thumbnail and choose a color from the color picker Fog and Haze colors should be the same or almost the same For realism the haze should be alittle brighter and bluer than the fog At nighttime you have less illumination so an effective nocturnal haze color could be dark blue gray Blending the Haze color with the Sun Since the Haze always appears at the horizon it should change color as the sun sets or rises The Blend with Sun feature lets you simulate this effect W hen the two elements are linked the haze color and brightness change depending on the position of the sun This creates very realistic looking sunsets In this example the haze is linked to the sun You can see how the color of the horizon changes as it gets closer to the sun When you re using this feature to create sunsets you should choose the haze color carefully so as to create a natural looking color scheme To link Haze to the Sun controls 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Atmosphere tab 4 Click the Blend with Sun button 5 Make sure the Blend Haze and Blend Fog
251. earn the application as well as serve as a reference as you attempt more sophisti cated procedures and effects We assume you are already familiar with basic Macintosh and Windows concepts such as menus dialogs and mouse operations If you need more information on these subjects or on the Macintosh Finder or the Windows Desktop refer to the Macintosh User s Manual or the Microsoft Windows User s Guide respectively The best way to learn Bryce is to read Bryce Basics on page 15 and then complete the Tutorial on page 47 The tutorial leads you through the process of creating illustrations and animations in Bryce and also explains some of the important concepts you ll need to know in order to model and animate in 3D After you complete the tutorial you are ready to open anew file and start building your own scene Computer graphics and three dimensional modeling use special terms that are usually explained where they are introduced In addi tion Glossary on page 433 provides concise definitions of a number of terms Bryce 4 Conventions The Bryce User Guide is for both Macintosh and Windows By convention Macintosh com mands precede Windows commands in the text For example Command Ctrl l is equiva lent to the Macintosh Command l and the Windows Ctrl I For simplicity the term folder refers to directories as well as folders Screen shots may alternate between the Macintosh and Windows versions
252. eate For example if you rotate an object when its origin point is at its center it spins in place W hen the point is placed outside the object it rotates around the origin point like a planet around the sun Arranging O bjects When the origin point is at the center of the object it rotates in place W hen you move the origin point outside the object it orbits around its point To display the origin point e Enable Show Origin Handle in the General tab of the Object Attributes dialog box To reset the origin point to the default position e Hold the shift key while clicking on the origin point of an object To set the origin point to the center of all the objects in the scene e Hold Cmd Ctrl Shift while clicking on the origin point of an object To cause the origin point to stay in position while the object moves e Click then hold the spacebar while positioning an object with its origin point showing 286 Nano Edit Mode Nano E dit Mode activates the Nano E ditor which lets you perform transformations on a small preview of your scene instead of the full scene When this mode is active the Nano E ditor appears any time you perform a camera or object transformation The Nano E ditor window displays a small preview of your scene The transformation is applied to the preview When you close the editor the transformation is applied to the full scene Use the Nano E dit mode to quickly see the effects o
253. eate this effect you would darken only areas you want to sink in the Filtering graph Likewise you create the effect of ridges forming by lightening specific areas of the graph The gradual appearance of stairs in this terrain was created by adjusting the filtering graph at different points in the timeline You can also use the Filtering graph to gradu ally raise or lower the entire terrain over the course of your animation To animate terrain filtering 1 Click aterrain object 2 Click the E icon that appears next to the terrain s bounding box The Terrain Editor appears 3 Click the Filtering tab Bryce 4 4 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 5 Move the Current Time Indicator to the point in the timeline where you want the terrain to change 6 Adjust the shape of the Filtering graph 7 Move the CurrentTime Indicator to a different point on the timeline 8 Change the shape of the graph again 9 Continue moving the Current Time Indicator and changing the terrain s graph until you have the desired effect WO Click the OK icon to exit the editor Animating Terrain Clipping The setting of the Terrain Clipping bracket can also be animated As areas of the terrain are clipped they re removed from the terrain object in the scene Your terrain will look like it s breaking up or like portions it are falling into the sea Animating Techniques T
254. ect Space Coordinates Object space coordinates define how an object is actually created In object space the origin of the object is located at X 0 Y 0 Z 0 All the other points in the object are defined by coordinates along the object s internal X Y and Z axes 0 0 0 Object Space coordinates define how an object is created The origin is at 0 0 0 while all the other points that define the object s shape and size are coordinates along the X Y and Z axes within the object Bryce 4 This coordinate system uses the object s internal axes as a reference for transformations When you enter transformation values using this system you change how the object is defined so that includes where its origin is positioned it s size and orientation Y 0 0 0 0 0 0 Z Object Space Coordinates use the object s internal axes as reference so you re redefining the object s position along itsinternal X Y and Z axes In Object Space transformations the origin point of the object always remains at Object Space 0 0 0 As you move or scale the object it changes moves or grows along its internal axes but the origin remains at 0 0 0 This can cause some unpredictable results For example if you scale an object using Object Space coordinates the origin point will no longer be in the exact center of the object so if you rotate the object it won t rotate around its center Arranging O bjects In th
255. ect along the Z axis 1 Select one or more objects 2 Press either the Up or Down keys e Hold down Shift to nudge objects in 1 2 unity size increments 1024 Bryce units e Hold down Option Alt to nudge objects in 1 256 unity size increments 8 Bryce units 297 Aligning Objects Bryce s alignment features let you position several object with respect to each other Alignment transformations are performed with respect to the Grid Bryce maintains an internal grid that is comprised of 3D cube increments 2048x2048x2048 Bryce units in size The Grid gives you a common reference for all alignment operations If all your objects are at unity size you can use grid units to precisely align objects The Grid is used for Snap To operations and acts as common reference for alignment operations One grid unit is equal to unity size and unity position is always snapped to a position on the grid Using the Grid The Grid can be used as a guide to help you precisely position objects in your scene The following example illustrates how the grid can be used to position a pyramid beside a cube To precisely position objects using the grid 1 Make sure all the objects are unity size e When you create primitives like cubes or spheres they are unity size 2048x2048x2048 Bryce units Bryce 4 e You can return existing objects to unity by holding down Command Option Ctrl Alt and clicking one of its control points
256. ect the Panorama preset aspect ratio or This mode produces an image that looks as if type in the dimensions that you wish your camera had a 360 lens The left and right 3 edges of the resulting image join seamlessly Do a quick test render in Perspective Render mode to check composition The horizon should be level at the vertical midpoint of your window If it is not double click the Trackball enter 0 in the Rotate X field and exit the dialog 4 Alter your camera position and Y Z rotation 5 Switch to 360 Panorama render mode and render your image An example of an image rendered using 360 Panorama Distance Render Render mode This feature is intended for use with the Bryce This mode results in a grayscale image with 360 scrolling screensaver or Apple s QuickTimeVR technology Refer to objects represented in shades of gray based upon their distance from the camera Nearby QuickTimeVR on page 429 for a description of Apple QuickTimeVR Rendering 408 objects are black distant objects are white and objects in between are progressive shades of gray An example of an image rendered using Distance Render mode You can use the D istance render image to produce depth of field effects using a 2D graphics application 409 The purpose of this mode is to produce a distance mask that you can use to create several depth of field effects Refer to Adding Depth on p
257. ects you create or whether the object has been deleted Parent Object Child Object Child Object An indented listing indicates that thereis a parent child relationship between objects To view a listing of the hierarchy 1 in theWorking window make sure there are no objects selected This will let you see all the hierarchies in your scene 2 Click the Advanced Motion Lab button at the bottom of the window The Advanced Motion Lab appears TheAdvanced motion Lab buttons displays the A dvanced Motion Lab where you can see the hierarchy listing for your scene The Hierarchy List area located along the bottom left side of the lab displays all the hierarchies in your scene Expanding and Collapsing a Hier archy The arrow buttons next to an object s listing indicate whether the hierarchy is expanded or collapsed A collapsed hierarchy shows only the parent objects in the hierarchy An expanded hierarchy shows a listing for all the children 305 Expanded Hierarchy v Sphere 1 Parent Object Cube 1 Position Child Object Rotation Scale Shear Origin b Cylinder 1 Collapsed Hierarchy The arrowsalong the left side of the hierarchy list indicate whether the hierarchy is open or closed To expand collapse a hierarchy listing e Click the arrow icon that appears next to a listing s name to expand it Click the arrow again to collapse the listing Linking Objects When you link two ob
258. ed nano editor The Nano Editor is a small ver sion of your wireframe window which you can use to edit your scene quickly nano preview A small preview of an object or scene The Nano preview window is at the top of the Control Palette object space A method for representing objects in 3D space It uses a set of Cartesian coordinates which are relative to a given object object type Though Bryce creates and imports many kinds of objects for the purpose of selec tions and conversions it must sort these objects into types These types can be clearly seen in the Conversion option and in the Edit palette Cubes and their derivatives are all of the Cube type Cloud Water and Ground planes are all of the Infinite Plane type Pict objects and 2D Faces are all of the 2D Face type all imported objects are of the mesh type offset An object s position in 3D space Syn onymous with position and location opacity The degree to which light cannot pass through an object In Bryce the term primarily refers to the opaque portions of alpha chan nels 437 orientation An object s orientation in 3D space expressed in degrees synonymous with rotation orthogonal A special projection of your scene which has no perspective distortion Kind of a perspective free drafting board view used for precise alignments All Views with the excep tion of the Camera View are Orthogonal The term can be used interchangably with the term orth
259. ed try lurking Listen without posting a question or responding Sometimes someone else will ask your question This is a good way to get used to the BryceTalk room and to learn how to interact with others on the Internet e Have fun This is acommunication forum for you a Bryce user You ll meet other fun people like yourself Using Bryce with O ther Applications Be respectful Avoid offensive language or subject matter This is a public forum and users of any age may be listening Bediscreet Don t reveal intimate information about yourself over the Internet As you would in any public place be reserved with strangers 428 QuickTimeVR QuickTimeVR allows you to take a 360 pan oramic image and make it into aVR Movie this unique movie will translate the 2D pan oramic representation of your 3D world and allow point and click navigation through the world You can look up down and around your rendered scene as though you were a camera on atripod Further QuickTimeVR lets you create Nodes or hotspots in the movie where you can click and go to another linked movie This means you can look around a landscape and seeing an interesting rock formation in the distance click on it to view the entire land scape from that new vantage point These nodes can also contain O bject Movies another specialized technology from Apple that allows you to click and drag to in effect pick up
260. ed to a blank image to create an eroded terrain or to an existing image You can also gradually apply erosion to an image Eroded produces extremely realistic terrains 166 Notice that when animating this type of terrain material is actually added to the terrain not removed from it as you might expect This tool produces terrains based on eroded land The terrains produced by this tool have deep grooves and canyons The Eroded tool is amore intense version of the Erode tool Picture This tool creates terrains from imported images W hen you click this tool the Open dia log appears You can use this dialog to locate and load a picture to use as a Terrain Canvas Refer to Working with Pictures on page 108 for more information This tool produces terrains based on a picture This tool ishow you import image maps created in other graphics applications 167 Using this tool you can import an image map created in another application like Painter or Photoshop Basic Tools The Basic Tools are used to alter an existing Terrain Canvas only They have no effect on a blank canvas Raise Lower This tool adjusts the brightness of your Terrain Canvas Click and drag to the right to lower your height map or click and drag to the left to raise it Single clicks gradually lower the map This tool adjusts the brightness of your Terrain Canvas which raises or lowers the height of the entire terrain Sharpeni
261. ed to set the value of the channel Altitude is based on the distance between the ground level and the highest object in your scene When you use this mode an object s surface material is a blend between two texture components Texture B appears at the bottom of the object and Texture A appears at the top In between is ablend between texture B and texture A Bryce creates the blend by interpolating between the two textures For example if you use Mode AB in the Diffuse Color channel the color in textureA appears at Bryce 4 the bottom of an object s surface and the color from texture B appears at the top A color gradient between color A and color B appears in the middle of the object In this example ModeAB was used to set the Diffuse Color channel Values from texture A set the Diffuse Color channel at lower altitudes while values from texture B set the channel at higher altitudes ModeAB can be used to create snow covered peaks on terrains or murky depths in infinite water slabs To use mode AB to blend textures Inthe Materials Lab Control Ctrl click the B column of a channel Component indicators appear in both the A and B columns of the channel Component indicatorsin both theA and B columnsof a channel indicates that you re using mode AB to blend texture components Mode ABC In ModeABC two textures texture A and texture B are blended based on the alpha channel of texture C In this mo
262. edi tor the Hierarchy List and the Sequencer TheTime Mapping Curve editor lets you create atime mapping filter which alters how the time in your animation is mapped to actual time By adjusting the shape of a time mapping curve you can create different velocity effects Refer to Time Mapping Curves on page 371 for more on velocity curves The Hierarchy List area lets you see how objects are linked and grouped within your scene Although you can t change the hierarchy of your scene in this area it can be a valuable visualization tool The Sequencer lets you see where key events were recorded for all of an object s properties Using this area you can control exactly when object transformations occur Refer to Proper ties in the Sequencer on page 355 for more on the Sequencer The Bryce Preset Libraries Bryce has several libraries of presets that can make creating scenes easier There are three main preset Libraries available in Bryce the Preset O bjects Library the Materials Presets Library and the Sky amp Fog Preset Library You can use the objects library to add pre made objects to your scene Refer to Using the Pre Bryce O verview 4 sets Object Library on page 119 for more on the Preset Objects Library The Preset O bject Library contains a variety of 3D objects you can usein your scene The Materials library lets you add a wide variety of materials to your objects Refer to Using
263. ee Camera Space on page 282 The three spatial options are also available for the Resize and Rotate tools When you select Object World or Camera space for the Rotation tool it is also set for the other two tools Spatial options are global for all 295 transformation The option you choose in the Edit palette does not affect the 3D Transformations dialog To undo position operations l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Click the triangle icon next to the Reposition tool and choose Unreposition from the menu Numerical Repositioning The most precise method of positioning objects is by using the 3D Transformations dialog This dialog lets you enter specific offset values for a selected object All transformations performed using this dialog use World Space coordinates regardless of the spatial option you chose for the Reposition tool Offset values are expressed in Bryce units of measure refer to Bryce Units on page 282 You may enter negative numbers in the Reposition fields In this dialog Bryce units have been transposed for the sake of simplicity For instance an object at Unity size of 2048x2048x2048 is seen in the 3D Transformations dialog box as 20 48x20 48x20 48 Moving the decimal two points to the left lets you have a full range of resolutions without having to enter either excessive integer values or values w
264. ee the entire building In fact if you were to render right now you d see 4 Place the cursor to the closest arrow of the nothing because the perspective is from within XZ Camera Cross located just above the one of the walls TrackBall control on the Control Palette The cross changes color and the cursor To change perspective changes to a Z If the cursor is a crosshair or an X it s because the cursor is located over a different part of the XZ Camera Cross control Move it around until the cursor changes to a Z 1 Place the cursor over the Trackball control on the Controls palette The cursor changes to double crossed arrows while the TrackBall changes colors 2 Click and drag the Trackball to the right 5 The scenes rotates counter clockwise in the scene window Keep dragging until the blue camera wireframe is on the left side of the window and the center wireframe lines Drag up on the XZ Camera Cross until you can see the entire front wall of the building You may have to move the camera a couple of times until it reaches that point Tutorial 76 The scene should look like what s shown here Teper alae Changing your viewpoint To see the entire building we have to move things down There are two possibilities one is to use the camera controls to move the Director s View higher That will move the building down But it will also look at the scene from a higher perspective The other alternative
265. efore sending it to the printer To print an image 1 Choose File menu gt Print or press Command P Ctrl P The print dialog appears 2 Choose the options you want to use 3 You can select any of the four optional drivers or print either your rendered image or your wireframe document 422 Using Bryce on the Web If your computer is connected to the Internet you can access the Internet while using Bryce 4 You can talk with other Bryce users visit the MetaCreations site or view the latest technical support information Internet Connection You must have an Internet connection and a browser package to use the web based features of Bryce If you have an account with an ISP Internet service provider such as EarthLink AOL or other provider you are ready to go Otherwise you will need an Internet account with a provider as well as a modem hooked to a phone line Once you have a connection you can start using Bryce s Internet based features such as BryceTalk If you have an e mail only account with a pro vider such as J uno you will not be able to use all of the web based features of Bryce Using a Browser The two most common browsers are Internet Explorer and Netscape Navigator It is highly recommended that version 4 0 or greater be used for either browser in order to take advan tage of interactive HT ML features PC Users If your computer is running Windows 95 Win dows 98 or Windows NT 4 0 or la
266. eft side of the component window The Color dialog appears The Color dialog lets you mix a color to usein the component by entering values or adjusting the color sliders 4 Choose a color model by clicking one of the buttons along the bottom of the dialog 5 Enter color values or adjust the sliders to mix anew color 6 Click the OK icon 244 Color Blending Modes There are several blending modes you can use to create a color scheme To choose a Color Blending mode l Display the Deep Texture Editor 2 Inthe desired component window make sure the C button is active 3 Click the triangle icon in the lower left corner of the window and choose a mode from the menu litint ar Ligh Blue of taberation ipine Interne Linear Inberg Litter nbierpeait Aanbid EarthMap Banded Perborted Dn bier irene intent bnhertere nites File i bua Epines with Srm yupe Orient The pop up lists all the Color Blending M odes available in the D eep Texture E ditor None No blending is applied Red or Hue When the RGB model is used this mode outputs only red color values W hen the HLS model is used only Hue values are output 245 This mode and the Green or Light and Blue or Saturation mode are available so that you can separate color values among the components For example you could set each component to output one of the different color values Green or Light When the RGB model is used this
267. election 67 If the Selection palette isn t displayed click the Selection Animation toggle or type S to switch palettes To group objects 1 Press the Shift key which allows you to add to the selection Then on the Selection Palette below the Working Window click the Select Sphere icon The sphere s wireframe is red as well as the pyramid s If the Animation palette is displayed click the Selection Animation toggle at the bottom right corner to toggle to the Selection palette or type S 2 Group the objects by clicking the Group button located next to the selected object s bounding box The bounding box changes slightly with diagonal insets at each corner This indicates that the object is a boolean group In addition the G button disappeared and aU button took its place The U stands for Ungroup H a 1 if EEESTEE Setting an object to negative Bryce 4 3 Render the scene to check your handiwork by clicking the Render button Your scene should look like the scene shown below The results so far Creating a Family Group You have now constructed the ceiling of this building Before moving on however a bit of housekeeping is in order Since you will be adding new objects to your scene now is a good time to name this group and assign it a unique family name and wireframe color To create a family group 1 Press the Esc key to switch back to wireframe mode The wirefr
268. emoved or two or more objects are combined to form a composite object combining the mass and dimensions of all contributing objects boolean A fancy word that is used to describe asystem where there are two possible states On Off Yes No 0 1 True F alse and so on With respect to Bryce rendering a Boolean attribute such as Negative or Intersect will determine whether a particular part of a group of objects will be Rendered Not Rendered 43A bryce units of measure An arbitrary system of measurement for 3D objects in Bryce 3D Most Bryce objects when they are created are a default size of 2048x2048x2048 Bryce units bump mapping A process that interprets changes in an object s surface luminance or color values and without actually affecting the object s geometry expresses them as perturba tions on the object s surface camera space A method for representing objects in 3D space It uses a set of Cartesian coordinates which are relative to your camera camera A metaphorical tool for viewing areas in a scene The metaphor refers to the conical projection of the scene onto a2 dimen sional plane along a specific direction center scaling The ability to perform resizing or rotating operations on an object based on the object s center rather than an alternate point such as its base CMYK color A well known subtractive color standard widely used in the print industry CMY color models blend Cyan Magenta and
269. en at 0 octaves In this example Difference mode was applied to RND Continuous noise Minimum 90 This mode repeats the noise at a 90 angle from its original orientation and combines the original and copy using only the highest values This mode is good for creating woven patterns 3 are mais In this example Minimum 90 mode was applied to RND Continuous noise EA Maximum 90 This mode repeats the noise at a 90 angle from its original orientation and combines the original and copy using only the lowest values e k s e In this example Maximum mode was applied to RND Continuous noise 255 Auto phased This mode automatically introduces phase shifts into the noise Zz a yl In this example Auto phased mode was applied to RN D Continuous noise Displaced Max Tk This mode creates a copy of the noise and displaces noise by asmall amount and then lightens any areas where the two overlap This mode is good for creating stone textures eo ah DAP i a f ee i In this example Displaced Max mode was applied to RND Continuous noise Phase Phase introduces turbulence into your noise The phase displaces the grain or patterns within the your noise W hen you design the phase you re creating a displacement map along which the noise will be modified You can control how the phase interacts with your noise using the Phase palette You can
270. ent color channel in the Materials Composer e Any item with a simple color texture is rendered in that color The Textures On Off mode works in any mode To enable Textures On Off Mode 1 Click the Textures On Off button in the Render Controls W hen the button appears depressed the mode is enabled W hen its unpressed the mode is off Rendering Rendering a Scene Once you ve selected any rendering options you want to use and chosen a rendering mode you re ready to start rendering You render your entire image using the Render Controls or if you ve rendered your image at least once use the Plop Render controls to render areas of your image Using the Render Controls The Render Controls let you start a rendering of your image There are controls for starting a rendering resuming a rendering and starting two types of fast renders Render All Fast Ravie Mode Resume amp nder Textues On Gf Clear an nke Use the render controls to control the rendering of your scene To start a rendering of the entire scene 1 Click the Render All button If you have already rendered any portion of your scene it is cleared before the rendering begins You can interrupt any rendering in progress by clicking the mouse To resume a rendering e Click the Resume Render control or press Command Ctrl R 410 If you re rendering only a selected area using the Plop Render controls the rendering resumes only in
271. ent different time mapping effects A flat curve means that no motion is occurring since all the events on the curve are happening at exactly the same point in time This curve indicates that a pause or stop of motion occurs during the course of the animation A steep jump in the curve indicates a sharp increase in speed as many events occur in a very short time This curve indicates a sharp increase in speed 3 2 An oscillation in the curve indicates that events repeat since they intersect the curve more than once In this curve event A occurs once at 1 5 seconds and again at 3 5 seconds You can combine any variation of curve slopes to create different velocity effects W hile you re editing aTime Mapping curve you may want to continuously run the animation preview As the preview runs the cross hairs in the Time Mapping editor moves from the beginning or the animation to the end This way you can quickly see the effects of your edits Refer to Previewing Animations on page 363 for more on continuous preview The counter at the bottom of the editor shows you the current time of the animation As the animation runs the counter updates to continuously show the current time Watch the counter as you preview your animation to see the current time You can also move the current time by dragging the Current Time bar in the Hierarchy area To edit a Time Mapping curve l Display the Advanced Motion
272. ent points in the animation You can use key event animation to animate most of the properties in your scene e The motion of object lights and the camera e Object size shape and orientation e Camera and light parameters e Object Material properties e Terrain object geometry e Environment properties Previewing Your Animation Any time you make a change to your animation you can see it immediately in the nano preview window as a movie or preview it in the working window See Previewing Animations on page 363 Time Based Animation In Bryce key events are tied to real world time increments minutes and seconds rather than individual animation frames This means that you can create key events at specific points in time without worrying about the number of frames in your final animation 354 Bryce automatically creates all the frames necessary to move from one key event to another If you change the frame rate Bryce adjusts the number of the frames between key events to match the new frame rate For example let s say your frame rate is set to 15 fps frames per second and then you set up two key events one at 1 second and the other at 2 seconds Bryce automatically fills in the 15 frames necessary to move from the key event at 1 second to the key event at 2 seconds If you change the frame rate to 30 fps Bryce will add another 15 frames between the two key events to match the new frame rate An
273. ent the terrain but instead to the grayscale data used to determine the internal level of detail used to generate the terrain Terrains with lower resolutions will appear chunky and will render very quickly use these for terrains that are far in the background or where detail is not so important Terrains with higher resolu tions will show increasing levels of detail and Bryce 4 will take much longer to render use these for foreground terrains or in other cases where detail is important terrain resolution Terrain geometry can be rendered at several levels of detail At very low settings you may see geometric facets in your terrains even with smooth surfaces selected In this case increase your terrain resolution Low resolution rendering is often best for items in the far background where detail is not so important texture component a part of an object s mate rial Texture Components which can either bea 2D Picture or 3D Texture texture mapping A process of applying detail to a surface without actually affecting the object s geometry Values from the texture can determine or affect any surface characteristic including color reflectivity transparency or bumpiness torus A Bryce primitive that looks likea donut transparency The measure of an object s abil ity to transmit light through its surfaces Also referred to as transmitivity triangulation The process of splitting up geo metric face
274. ent using the Phase palette or the Phase Editor To adjust phase globally 1 Click the bottom right button in the combination component window The Phase palette appears The bottom right button on the outside of the Combination component window accesses the P hase palette 2 Drag the slider to adjust the phase amplitude or Click the top left corner of the Phase palette to display the Phase Editor e Use the editor s controls to design the global phase Bryce 4 Global Filtering The Filter affects the final look of the noise within a component The Global Filter affects the look of the combined noise The Global Filter is applied to the noise in the Combination component The global filter only affects the noise not the phase in the component Any of the filters you used in the components can be used as the global filter Use this option cautiously T he more complex the noise in your texture the longer it takes to render and produce If you introduce too much com plexity you may find your render time increased significantly To filter noise globally 1 Click the top right button in the combination component window The Filtering palette appears The top right button on the outside of the Combination component window accesses the F iltering palette 2 Choose a filter and adjust its variables to create the desired effect The Deep Texture Editor The Deep Texture E ditor can be a source
275. equally So if you increase the noise in the final component the noise in each of the components increases Likewise when you decrease the noise globally the noise in each individual component decreases Global noise can be different than component phase so you can introduce a completely different type of noise into the texture Use this option cautiously T he more noise you introduce into your texture the longer it takes to render and draw If you introduce too much complex noise patterns into a texture you may find your render time increased significantly You can adjust global noise in the same way you would for a single component using the Noise palette or the Noise editor To adjust noise globally 1 Click the top left button in the combination component window The Noise palette appears The three buttons along the outside of the Combination component window let you access the editing palettes 2 1 2 Drag the slider to adjust the noise value or Click the top left corner of the Noise palette to display the Noise Editor e Use the editor s controls to design the global noise pattern or grain Global Phase As you adjust the Global Phase value new phase is introduced into each of the components Global phase can be different than component phase so you can introduce a completely different type of phase into the texture You can adjust global phase in the same way you would for asingle compon
276. er aframe rate in the FPS field Bryce 4 Working with the Timeline TheTimeline for your animation shows you e A graphical representation of time e The total length of the your animation within that time Thecurrent time e TheWorking Area Time Working Area Current Time Indicator Animation Range The timeline represents time in your animation It can be used to set the length of the animation and to move the current time TheTimeline appears in three places in Bryce theWorking window theTerrain E ditor and the Materials L ab All three timelines represent the same time The only difference is that when you re in an editor you can only add frames for properties associated with the editor For example in the Terrain Editor you can only add key frames associated with terrain properties Refer to Animating Terrains on page 396 for more on working with the timelines in Terrain Editor and Animating Materials on page 388 for more on working with the timeline in the Materials Lab W hen you preview a timeline in the Working window you ll be able to see all the changes in your scene including any changes you may have made in other editors or the Advanced Motion Lab Animating Working with Time The light gray area in the Timeline is called the Available Time Area and it represents all time This area is unlimited you can scroll the time area infinitely The white tick marks within t
277. er the thumbnail pictures across the top of the screen and note the wording that appears in the bottom left Locate the one called Haze 2 Click the Haze thumbnail picture then you ll see the figure 1 appear at the bottom left this is the Haze value 3 Drag the Haze value to the right and this figure will increase Increase the haze value to 17 Note that dragging to the left will reduce the value 4 Render your scene again and notice how the increased haze value has separated the two mountains appearing to push the farther terrain further back in the distance You should now see something like this A hazy sky Tutorial 58 Creating a Body of Water The Story So Far Before starting this lesson you should have an existing terrain The previous lessons taught you how to create a terrain and customize a sky preset What You ll Need To complete these lessons you ll need an existing terrain If you ve been following the tutorial from the beginning you ll have an existing file Otherwise you can load the preset file Basic Tutorial Finished Sky provided for you Lesson 1 Preparing the Landscape The area in the foreground needs some interest added how about a body of water such as a lake W hat we ll do is dig ahole in the ground and add some water This requires the use of a boolean operation you will learn about these in detail later in the manual In this tutorial we ll use a Negative boolean
278. era path Creating the Roof Lesson 1 Creating a Vaulted Ceiling This building is fairly easy to create W hile creating it you will become familiar with the create and edit controls of Bryce as well as review the use of booleans Notice that the order used to create objects in Bryce doesn t match how those objects would be created in the real world In this example the roof is created first and later the walls are added underneath To create the roof of the vaulted ceiling 1 Click Create to switch to the Create Palette The Create palette 2 Click the Create Pyramid icon 62 A pyramid appears in your scene Ena aE A pyramid displays Next adjust the pyramid s size so that it is flatter overall by reducing its height 3 Click Edit to switch to the E dit Palette The Edit Palette appears Move the cursor over the top of the Resize tool The cursor changes to aY and the tool changes to enlarge toward the top etexe TE The Edit palette 63 Click the top of the Resize tool and hold down the Shift key This makes the object change size by regular increments Slowly drag to the left The pyramid will snap to half its previous height ee The pyramid before the height change Next you ll proportionately enlarge the pyramid This time work directly with the object s handles in the scene window Place the cursor over the upper right corner of the object s bounding box next to the
279. erarchy area displays a list of all the objects in your scene The icons on the left side of the listing indicates whether or not the object is displayed in the preview area Visible Object Hidden Object The eyeicon indicates whether or not an object is hidden Bryce 4 When you hide an object it does not appear in the Preview Area at the top of the Advanced Motion Lab This setting has no effect outside the lab Objects that are hidden in the lab will be visible in the Working window and will still render normally You can use this feature to isolate objects that your editing in the Sequencer or Time Mapping areas To hide display an object e Click the Eye icon to hide the object Click the icon again to display the object Saving Preview Positions The Memory dots next to the Preview Area let you save specific camera positions in the preview for later use The Memory D ots on the right side of the Preview Area let you save positions in the Hierarchy area and the animation preview To save a position 1 Play the animation and then stop it at the point you want to save or Move the Current Time bar in the Hierarchy area to the position you want to save 2 Click on an empty Memory dot on the right side of the Preview Area Animating A dot is empty when it appears gray To move to saved position e Click on a full Memory dot A dot is full when it appears purple To delete a saved position
280. erent ways The left image is the RGB information of the image the middle one is the alpha channel right is the combined image You can apply filters to each of the three parts independently How to select a plug in folder e Click on the triangle to the right of the desired preview type If a plug ins folder has been previously selected a pull down menu appears that displays the available Photoshop filters e If for some reason the Photoshop filters cannot be found or you wish to select a new plug ins folder select Select Plug ins Folder at the bottom of the menu Select a folder for the plug in How to add blank images into the library 1 Click on the New button at the upper right of the Pictures E ditor The New dialog appears 2 Enter aname for the image as well as the resolution and default color M aterials 3 Click the checkmark to return to the Pictures E ditor The Pictures Editor will contain the new image in one of the tiles Once the picture is available in your library you can load different alpha channels or different RGB information You can also run any Photoshop filter on either of the two components of this image or the entire image How to apply filters to pictures l Select a picture from the picture tiles The picture appears in the top preview frames of the picture editor Select a plug in from the currently selected plug in folder 2 Select a plug in from the folder 3 T
281. erial is applied to the selected object To create a new volume material 1 Select an object 2 Display the Material Lab 3 Click the toggle button to switch to Volume 4 Set the material channels to define the properties of your material Remember channel values are applied to the object s volume not its surface so adjust the material s channels accordingly 5 If you re using texture components you can e Edit the scale position or rotation of the texture using the texture transformation controls Edit themakeup of thetextureusing the Deep Texture Editor Set a mapping mode for the texture You should always use a texture component in the Base D ensity channel 6 Choosea shading mode for the material by clicking the triangle icon at the top of the 230 Materials Lab and choosing a mode from the menu The shading modes for volume materials are different from those for surface materials 7 Click the OK icon The new material is applied to the selected object To activate a component in the Materials Grid e Click an empty channel column A component window appears To use a component in a channel In amaterial channel click the column that corresponds to the component you want to use To switch between components e Clickin anew column To combine a component with a value l ina material channel click an empty column 2 Drag over the value control for the channel Copyin
282. erials and lights using normal rendering and then using the preview modes Rendering Render Option of standard time Full Render 100 Fast Render 41 7 Textures O ff 35 4 Fast Render w 8 3 Textures O ff Fast Textures Off 2 1 AntiAliasing Off Patch Rendering Using the Plop Render mode you can do a patch render of image Patch rendering involves the rendering of background and flat elements using normal rendering and then using the Plop Render controls to render areas that contain more complex elements There are two thing you should remember when using patch rendering e Make sure you use Clear amp Render when you make changes with a partially rendered image If you stop a rendering make changes and then click Resume Render you ll end up with noise instead of an image e If you changed elements that don t affect a large area of your scene you don t have to render the entire scene again For example if you render a scene with a floating sphere and then delete it you don t need to re render the scene only the area where the sphere was To patch render your image 1 Starta render as normal 2 Letthe rendering proceed for two or three passes and then click the mouse 414 3 Switch to Bitmap display mode 4 Draga marquee around key portions of your scene and then render those areas using the Plop Render controls You can also speed up rendering using these techniques e Limit the
283. erm is used as a verb and you can click and drag in the rendered image to mar quee a selection for discrete rendering material In Bryce 3D the sum of up to four textural elements either 3D procedural or 2D picture based used to drive various effect channels plus post processing used as a sur face property for Bryce objects materials channel The rows in the Materials Grid grouped as Light Effect and Color can be driven independently or by Texture Compo nents materials grid The gameboard like area in the Materials Lab whereTexture Components drive parameters in the various Channels in the Grid to make a Material matrix The term is used only in the Bryce Edit menu for the Copy Paste Matrix commands When you use these commands you are copy ing and pasting an object s position rotation and size you are not copying size rotation or position alone but the matrix of all coordi nates hence the name 436 memory dots A feature created by MetaCre ations and used in many MetaCreations prod ucts itis available in the Control palette for use with Views and in the Sky amp Fog palette This feature allows you to simply click on aMemory Dot to save the state of the parameters to which it pertains mesh Sometimes known as polyhedron Used in reference to imported geometry as well as Bryce s internally created Stone objects Simi lar to Polygon but polygonal faces have been diagonally split or triangulat
284. ermine how material channels are applied to create Click the triangle icon next to the material different effects type buttons at the top of the Materials Lab Rz Normal Blend Transparency Fuzzy Light Additive v Cast Shadows v Receive Shadows Distance Blur Volume Blend Altitude Using a material you can define whether a surface is Volume Blend Distance shiny smooth or opaque Click the triangle icon at the top of the Materials Lab to display a listing of the available shading modes Using a shading mode you determine how those properties are applied to the object 221 Bryce 4 Surface Material Shading Modes This section explains the surface material shading modes Normal Normal mode applies the values of the material without modifying them in any way Objects are shaded according to the values you set in the material channels This mode has no special effects it simulates a real world appearance using the material channel values This is the default mode and is appropriate for most objects Blend Transparency In Blend Transparency mode visibility is controlled by Transparency W hen this mode is active areas of the object that are 100 transparent are ignored Transparent areas are not shaded and do not cast shadows T hese areas appear as gaps or holes in the object s surface M aterials This mode lets you create punch outs when using a texture Using Normal Shading
285. et Light sensitive Volume Material is applied to the light source This makes the light coming from the light source appear visible in the scene so in the case of a spotlight the light would appear as cone The light also becomes volumetric and reacts to other lights around it Objects within the cone interact with the light They can block it reflect it etc Any textures applied to the light also have volume The material applied to the object is pre defined for you but you can edit its properties in the Materials L ab By editing the material you can change the light s intensity color and transparency A8 When you create a volume visible light source the light emanating from the light sourceis visible in the scene T his light has volume and interacts with the object inside it The real difference between the two types of lights becomes apparent when you apply a gel to the light In Surface Visible lights the gel texture is wrapped around the light cone like a skin Making it semitransparent makes it look more real but it doesn t make it interact with objects inside the cone On the other hand volume visible lights create areal illuminated volume T he texture gel exists everywhere inside the cone and the objects within the cone are directly affected by the texture The light also interacts with the surrounding light sources In this example the same objects were illuminated by first a surface visible light
286. exture Component windows correspond to the four columns in each channel in the Materials Grid Along the bottom of the Materials Lab are the Animation controls These controls let you Bryce 4 animate between textures or animate the properties of a single texture over time Use theAnimation controls to animate a material over time Working in the Materials Lab This section describes how to use the Materials Lab to create and store materials Building Materials A material is a combination of values colors and textures applied through fourteen different channels You build materials by selecting components colors values or textures and combining them on the Materials Grid To create a new surface material 1 Select an object 2 Display the Materials Lab 3 Set the material channels to define the properties of your material Remember channels can be set using values col ors or texture components You may want to experiment with different setting to see the results of your changes 4 f you re using texture components you can e Edit thescale position or rotation of the texture using the texture transformation controls M aterials e Edit themakeup of thetexture using the Deep Texture Editor Set a mapping mode for the texture 5 Choose a shading mode for the material by clicking the triangle icon at the top of the Materials Lab and choosing a mode from the menu 6 Click the OK icon The new mat
287. exture to a material the colors in the component contribute to the colors used in the Color channels of the material Bryce 4 There are two color models you can use to create colors in the components RGB and HLS RGB combines red green and blue to create color HLS combines H ue Lightness and Saturation values to create color The method you choose depends on the final output of your Bryce scene RGB usually works best for most types of output If the Color output is not active for a component changing the colors or Color Blending M odes has no effect To activate Color output for a component l Display the Deep Texture Editor 2 Inthe desired component window click the C button The three buttons along the right side of the component window display the component s output type An output type is active when the button appears light gray To choose colors for a component 1 Display the Deep Texture Editor 2 Inthe desired component window make sure the C button is selected Textures 3 Click one of the color indicators along the left side of the component window and choose a color from the palette Thethree color indicators along the left side of the window display the colors used in the component To mix colors for a component l Display the Deep Texture Editor 2 In the desired component window make sure the C button is selected 3 Option Alt click the one of the color indicators along the l
288. extures Now we will apply a material to the mountains and the ground plane The ground plane is the grid in the foreground which appears by default whenever you start a new project It is an infinite plane in that it extends to infinity along the X and Z axes You ll be introduced to finite planes later in this manual To apply a texture 1l Click the Display Modes button to return to W ireframe display mode 2 Click Terrain 1 to select it 3 Hold down the Shift key on your keyboard and click Terrain 2 still holding the Shift key down click the Groundplane Plane 1 All three objects are selected and outlined in red 4 Makesurethe Edit Palette is showing click Edit if needed and click the triangle icon next to Edit This displays the Material Presets selection panel On the left side and you ll see Planes and Terrains 5 Click Planes and Terrains and another selection of preset materials appears 6 Click Desert Rock A red border appears around your selected material 7 Click the OK icon at the bottom right of this panel to return to your scene If you look at the Nano Preview window top left you ll see that the material has been applied 8 Click the Render button and your image A selection of sky presets appears should look like this 2 Click to select J et Stream 3 Exit Sky amp Fog if you want to render at this point You can do arender now if you like by clicking the Render button L et s mo
289. f the Preset Materials Library dialog The File Open dialog appears Locate the file you want to import and click Import The contents of the file are placed into the first available space in the current category To export a preset material file Click the triangle icon next to the E dit text button at the top of the Bryce environment The Preset Materials Library appears Select the preset or presets you want to export Click the Export button at the bottom of the Preset Materials Library dialog The Save File dialog appears Enter aname and location for the file and click Save Animating Materials spread F ull Shading Volume textures everywhere throughout your scene be prepared for along wait while the scene Animating materials can add an exciting new renders dimension to your materials time Using the Animation controls you can interpolate between textures over time or change the properties of a single texture over the course of an animation The animation tools are a great way of adding life to your scene Instead of creating an animation with simple motion you can create subtle effects like changing a cube from water to ice or changing the seasons on a mountain Refer to Animating Materials on page 388 for complete instructions on animating materials Speeding Up Materials W hile there is almost an infinite number of materials with the added complexity of creating materials using multiple
290. f transformation on a preview of your image This mode is useful when you re working on a large scene as it saves on redraw time To activate Nano Edit Mode Click the Nano E dit button on the Display palette W hen the smaller square inside the icon which represents an active Nano E ditor is red the Nano edit mode is on when it is white it is off 287 To temporarily activate Nano Edit mode Hold down Option Spacebar Alt Spacebar before you perform transformations The Nano E ditor appears only during the operation Resizing Objects When you create an object it appears at a default size Once you place it in your scene you ll need to resize it make it proportional to the other objects in your scene If the tree is larger than the terrain one of them is at the wrong scale There are three ways of resizing objects in Bryce e Using the Resize tool in the Edit palette to resize an object along different axes e Using the 3D Transformation dialog which lets you enter precise values to resize objects e Using the control points on the object s bounding box to interactively resize the object Objects are measured in Bryce units W hen you resize an object you re increasing or decreasing its size based on unity size When you resize an object to 150 you re sizing it to 150 of unity Refer to Bryce Units on page 282 for more Using the Resize tool The Resize tool lets you resize
291. f changes while Auto Record mode is disabled you ll have to create a key frame to store your changes or they ll be discarded when you move to a different point in time The Key Frame controls let you add or delete key frames from the timeline The key Frame indicator changes color when the CurrentTime Indicator is over a key frame Add Key Frame Delete Key Frame Key Frame Indicator The Key Frame controls let you add and delete key frames from your animation 365 Adding Frames Bryce adds keys frames differently depending on what your selection in the Working window If you have an object selected Bryce only records the changes in property for the selected object If you have nothing selected Bryce only records the changes in the sky i e changes you make in the Sky amp Fog palette You can also modify the add key frame operation so that for a selected object only a specific property is recorded as a key event To add a key frame 1 Move the Current Time Indicator to the point where you want to add a key frame or If you need to force Bryce to overwrite an exiting key frame leave the Current Time Indicator where it is 2 Click the Add Key Frame button Any changes you made at this point are recorded in the key frame To a add a frame for a certain type of property 1 Select an object 2 Hold down the mouse button over the Add Key Frame button and choose an object property from the menu
292. f the sphere is the location of the open area of the arch W hen you have dragged the trajectory point there the camera did not follow Pree Additional adjustments Don t worry when you play the animation the camera will be located with the trajectory 6 Click the Play button and watch the camera s movement through the sequence The camera ends up located at the end point of the trajectory eurak The camera s endpoint Now that the camera is back on the trajectory notice that the gray line between the camera and the sphere provides a guide for that straight line of sight You can use the guide for other placements of your trajectory 7 Move the previous keypoint up so that it is aligned along that gray line Your trajectory should look like the one shown Lh a Positioning the keypoint 8 Go back to Camera view by choosing View Options menu gt Camera View or press the 1 key Click the Play button to see your animation 87 Lesson 4 Smoothing the Camera s Trajectory To smooth out the Camera s trajectory you will adjust the points positions and work with the shape of the curve using the tangents of each point To see the tangents you will need to make them visible To display the trajectory options 1 To display the trajectory make sure Director s view is selected If needed choose View Options menu gt Director s View 2 Click the Object Attributes button to access t
293. face visible lights and volume visible lights Surface visible lights make the light object visible in the scene but the light does not interact with the environment so you get a light cone or sphere Volume visible lights interact with the environment affect all the object s that they strike and are directly affected by environment color and brightness For instance volume visible lights can show shadows thrown through the air that the light illuminates Surface visible lights cannot The Camera and Lights Thevolume visible light source interact with the other light sources in the scene Refer to Creating Visible Lights on page 348 for more on setting up surfaceand volume visible lights Setting Up the View of Your Scene There are eight different views of your scene available in Bryce CameraView Director s View and the six orthogonal views T he Camera View and Director s View let you see the scene from any perspective while the orthogonal views let you see projections of the scene from the top bottom left right front and back Camera View This view of your scene in the Working window is as seen through the lens of the Camera object in your scene Since your scene exists in 3D you can view it from any vantage point above below or even from inside an object To see these different perspectives you change the position of the 328 Camera The positioning tools available in the Control palett
294. fect that can be added to any sky A rainbow is only visible if the sun is visible meaning you can t have a rainbow at night As well you can add asecondary rainbow to create the illusion of reflection Rainbows are linked to the sun so that as the color or intensity of the sun changes so does the rainbow Rainbows are infinitely distant You can t approach them by moving the camera so the pot of gold is always just out of reach To add a rainbow to your sky l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Atmosphere tab 53 Chast Carie te _ m Ti E TheAtmosphere tab of the Sky Lab dialog contains all the controls you ll need to create rainbows 4 Click the Rainbows button to activate the rainbow controls 5 Drag the slider or enter a value in Radius field in the Rainbow area This value sets the width of the rainbow 6 Drag the slider or enter a value in the Opacity field This controls the rainbow s transparency To add a secondary rainbow to your sky l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab palette appears Click the Atmosphere tab UJ Click the Secondary Rainbow button 5 Enter avaluein Intensity field in the Rainbow area T his value sets the
295. fects of increasing octaves Increasing the octaves adds processing time to the component To change the number of octaves l Display the Deep Texture E ditor 2 Display the Noise Editor 3 Drag over the octaves field at the top of the editor The octaves field at the top of the editor displays the number of octaves currently applied to the noise Noise Modes Noise modes modify the octaves of a noise As you add complexity by increasing the octaves the Noise Modes let you modify the additional noise so that it produces different effects Many of the Noise modes use dark and light values to modify the existing noise Also you may not see the effects of the modes if the Octave is set to 0 253 To choose a Noise Mode l Display the Deep Texture Editor 2 Display the Noise E ditor 3 Click the Mode field at the top of the editor and choose a mode from the menu There are thirteen noise modes available Standard This mode adds a new octave to the noise at half the frequency and twice the amplitude This is the default mode In this example Standard mode was applied to RND Continuous noise Irregular This mode adds a new octave to the noise at half the frequency and twice the amplitude However in this mode higher frequency noise is modified more than the rest The end result is that more detail is added to the noise S73 In this example Irregular mode was applied to RND Continuous noise B
296. ferent animatable properties Some properties like position size and rotation are common to all objects The white tick on a property timeline indicates that a key event has been recorded for the property 369 The ruler at the top of the Sequencer lets you see the exact point in time when the key event was recorded Time Ruler ee 0 9 a 14 1 9 2 4 CE Ta aTa Va EPEE E T a AEE TEREE T You can tell exactly when an event was recorded by lining the key event marker up with the ruler at the top of the Sequencer area In this example a position key event was recorded at time 00 00 01 25 or 1 second and 25 frames By moving these key events you can control precisely when events occur Sphere 1 Position Rotation Scale Shear Thissequencerepresentsan animation wherea ball moves up and down four times rotates as it makes its third jump and shrinks when its done bouncing Bryce 4 Sphere 1 Position Rotation Scale Shear If you move the position key events closer together the bounces occur faster but the timeline remains the same Sphere 1 Posion Rotation Scale Shear If you move the fourth position key event in front of the third event you re changing the shape of the motion path because the ball bounces up before it bounces down Animating Rotation Scale Shear Tra Position is not the only key events you can arrange here both the rotation and scale key events
297. file exchange format edit Any action performed on an object after its initial creation Includes moving resizing rotating copying assigning textures pasting and more family A kind of logical association assigning a Family attribute to a set of objects allows you to select and display sets of objects based on an assignable wireframe color and associated fam ily name This way objects which share some characteristic such as distance structure mate rial or other can be easily seen selected soloed and so on field of view Field of View values describe the range from 1 to 180 which your camera is allowed to take in frequency A measurement of the number of times certain textural characteristics repeat themselves within a fixed area Bryce 4 gel A texture or picture which is applied to a light and treated as a transparency or slide enabling the light to project colors textures or images onto objects in your scene grayscale to height mapping A process that interprets a grayscale range from black to white and expresses that range as height from low to high group Grouping a kind of spatial association allows a set of objects to be treated as one To achieve Boolean rendering effects objects must be grouped HLS color An alternative color model Hue Lightness and Saturation HSV color An alternative color model Hue Saturation and Value illumination In Bryce 3D any property or characteri
298. filtering effect Notice that the variables also changes as you move the graph e Dragging horizontally changes the value of a e Dragging vertically changes the value of b Textures To change variable values 1 Display the Filtering palette 2 Drag over the variable field you want to change Drag left to reduce the value or right to increase it The shape of the graph changes as you adjust the values Choosing a Filter Each filter available in the Filtering palette offers something unique The best way of choosing which filter you want to use is to apply it to a component and see what happens To choose a filter l Display the Deep Texture Editor 2 Display the Filtering palette 3 Click the Filtering Equation area and choose a filter from the menu There are fourteen filters available The following sections describe the filters and gives you some idea of how to edit them None This option deactivates the filter No filtering is applied to the component Quantize This filter works like a Posterize effect W hen its applied gray values jump from one value to the next creating a blocky stair step type of effect 262 In this filter a and b control the contrast and height while c controls the number of levels between white and black RND Continuous Noise Quanti Noise In this example Quantize was applied to RND Continuous noise Saw Wave When the graph for this filter has
299. find out who is logged on Click the People icon and alist of the users in that room is displayed To search for a nickname 1 Click the People icon to display the list of nicknames 2 Click the Search button and type the nickname you are seeking To change rooms you can Click the room buttons to go to different rooms In the room list double click the room to which you want to go Press Ctrl Tab to cycle through the rooms you are in Bryce 4 A highlighted room button indicates that activ ity has happened in a particular room since you last looked at it W hen you see a highlighted room button you can go back to that room to view the discussion As you switch rooms you participate in each room You can also close any room on your computer by clicking the close window control To start a new room 1 Click the New Room button in the room list to create a new room 2 Type a meaningful title for your room such as creating natural sunsets You can use up to 32 characters including spaces and punctuation in your room title 3 Press Return or Enter and you are placed in your new room Other users will see anew room added to their list and can choose to join it Tips If you are new to using the Internet these tips will help you get started Don t type in all capital letters Use upper and lower case Typing in all caps is considered yelling e Ifyou are uncertain how to proce
300. formation tools However spatial options are global for the transformation tools only The option you select in the Edit palette does not affect the 3D Transformations dialog Flipping Objects Flipping is not the same as rotating an object 180 Flipping mirrors an object along an axis instead of rotating it 289 Original object Rotated 180 in X Flipped in X This example shows an object that has been rotated 180 and the same object flipped in X To flip an object l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Click the triangle icon next to the Resize tool and choose a flip option from the menu Flip X inverts your object s dimensions along the X axis Flip Y inverts your object s dimensions along theY axis Flip Z inverts your object s dimensions along the Z axis To undo resize operations l1 Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select an object Bryce 4 3 Click the triangle icon next to the Resize tool and choose Unscale from the menu Numerical Resizing Sometimes you will need more precise control over the size of your object The 3D Transformations dialog lets you enter specific resize values for a selected object All transformations you enter in this dialog are performed in World Space regardless of the spatial option you chose for the
301. from the color picker 3 Drag left inside the Haze control and set the value to 0 This setting eliminates the suggestion of a horizon 29 Setting Sky Attributes Once you ve selected a Sky mode you have the basis for your virtual environment All the other atmosphere effects you add later will interact with the base mode There are two other attributes that affect how all the other effects will appear Shadows and Ambient color Shadows in Your Scene All the objects in your scene cast shadows Using the Shadow control you can set the intensity and color of all the shadows in your scene Shadow Color Use the Shadows control to set the color and intensity of shadowsin your scene Shadows 10 Shadows 90 Asyou change the value of the Shadow control the brightness of shadows changes The shadow control is not the only control for shadows The position of shadows is dependent on the position of the sun Since the sky interacts directly with objects in the scene the color of the sun also effects the color of shadows The object s material properties also effect the color of shadows Semi transparent or transparent objects with a transparency color Bryce 4 will change the color of the object s shadow As well volume materials can dramatically change the shape and color of shadows Use the Shadows control to set the color and intensity of shadowsin your scene By default the Clouds in Bryce do not
302. g filter T he point where the curve intersects a key event line tells you exactly when an event occurs Animation Time Time Map AtpointA in the this timeline an event that occurred at 2 seconds in the original animation will occur at 3 seconds after it s passed through the filter Bryce 4 The default time mapping curve for any property is a diagonal line In this curve time is not being remapped since events occur at the same time along both the horizontal and vertical axes At pointA in the default timeline an event that occurred at 2 seconds in original animation also occurs at 2 seconds in the time map When you change the shape of the default curve you re remapping time For example if you make the curve convex events occur later in the animation but they re closer together which means the action in your animation will speed up In this example you can see that at pointA an event that occurred at 1 5 seconds now occurs at 3 1 second At point B an event that occurred at 2 5 seconds now occurs at 3 9 seconds Although both events now occur later there s much less time between them so the action in you animation occurs later but faster Animating A concave curve would create the same type of effect except that the events occur earlier H ere event A and B occur much earlier within the first second and the amount of time between them is much shorter Different curve shapes repres
303. g and Pasting Materials The Materials Lab has its own dedicated clipboard that lets you store materials You can have an object in your clipboard then enter the Materials Lab and copy a material without disturbing the contents of your clipboard 231 To copy a material to the Materials clipboard Click the Copy button below the Material Preview window To paste a material to the Materials clipboard Click the Paste button below the Material Preview window Using the Material Preview Area There are several different ways you can see the effects of your material on an object To switch preview modes e Click the triangle at the bottom of the material preview and choose an option from the menu Normal displays your object as it looks in your scene This is the default view of your selected object Up Close displays a zoomed in view of your object Render With Neutral Sky displays your object against a plain sky W hen disabled your preview contains the current sky settings This option makes it easier to see the material without being distracted by patterns in the sky Render With Neutral Ground displays your object with a plain ground W hen disabled the ground in your preview has the same texture as the object Current Selection displays the selected object exactly as it appears in the your scene Bryce 4 Box displays the material applied to a cube Sphere displays the material applied to a
304. g the cube primitive Before doing so however you will need to move the roof up so that the walls can fit underneath What You ll Need If you are continuing from the previous step ensure that your scene file from the previous section is open If you are beginning this tutorial from this point open up the scene file called Rendered Boolean located in the Manual Tutorials folder on the Bryce 4 CD ROM Lesson 1 Moving the Roof To move the roof up 1 Ifneeded select the Group by clicking it in the scene window The wireframe turns red 2 Press the Page Up key 6 times to move the object up The bottom of the pyramid is aligned to the horizon 69 FEELIEF Moving the roof If you do not have a keyboard with a page up key here is an alternative way to move the group up 3 Click the Object Attributes button to access the O bject Attributes dialog box Change the settings for Position on the Y axis to 36 86 Note Object Attributes General Linking Animation Object Name Group 1 Neutral Positive Negative Intersect Hidden Locked Show As Box Show Origin Handle Origin Oo 36 86 20 48 8 Position 0 36 86 20 48 8 Rotate 0 o o s Size 76 80 49 15 76 80 x Y z ee 2 The Object A ttributes dialog box Bryce 4 Lesson 2 Creating the Walls You are now ready to create walls to go underneath your ceiling with the arched cutouts The Cube pri
305. g title or press the Tab key until it is displayed 2 Click the Reset text button below the Filtering graph The graph returns to the default Filtering graph To soften harsh transitions in the graph l Make sure the Filtering tab is visible If it s not click the Filtering title or press the Tab key until it is displayed 2 Click the Soften text button below the Filtering graph 3 Click the Soften button again to soften the transitions more Applying Presets Filtering presets are provided to help you get started adjusting the Filtering graph These presets are designed to provide different effects The best way of using these presets is to apply them to your graph and see what hap pens To apply presets l Make sure the Filtering tab is visible If it s not click the Filtering title or press the Tab key until it is displayed 2 Click one of the preset buttons along the top of the tab The current graph is replaced with the preset graph 179 Applying Filtering Changes to Your Terrain Canvas Although any changes you make to the graph are applied to the Preview area they do not automatically affect your Terrain Canvas You have to Apply the changes before they affect the canvas You can temporarily apply your changes to the 3D Preview in real time by holding down Con trol Ctrl as you click and drag over the Filtering graph To apply the Filtering graph to the 3D Preview Hold down the mouse bu
306. group them The G changes to aU and the family color changes to Default Gray Since this group is part of the Wall family of objects it s a good idea to assign the group to the Wall family 7 Click the Family button on the Selection palette to access the Family dialog box Select the family for wall Click the OK icon to exit the dialog box The Family button changes to the Wall wireframe color Congratulations You just carved a boolean doorway out of a wall It s time to leave Solo Mode and see the results in the main scene 8 Click the Solo Mode button to exit solo mode The rest of your scene appears 9 Change to Director s View by choosing View Options menu gt Director s View or type the key Your scene appears in perspective Click the Render button You may need to adjust the walls if there is a gap between the walls and the roof 10 Il Save your scene Group and Grow the Entire Building You ll be placing objects inside this building and eventually flying through it with the camera so the building needs to be bigger than it is currently W hen you enlarge the entire object as a group the individual objects retain their size and position relationship to one another Lesson 1 Grouping the Building To group the building 1 Choose Edit menu gt Select All or command Ctrl A All of your objects including the ground are selected 15 2 Hold down the Shift key and click the grou
307. gt Director or Director gt gt C amera to select either the Director or Camera View Edit Current Camera brings up a dialog box that allows you to enter current camera information Positioning the Camera Numerically on page 338 Banking Controls The Banking control sphere tilts your Camera really rotating the camera on the Z axis creating the effect of a tilted horizon This control is great for creating tilted airplane cockpit views Banking simulates a Roll action This scene was created by banking the camera To bank the camera e Drag the Bank control Drag right to bank to the right and left to bank to the left Press Option Alt click in this control to reset to normal The normal or default setting is zero Field of View The Field of View control sphere acts like a wide angle lens control The higher the setting the wider the field of view for your lens Because you are admitting more information into your lens it will create the illusion that objects are receding from view or getting smaller That is not the case Since you re 337 admitting more information existing objects necessarily occupy a smaller percentage of space within your field of view This scene was created by increasing the camera s field of view If you drag the Camera Z control to bring your receding objects back up to a larger area in your view perspective distortion effects appear This is particularly
308. h window displays a preview of the component elements Reset Component Open Noise palette Open Filtering i SOPOT pac Color output Component Colors The Component window displays the selected component and its current attributes Randomize The three buttons on the Component window let you access the Noise palette the Filtering palette and the Phase palette The buttons along the right side of the window indicate the type of output produced by the component 243 To activate a component l Display the Deep Texture Editor 2 Click the component selector in the top left corner of the editor The component selector lets you pick how many components you want to use to build your texture The selector lets you choose from 1 2 or 3 components Color The colors in a component determine its color scheme Each component can have up to three colors Colors can be chosen using the color picker or the Color dialog The color in a component is affected by the noise phase and filter You can create some very interesting patterns of color by modifying the noise The color pattern created by the changes in the noise is applied directly to the final texture So even if Color is the only output type for the component you ll still see a pattern in your final texture W hen the Color Output is selected for a component only the color information is combined with the other components Also when you apply the t
309. h you want to assign a texture A component window becomes active 3 Click the pink button at the top of the Component window The Deep Texture E ditor appears 272 A Quick Tour The Deep Texture Editor The layout of the Deep Texture Editor isa visual representation of the texture creation process The three components along the top combine to form the final texture shown in the middle The layout makes the editor very easy to use Along the top of the editor you ll see the preview options These three icons let you choose how you want to display the component The three icons at the top of the editor let you choose a preview mode Below the preview control on the left you ll see the component selector This tool lets you choose the number of components you want to use to build your texture The component selector lets you choose how many components you want to use to build a texture The rest of the editor displays the component window The three windows along the top represent the three components you can use in 273 a texture and the center window represents the combined texture The three windows along the top of the editor represent the components and the window in the center displays the final combined texture The arrows between windows represents the blend modes Blend Slope The arrows between components in the D eep Texture Editor provide access to the Blend M odes menu The three
310. ha channel which gives a more realistic look To create a Pict object 1 Click the Pict Object tool or any empty square to open up the Pictures dialog 107 The Pictures dialog appears a nie bt lelel SGGEeRCioG The Pictures dialog lets you select 2D images to use as Pict Objects 2 Click an image square to load an image 3 If the image you want is not in the library e Click the Combination Load button The load image dialog appears e Usethedialog controls to locate the picture you want to useand click Open or e In another application copy the picture you want to use to the clipboard e Access the Picture dialog and click the Paste button The picture is loaded into the first image box and its alpha channels are loaded into the second box When you load a new picture into the Picture dialog the main image is loaded into the first box its alpha channel is loaded into the second box and the combination is loaded into the third Bryce 4 You can invert the alpha channel by clicking the Invert button 4 Click the OK icon to exit the dialog Bryce creates a2D plane and maps the image onto it as a texture The Pict Object is created with the same aspect ratio as the original picture ors W hen you exit the picture dialog the image is mapped onto a 2D planeand placed in your scene Working with Pictures Pictures can be used in several ways in Bryce They can be used as 2D Pict Objects or a
311. hannel window The Load dialog appears 3 Use the dialog controls to locate the desired image and click Load The picture s alpha channel appears in the first preview window To load a new picture into the Library 1 Click the picture slot in the bottom of the library where you want to load the new picture The Load dialog appears 2 Use the dialog controls to locate the desired image and click Load The picture s thumbnail appears in the picture slot Creating O bjects Copying and Pasting Pictures Copying and pasting in the Picture Library works differently for each of the three image windows When you copy and paste into the first window you re only pasting RGB color information so if you copy an image from the Combined win dow only the color information is pasted into the RGB window As with loading any changes you make in the RGB Image window changes the selected image When you copy and paste into the second win dow you re only working with the Alpha Chan nel information so any image you paste into this window will appear as an alpha channel image i e black and white Any changes you make in this window affect only the selected image When you copy an image from the Combined window the entire image is placed on the clip board Depending on where you paste it only a portion of the image may be used When you paste a picture into the Combined window it appears as a color image with trans
312. hat it appears as if you re getting closer to the clouds If you want to counter this effect you can use the Fix Cloud Plane option to freeze the cloud pattern so that it doesn t change as you move higher up in the environment To use a fixed cloud pattern in your sky 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Click the Fixed Cloud Plane button Creating Skies Setting the Cloud Motion You can set the speed and turbulence of clouds as well as specify the direction of motion To set cloud speed 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Drag the slider or enter a number in the Speed field To set cloud turbulence 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Drag the slider or enter a value in the Turbulence field To set the direction of motion 1 ifit s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the Sky Lab button The Sky Lab dialog appears Click the Cloud Cover tab
313. have been repositioned Now the ball grows large as it bounces and rotates only at the end of the animation You should take care when rearranging Position key events as they can greatly alter the trajectory of your object resulting in unpredictable results It s a good idea to activate the continuous pre view while your editing the timeline so you can quickly see the effects of your changes Refer to Previewing Animations on page 363 for more on previewing The amount of time available in the Sequencer area is not limited by the current Animation Range If you position a key event past the current limit of your animation the Animation Range is automatically extended To display an object s property timelines e To see specific property timelines click the name of the object whose properties you want to display or e To display all property timelines disable Show Selected from the menu at the right of the Preview Area e To see property timelines for all animated objects enable the Show Animated 3 0 selection in the menu to the right of the Preview Area To move a key event on a timeline l Expand the listing you want to edit 2 Click the white tick mark on the listing s timeline 3 Drag the key event to anew position To move a group of key events 1l Drag a marquee around all the key events you want to select or hold down Shift and click each of the key events you want to move You can sele
314. he case of linking the parent object is at the top of the hierarchy and its children are below it Children in the hierarchy can also have children creating a branched hierarchy In ahierarchy created using links the parent object is obviously the parent object in the link The children are any object linked to the parent If you have multiple linked objects in a Bryce 4 hierarchy the parent object at the top of the hierarchy is the parent object in the first link you created Parent Object v Sphere 1 v Sphere 2 v Sphere 3 r Child Object Cube 2 Cube 1 In this link hierarchy the parent object has one child and that child has two children one of which also has a child So if you were to transform this hierarchy any operation you perform on the Parent at the top of the hierarchy is applied to all its children In a hierarchy created using groups the parent object is the group All the objects within the group are the children If you have multiple groups within a group the parent object is the final group you create v Sphere 2 Cube 3 Cube 2 Cube 1 Parent Object _ eves ore In this group hierarchy the parent group hasfour children one of which isa group that contains four children If you were to transform this hierarchy any operation you perform on the parent group would be applied to all the children v Sphere 3 Cube 4 Cube 5 Cube 6 A hierarchy can be made up of both linked and
315. he noise It s easier to see the number of dimensions for your noise if you use a cube in the Noise Preview 1D Noise 2D Noise 3D Nois T hese three examples show the difference between 1D 2D and 3D noise Bryce 4 To choose the number of dimensions for your noise l Display the Deep Texture Editor 2 Display the Noise Editor 3 Click one of the dimension buttons at the bottom of the editor The three buttons at the bottom of the editor let you choose between 1D 2D and 3D noise Noise Type There are 27 different types of noise available in the Noise Editor Random noise is the default RND Each noise type provides you with a different basic pattern to start your texture Some are more linear or geometrical while others are more random More complex noise types require more rendering time The time it takes to render the preview is a good indication of how long the final texture will take to render Textures You should use the more complex noise types cautiously T hese are examples of the some of the types of noise available The best way of choosing a noise type is to apply a few to your component and see how they look Remember that this noise is only the basis of the texture You can still edit this noise using the other controls in the editor so don t discard a noise type because it s not perfect The other controls can help you fine tune the noise To choose a noise type 1 D
316. he window Every picture should have an alpha channel assigned to it If the picture does not have an alpha channel the resulting image appears completely white If thereisno Alpha Channel the image appears completely opaque If your picture doesn t have an alpha channel you can copy the image from the RGB Image window into theAlpha Channel window This way your picture won t appear completely opaque TheAlpha channel you load does not have to necessarily match the image You can create some interesting clipping effects by combining different alpha channels and images In this example the image was combined with a different alpha channel to create a new clipping effect When you load a picture into the last preview window the Combined mage window the entire picture is loaded into the first empty thumbnail slot To replace the RGB information in a picture 1 Click the thumbnail of the picture you want to replace Bryce 4 2 Click the Load button on top of the RGB Image window The Load dialog appears Load The Load button displays the Load dialog which lets you select a picture to load into the RGB Image window 3 Use the dialog controls to locate the desired image and click Load The picture appears in the first preview window To replace the Alpha channel information in a picture 1 Click the thumbnail of the picture you want to replace 2 Click the Load button on top of the Alpha C
317. he Camera and 2D Options Click Animation tab Camera amp 20 Projection amen eneng Animais Trajacisiy Optom im bep d Ske Hia Ter be Amie e Sem egila Seer dig Pii B Mies Cree dbg Ipaa Dorh Aar er tal all Asia an The animation tab 3 Under Trajectory Options click the button for Show Always Click the OK icon for Show Tangents Exit the Camera and 2D Projection dialog box by clicking the OK icon The camera trajectory now has gray lines extending from each point Bryce 4 Tutorial To smooth the trajectory Smoothing out the trajectory works best when you work in Top View 1 Change to Top View by choosing View Options menu gt From Top or press the 2 key i Se ee The top view You are returned to top view But there are lots of items that hinder a clear view of the trajectory The only items necessary to view are the walls and the pedestal Since they each have their own family it will be easy to select them and work in Solo Mode 2 Toggle to the Selection palette 3 Select Walls by clicking the Selection Animation toggle then clicking the Families button and selecting Walls from the list Then hold down the Shift key and select Family 11 to add to your selection The walls and pedestal should be selected In addition the camera which was deselected still has the trajectory showing It is the result of selecting Show Always earlier 88 4 Click the Solo Mode butt
318. he bottom left corner of the panel The button works like a toggle 2 Click again to return to the first set Including both sets of buttons there are a total of 30 elevation tools Bryce 4 To use an elevation tool l Make sure the Elevation tab is displayed If it s not click the Elevation title 2 Click an effect tool 100 of the effect is applied to the Terrain Canvas 3 Click the tool again to increase the intensity of the effect Most elevation effects can also be applied grad ually To apply an elevation effect gradually 1 Move the pointer over an Elevation tool The pointer changes to a two headed arrow 2 Click and drag to the left to increase the effect or click and drag to the right to decrease it Source Generators The Source Generator tools can be used in two ways to generate a terrain from scratch or to alter the geometry of an existing terrain Terrains Fractal The Fractal tool creates terrains based on frac tal patterns It can be applied to an existing image and it can be applied gradually This tool produces terrains based on fractal patterns The terrains it creates have lots of spikes and valleys This tool produces good basic terrains To create an even more detailed and realistic terrain set your resolution to greater than 512 then hold Control Ctrl as you click the Fractal button Eroded This tool applies natural erosion to your ter rain It can also be appli
319. he default setting for all objects Positive defines any selected object objects or group as solid when grouped Negative defines any selected object objects or group as negative when grouped Think of a negative object as a cutting object 316 Intersect defines any selected object objects or group as an intersecting object when grouped Editing Display Quality Attributes The display options available in the General tab of the Object Attributes dialog let you control how the object appears in the Working window Some of these options can speed up the redraw of your scene J Hidden J Locked Show As Box Show Origin Handle The four options on the top left side of the General tab let you set how the object is displayed in theWorking window Hidden When you apply this option to an object it is not rendered when you render your scene The object remains visible in the Working window where you can still select and edit it but it will not be visible in the final render To hide an object l Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enable the Hidden button Locked This option locks any selected object objects or group preventing unintentional changes to size position rotation or material assignment Locked objects appear grayed outin your wire frame view 317 To lock an object l Display the Object Attributes dialog 2 Make sure the Gener
320. he filter is applied to your image Texture Mapping Modes Once you ve decided on a texture to use as a component you need to decide how the texture is Mapped onto your object The appearance of the texture can change dramatically depending on how it s applied to the object Each texture you apply can have a different mapping mode W hen you re mixing textures ModeAB or ModeABC you can choose which portions of your textures you want to combine To select a mapping mode for a texture 1 Inthe Materials Composer click a channel 2 Select a mode for the channel 3 Click the title of the Component window and choose either 2D Texture or 3D Texture 22 4 Click the current Mapping Mode title and choose a mapping mode from the menu Object Space In this mode textures are scaled proportionally to the size of your object If you change the size of your object the texture scale changes with it The texture also rotates along with the object This means that the texture does not appear to move as you reposition or rotate the object In Object Space mode textures are applied to the object so the texture will not move as you move the object World Space In this mode the texture is infinitely large 3D space and only asmall portion is applied to your object This means that the texture appears to change as you move your object 2B since it is moving through the texture in 3D space In World Space mode the
321. he gradual destruction of this island was created by changing the length of the clipping bracket at different pointsin theT imeline To animate terrain clipping 1 Click aterrain object 2 Click the E icon that appears next to the terrain s bounding box The Terrain Editor appears 3 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 4 Movethe CurrentTime Indicator to the point in the Timeline where you want the terrain to change 5 Adjust the width of the clipping bracket 400 6 Move the CurrentTime Indicator to a different point on the timeline 7 Change the width of the bracket again 8 Continue moving the Current Time Indicator and changing the width of the bracket until you achieve the desired effect 9 Click the OK icon to exit the editor Previewing Terrain Animations Any change you make to a terrain s properties appear in the 3D Terrain Preview W hen you play aterrain animation the same preview area shows you the transition of the terrain from one key event to the other The 3D Terrain Preview displays the preview of your terrain animation To preview a material animation e Click the Play button in the Animation controls at the bottom of the Terrain Editor Click the Stop button to stop the preview 401 Bryce 4 Animating Techniques 402 Rendering What is Rendering Rendering is the process of capturing a view of your 3D scene and saving i
322. he scale and left to decrease it The scale of the timeline does not affect its length only how its displayed in the Animation controls Scaling Animation Duration You can adjust the length of your animation by scaling its duration to fit within a certain amount of time For example you created an animation that s 5 seconds long but only want it to take up 3 seconds you can scale the entire animation to last only three seconds W hen you scale the animation all the events in the animation are compressed or starched to fit within the desired amount of time If you increase the scale the events are starched out Bryce 4 so they take longer to complete If you decrease the scale the events are compressed to the action speeds up To set the scale of the entire animation manually 1 Make sure the Animation controls are visible If not click the Time S election Palette toggle 2 Hold down Option Alt and drag the animation range handle Release the mouse button when the duration of the animation is the desired length SS c Option Alt drag the animation range handle to scale the animation down or up To scale the animation numerically 1 Choose File menu gt Animation Setup or double click the Current Time Indicator The Animation Setup dialog appears 2 Click the Scale Animation button 3 Enter the desired animation duration in the Duration fields Recording Key Events You can record key events by en
323. he smaller highlight or by dragging the sun The moon is always opposite the sun To position the moon manually l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Drag the blue highlight area in the Sun Moon Position controls to the position where you want the light to originate You can position the sun or the moon on the horizon as you like by nudging the Sun M oon control until the light is visible in your scene 149 To position the moon numerically l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Sun amp Moon tab 4 Inthe Numerical Sun Values fields type a value into the Azimuth field The Azimuth field controls the east to west position of the sun moon The range is 0 to 360 and the default value is 60 e Themoon will be positioned exactly opposite these values so you can invert them to position the moon numerically or place the Sun behind the camera so that the moon appears in front of it 5 Enter a value into the Altitude field The Altitude field controls the height of the sun moon relative to your scene The range is 99 to 99 and the default value is 20 Positive values are above the horizon negative values below Bryce 4 Moon Phases The moon phases control simulates different aspects of the moon as it or
324. he time are visual cues that let you know when the time area is moving If you move the Current Time Indicator off the screen you ll see these white ticks move along the time area p The light gray area in the timeline represents time T he white tick marks in the time area are visual cues to let you know when the area is being scrolled To scroll the time area Drag the Current Time Indicator off the screen to the right You ll see the white tick marks move along the time area to the left Setting the Animation Range in the Timeline The dark gray within the light gray area of the Timeline represents the total length of your animation This area is usually hidden by the Working Area so you may need to shorten the Working Area to adjust the Animation Range This area is automatically generated as you set up key events The time of the final key event automatically creates the limit of the animation 358 range However you can manually extend or shorten the area to set the range of your animation i p The dark gray area of Timeline represents all the range of your animation You cannot shorten the Animation Range below the last frame in the scene since you can t have frames outside the animation range To manually set the Animation Range e Inthe timeline drag the light green handle that appears at the end of the Animation range to the point where you want the animation to end The handle may be ob
325. he top of the Bryce window Create TheTriangleicon next to the Create button opens the Preset O bjects Library The Object Attributes Dialog The Object Attributes dialog lets you set a number of properties that determine how the object appears in the Working window The dialog is where you ll set up the object s name size orientation placement and display quality It s most often used to numerically transform the object W hen you re animating an object the dialog is used to control how the object interacts with its motion path Refer to 100 Animating on page 353 for more on animat ing ject Mare atone ie FJ pen yr P Diga IE i 43 oa tne j Sree ee rere p i Paame ia aa 8 65 wnleir a a fie mal 22 mu F F F The Object Attributes dialog contains controls for setting the object s name scale position and orientation The dialog is divided into three tabs General Linking and Animation The General tab contains controls for setting the object s name and display attributes and position Refer to Editing Object Attributes on page 312 for more on using the dialog to edit objects The Linking tab contains controls for setting up parent child links and tracking Refer to Linking Objects on page 305 for more on linking and Tracking O bjects on page 382 for more on tracking The Animation tab lets you set the properties of the object when it is connected t
326. he wider the band of haze at the horizon Haze 90 You can see how the haze changes in these skies as the H aze value changes Haze 0 Haze is applied to the entire scene equally The haze always appears at the horizon To set Haze intensity 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Drag horizontally inside the H aze thumbnail to increase or decrease the degree of haze in your scene Drag to the left to decrease the amount of haze and to the right to increase it To set Haze intensity numerically 1 If it s not already visible display the Sky amp Fog palette by clicking the button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Atmosphere tab 4 Click afield name then enter a value in the Haze Density Thickness and Base Height fields These fields govern the amount of haze rendered into your scene The range is 0 to 100 and the default value is 4 134 Density controls density of the lower part of the atmosphere and affects forescattering around the sun Thickness scales the whole atmosphere up or down with the density at sea level remaining unchanged Base Height provides control over density at low altitudes such as in valleys It translates the entire atmospheric effect up or down without changing the density or thickness In earlier versions of Bryce you had to mov
327. hen the size of your scene changes so does the center of rotation of the camera As the size of your scene changes so does the size of the box which changes the box s center point As a result the center of rotation for the camera also changes as you change the size of your scene In fact in this mode the camera s center of rotation is constantly updated so that it always remains in the center of the scene 333 Center to Selection Mode In this mode the camera also orbits around the scene The center of the orbit in this mode is a selected object The selected object becomes the pivot point for the camera As the object moves so does the camera s center of rotation This mode is the best way of making sure that specific objects always remain in view Tripod Mode In this mode the center of rotation is fixed at the center of the camera so it actually pivots in place As its name suggests the camera acts like it s on a tripod It can rotate around or tilt up and down but it always remains in place Use theTripod mode in conjunction with the E ye Level Camera command to get a sense of height Refer to Camera Control Options on page 336 for more on this command Free Mode In this mode the camera is completely unconstrained Its center of rotation can exist anywhere from its center to a point somewhere in the scene Since the placement of the camera s center of rotation is not limited this mode can simu
328. here from flat and horizontal to steep and vertical This is an excellent filter to use if you want to isolate a texture to vertical cliffs or flat surfaces In this filter a determines the steepness of the noise 4 is flat 4 is vertical The b variable controls the starting point of the transition To place noise on vertical surfaces make a 4 and b 2 e To place noise on flat surfaces make a 4 and b 1 5 The Slope filter works on the slope of an object inWorld Space 265 In this example Slope was applied to RND Continuous noise and then to objects in a scene Altitude X a Altitude b This filter modulates the scale of the noise according to an object s altitude In this filter a determines how fast the noise is scaled by altitude A lower value creates a gradual transition while higher values create sharper transitions To apply noise at higher altitudes make surea is positive At high altitudes b controls the transition The higher the transition the lower the number So at high altitudes b should bea negative number To apply noise at lower altitude reverse the variables so that a is negative and b is positive TheA Ititude filter works on the altitude of an object in World Space Bryce 4 In this example Altitude was applied to RND Continuous noise and then to objects in a scene Orientation X a Orientation b This filter applies noise based on an object s east west orien
329. here is no ground plane or when the Drag up to increase the intensity of the object is below the ground plane depth cueing effect and drag down to decrease it W hen depth cueing is active the wireframe appears lighter the farther it is from the camera You can use wireframe shadows to help you determine the placement of objects in the scene This feature may slow down your system when working with a complex scene on slower machines When depth cueing is active objects appear lighterthe 4 Click the Underground On Off button to farther they are from the camera hide or show underground lines If you hold down the Control key Ctri A It keys and click on the D epth Cue icon Bryce will turn both anti aliased wireframes and depth cueing When underground lines are hidden any on or off simultaneously portion of a terrain or object that is positioned below ground level will not be 3 Click the Wireframe Shadows button to visible in your wireframe scene This is useful for easy visualization and composition H owever you might overlook hil an object that is hidden underground turn shadows on or off Shadows are designed to help you determine object placement in your scene For this reason shadows appear even when When underground is enabled objects that are positioned below the ground plane are not visiblein the scene 19 Bryce 4 5 Click the Resolution tool and choose Static Selected or Motion Then
330. hire fishermen Dawnne Zed Well 1wo NH fishermen were in the middle of the lake and nothing was said for hours Finally one of them moved his feet in the botom of the boat go on A BryceTalk session Setting up BryceTalk The first time you use BryceTalk you need to register and set up your BryceTalk account After that you can sign on using your nick name and password then start communicating with a focused community of other Bryce 4 users To set up BryceTalk 1 From anywhere within Bryce click the Talk text button to start the BryceTalk application If this is the first time using BryceTalk select the New Account button 2 Follow the instructions on the web page to set up your BryceTalk account Using Bryce with O ther Applications Provide your name and serial number when requested Select a nickname This is the name that other users will see when you are signed on Select a password that you will remember Once you have finished setting up BryceTalk you can go back to the sign on screen and open BryceTalk for the first time Sign On Search for other users by name Switch to other rooms Nickname Password ll Remember settings iv Sign On New Account The login screen To start a BryceTalk session 1 2 From anywhere within Bryce click the Talk text button Type your nickname and password when prompted
331. his name and description will appear beneath the object preview whenever the preset is selected Click the OK icon Your preset is added to the first available space within the current category To delete an object preset 1 Click the Triangle icon next to the Create button at the top of the Bryce environment The Preset Object Library appears Click on the preset you want to delete or hold down Shift and select a continuous series of presets or hold down Command Ctrl and select a discontinuous set of presets Click the Delete button at the bottom of the dialog Importing and Exporting Preset Objects Importing and exporting presets is a handy way to exchange custom presets with other users To import a Preset object file 1 Click the Triangle icon next to the Create button at the top of the Bryce window The Preset Objects Library appears Select the category into which you want to import the file Click the Import button at the bottom of the dialog The file open dialog appears Locate the file which you would like to import and click Import The contents of the file are placed into the first available space in the current category To export a Preset object file 1 Pl Click the Triangle icon next to the Create button at the top of the Bryce window The Preset Objects Library appears Select the category from which you want to export presets Select the preset or presets you wish to expo
332. hose in the Noise Editor so you can refer to Noise Type on page 250 for more on noise types Phase Frequency Phase frequency determines how often the pattern within the noise repeats Frequency is like scaling the noise Higher frequencies decrease the scale of the noise so you can see the pattern more often L ower frequencies increase the scale of the noise so the pattern repeats less often You can change phase noise frequency using the Frequency numerical fields The fields let you enter numerical values to adjust the noise frequency along the X Y or Z axis You can also adjust the values using the scroll arrows The number of dimensions in the phase determines how many axes you can use to adjust the noise frequency For 1D phase you can only use the X axis With 2D phase you can use both the X and Y axes For 3D phase you can use all the axes 259 Adjusting the frequency of the Phase noise disproportionately can have some very interesting effects on your noise Frequency X 10 Y 80 Z 10 In this example the phase noise frequency was changed in only theY axis and then applied to 3D noise To change the frequency of phase noise 1 Display the Deep Texture Editor 2 Display the Phase E ditor 3 Drag over theX field in the Frequency area to set the phase noise frequency in the X axis The Frequency fields let you enter values to precisely control the noise frequency along the X Y or Z axes Drag left
333. i Bryce for Macintosh and Windows Trademarks Bryce is a trademark of MetaCreations Corporation QuickDraw and QuickTime are trademarks and Apple Macintosh and Power Macintosh are registered trademarks of Apple Computers Inc Windows is a registered trademark and Video for Windowsisa trademark of Microsoft Corporation All other product and brand names mentioned in this user guide are trademarks or registered trademarks of their respective holders Copyright This manual as well as the software described in itis furnished under license and may only be used or copied in accordance with the terms of such license Program copyright 1990 1999 MetaCreations Corporation including the look and feel of the product Bryce User Guide copyright 1999 MetaCreations Corporation No part of this guide may be reproduced in any form or by any means without the prior written permission of MetaCreations Corporation Notice Before using this software or reading this user guide make sure you have read understood and agreed to the license contained in the back of the Bryce 4 User Guide Credits Bryce was originally created by Phil Clevenger Kai Krause Sree Kotay and Eric Wenger Bryce 4 was created by Ken Musgrave Sam Coroniti lan Gilman Paul Cattrone Michael Herf and Maria Giannakouros UI Design by Robert Bailey and J ackson Ting Product Management by J ohn Feld Special thanks to Susan Kitchens for
334. ial Channels Volume materials use most of the same channels as surface materials These channels all work the same as they do for surface materials The only difference is that the channels control the properties of the object s volume not its surface In addition to the channels already discussed Volume materials have several specialized channels Volume Color TheVolume Color channel controls the color applied to the interior of an object Everything inside the object will appear tinted with this color as all light is filtered through the Volume Color 34 This portion of the light is tinted by the Volume Color Theinterior of an object can have color which you set with Volume Color M aterials TheVolume Color interacts with the Transparent Color If your surface is transparent light is tinted by the Transparent Color and the Volume Color Volume Color applied to the 7 interior of the object TheVolume color tints everything inside the object Volume color is an excellent way of creating underwater light effects Base Density Base Density controls how dense the object is In areas where the object is very dense no light passes through the object W here the object is less dense more light passes through its volume Base Density works like Transparency in 3D space Areas that are less dense appear to be more transparent High values create very solid objects like rocks while lower setti
335. ialog appears Boolean object by repositioning the objects in 3 Enable the Intersecting checkbox the group You can edit objects within groups using the Solo mode in the Selection palette 4 Move the intersecting object so that it Refer to Selecting Objects on page 30 for intersects another object more 5 Makesure that the second object s Boolean The final Boolean object appears only in the attribute is set to Positive rendered image or in the Nano Preview You 6 Select both objects and click the G button won t be able to see the Boolean object in the next to the selection s bounding box W ireframe preview p W hen your scene is rendered the area where the two objects intersect becomes To subtract one object from another the only visible portion of the group 1 Select an object 2 Click theA button next to the object s Creating Geometric bounding box or press Command O ption Paths E Ctrl Alt E or choose Objects menu gt E dit Attributes f A geometric path is an object that acts as a The Object Attributes dialog appears motion path for other objects Geometric Paths 3 Enable the Negative checkbox do not render as objects 4 Move the negative object so that it You can think of these paths as railroad tracks intersects another object Objects can move along the track but the they can t move off of it 5 Make sure that the second object s Boolean attribute is set to Positive 6 Select both ob
336. ialog lets you name a selected object An object s name identifies it within the scene Object Name Basketball The Object Name Field lets you enter a name for the selected object W hen you have many objects of the same type object names are used to select a specific object The name is also used to identify an object in a hierarchy O bject hierarchies appears in the Hierarchy List area of the Advanced Motion Lab Refer to O bject Hierar chies on page 303 for more on hierarchies Editing Boolean Attributes Boolean attributes listed in the General tab of the Object Attributes dialog control how an object acts in a Boolean operation For exam E diting Objects ple if a boolean attribute is set to Negative the object subtracts an area from a positive object These are examples of some of the objects you can create using Boolean operations Refer to Boolean Operations on page 115 for a complete discussion of Boolean operations To set an object s Boolean attributes 1 Display the Object Attributes dialog 2 Make sure the General tab is displayed 3 Enable one of the checkboxes at the top of the dialog Neutral Positive J Negative J Intersect The four options on the top right side of the General tab let you set an object s Boolean attributes Neutral defines any selected object objects or group as non Boolean No Boolean operation can be performed on a neutral object This is t
337. ials L ab Besides the Working window the A nimation controls also appear at the bottom of theTerrain Editor and at the bottom of the M aterialsLab The Animation controls are made up of three areas TheTimeline located at the top of the palette displays a visual representation of the time in your animation The indicator on the timeline called the CurrentT ime ndicator represents the current time The Animation Preview Controls located below the Timeline let you preview your animation in the Working window The Key Frame Controls located at the right edge of the palette let you add and delete key frames 356 To display the Animation controls in the Working window e By default the Animation controls are located at the bottom of the Working window If the Selection palette appears the bottom of the window click the Time Selection Palette togglein the bottom right corner of the Bryce window or press S UsetheT ime S election Palette toggle to switch between the Animation controls and the Selection palette The button switches between the Selection palette and the Animation controls Setting Up an Animation Before you start setting up key frames or adjusting the timeline you should set up some general parameters for your animation The Animation Setup dialog lets you set up the duration the frame rate and whether you want to display animation time as SMPTE i e hours minutes seconds frames o
338. icon next to the Sky amp Fog text button at the top of the Bryce environment The Preset Skies Library appears Click on the preset you want to delete or hold down Shift and select a continuous series of presets or hold down Command Ctrl and select a discontinuous set of presets Click the Delete button at the bottom of the Preset Skies Library dialog Importing and Exporting Preset Skies Importing and exporting presets is a handy way to exchange custom presets with other users To import a preset sky file 1 Click the triangle icon next to the Sky amp Fog text button at the top of the Bryce environment The Preset Skies Library appears Click the Import button at the bottom of the Preset Skies Library dialog The file open dialog appears Locate the file which you would like to import and click Import The contents of the file are placed into the first available space in the current category To export a preset sky file 1 D6 Click the triangle icon next to the Sky amp Fog text button at the top of the Bryce environment The Preset Skies Library appears Select the preset or presets you wish to export Click the Export button at the bottom of the Preset Skies Library dialog The save file dialog appears Enter a name and location for the file and click Save Terrains What is a Terrain Terrain objects define the landscape of your scene They represent the land forms of any s
339. ike before you apply the Erode effect Notice that this image map has sloping areas that will make the erode effect more visible This isthe same terrain after the Erode effect is applied You can see how the surface now contains tracks created by running water To erode terrains l Make sure the Elevation tab is displayed If it s not click the Elevation title 2 Click the Erode button To gradually apply erosion hold down the mouse button and drag while the pointer is over the Erode button Using the Zoom Area W hen the Zoom Area is active only a small portion of your terrain is displayed in the 3D Terrain Preview The 3D Terrain Preview dis 162 plays the zoomed in portion of your Terrain Canvas You can use this feature to see small variations in the surface of your terrain The Zoom Area can be moved to any point on your Terrain Canvas Usethe Zoom Area to see a close up of an area in your Terrain Canvasin 3D You can always paint while the Zoom Area is active in fact this is a nice way to paint in the Terrain Canvas while previewing a small sec tion in 3D to observe details To turn the Zoom Area on e Click the On text button below the Zoom Area title at the bottom of the Terrain Canvas frame A marquee appears on your Terrain Canvas To turn the Zoom Area off e Click the Off text button below the Zoom Area title at the bottom of the Terrain Canvas frame To move the Zoom area 1 Mo
340. il the object is about the width shown Creating the door 8 Locate the top Y axis on the Resize tool Drag left to shorten the doorway until it looks to be about the height shown in the figure above Lesson 7 Assigning Boolean Properties After the doorway object is created and sized correctly assign boolean properties to it The doorway needs to be cut out of the wall so you ll need to make the doorway object negative To add boolean properties 1 Press theN key to make the doorway object negative The wireframe changes to a dotted line 2 Select the front wall by clicking it The wireframe turns red Tutorial 74 Since you can t tell from looking at the scene from front view whether the front wall or the back wall is selected it s a good idea to look at your scene from top view 3 Switch to Top View by choosing View Options menu gt From Top or press the 2 key Your scene changes to top view The front wall should be selected and the back wall should not 4 Change this object s properties to positive Press the P key or click the Object Attributes button to access the O bject Attributes dialog box then click the button next to Positive The wireframe remains solid 5 Select both the front wall and the doorway by drawing aselection marquee around their centerpoints as shown The wireframes of both objects are red EE eee Creating a boolean object 6 Click the Group button to
341. imation the illusion of a banana ripening was created by changing the color and texture of a material over time In Bryce animating materials is a rather straight forward process Using the animation tools in the Materials L ab you set the properties of a material at different points along the Time line When you run the animation Bryce inter polates between the properties to create a transition from one material to the other You can animate any property of a material Colors e Channel values e Texture component usage that is switching between componentsA B C and D e Texture properties Volume Material properties 389 Take care when you re choosing which proper ties to animate Some properties like transpar ency and volumetric effects can greatly increase the rendering time or your animation Material animations are created using the Ani mation controls at the bottom of the Materials Lab Tmeline TRO ea conti s Key fame conbts TheAnimation controls at the bottom of the M aterials Lab lets you move along theT imeline and preview your animation These controls let you move along your anima tion s timeline This timeline is the same as the one at the bottom of the Working window It contains all the same key events as the Working window timeline The Animation controls in the Materials Lab can perform all the same fea tures as the Animation controls in the Working window Animating Material
342. imation and Motion Paths As you change the position of an object Bryce creates a motion path which shows you the path the object will take as it moves from one key event to another ain pmb pa i An object s motion path shows you the trajectory of the object asit moves from one key event to another You can edit an object s motion path to adjust its trajectory throughout the course of the animation Refer to Editing Motion Paths on page 378 for more on motion paths 355 Animatable Properties Each characteristic of an object or effect that can be animated is called a property Most objects have many animatable properties Properties like position size and orientation are common to all objects Other properties are specific to certain types of objects Lights have special properties like brightness falloff and gels Skies have their own set of properties that control everything from cloud coverage to the time of day The properties of individual objects can change depending on the material you apply The color texture and density of an object can also be animated Some properties can be animated directly in a specific editor O bject material properties can be animated from within the Materials Lab and terrain geometries can be edited from within the Terrain Editor Properties in the Sequencer Every time you change an object s property it appears as a key event in the animation s Sequencer
343. in Torus 1 perspective Current Time Bar The Sequencer lets you control the placement of key events on the timeline The Sequencer lets you see where in time a change in an object s property occurred and edit the position of that event Different types of objects have different properties 0 0 0 5 on 14 Gln entevedmentegedeg emede Cube 1 Position Rotation Scale Shear Origin Each Object listed in the Hierarchy List area can be expanded to show the timelines of any transformations applied to it A scene contains more than just objects You can expand the Hierarchy List to also display the properties for your scene s sky and the cam era Bryce 4 The display buttons along the left side of the hierarchy area let you hide or display an object in the animation preview This can help you iso late objects in a complex scene Use the display buttons to hide or show objects in the animation preview Time Mapping Curve Editor TheTime Mapping Curve editor lets you con trol the length of time between key events Each property listing in the Hierarchy List has its own time mapping curve The curve acts like a time filter which remaps the time in your animation Depending on the shape of the curve the events in your anima tion may take longer to complete or may all occur very rapidly A time mapping curve can speed up events while slowing down others You can even reverse the action in your animation
344. in the library To create a new picture using Alpha channel information only 1 Click the Copy button below the Alpha Channel window 2 Click the Paste button below the Combined window The alpha channel information is placed in an empty slot in the library Deleting Pictures When you delete a picture you remove all the image information including color and alpha channel from the library To delete a picture from the library 1 Click the thumbnail for the picture you want to delete 2 Click the Delete Pict button To delete all pictures from the library e Click Delete All Inverting the Alpha Channel When you invert an alpha channel all the black areas become white and the white areas become black This means that all the areas that were transparent now become solid and vice versa Bryce 4 To invert an alpha channel Click the Invert button above the Alpha channel window The Invert button swaps all the black and white values in the alpha channel Picture Lists A Picture List is a file that contains a group of pictures A Picture list can be used to store all the pictures used in a given scene or to store a series of pictures you use most often You should also usea picture list to store any pic tures you ve used as part of material There are several Pict texture List files provided as samples for your first excursions To open a picture list 1 Click the Open List button at the bottom
345. ing Values can be used with textures In this case the value sets how much of the texture is applied to the channel For example if you use an orange colored texture to set the Diffuse Color channel the value would indicate how much of the texture color is used as the Diffuse Color A value of 100 means that all the texture information is used in the channel a value of 0 means that none of the texture is used Not all channels use values The Color channels only use colors or textures The Refraction channel can only be set with a value 208 To use a value as a component Inthe Materials Lab drag the slider next to the channel whose value you want to set As you drag the numerical value appears in the number field Some channels let you set negative values Texture Components When you use a texture as a component Bryce extracts values from the texture to use as a value for the material channel There are two types of texture components you can use pictures and 3D textures Pictures are images you import from either the Picture Library or from another application 3D textures are procedural textures generated by Bryce and stored in a texture library You can assign up to four textures as components for a material These textures can be any combination of pictures and 3D textures Each texture component is assigned a letter A B C or D The texture you assign to a component is used throughout the material so
346. ing Normally if you drive a component s value with a texture the texture s alpha channel will set the value without regard to the amount that was set using the component s slider With alpha scaling turned on the amount set with the slider will scale the amount provided by the texture s aloha channel This gives you more subtle control over the influence of the texture on the material component s value Transforming Textures Since a 3D texture exists in three dimensional space it can be transformed along the X Y or Z axis just like a 3D object Using the texture transformation tools you can scale position or rotate your texture The final look of the transformation depends on the mapping mode you use to apply the texture to the object In some modes texture transformations may not be very noticeable while in others like Parametric transforms can have a large impact on the look of the material 216 You may find it necessary to experiment with different settings to get the results you want If you find that the texture isn t reacting the way you want it to try changing the mapping mode Refer to Texture Mapping Modes on page 212 for more on mapping modes The transformation tools give you very fine control over the final appearance of the texture Scale Using the Scale tool you can control the frequency of the texture Increasing the scale of a texture decreases the frequency of the pattern
347. ings and horizon illusions e Cloud Cover contains controls for editing cloud textures and setting up cloud animations e Atmosphere contains controls for rainbows visible lights and color blending You can preview your changes in the Sky Lab dialog Bryce 4 e To view the different preview options click the downward pointing triangle at the lower corner of the preview area You can also change the camera position in the preview area e To change the position of the camera hold the Option Alt key and drag the preview To orbit around the scene drag the preview in the direction you want to move the view of your scene Working with the Sky amp Fog palette The Sky amp Fog palette has several settings that you can use to control how the palette affects your scene and how the sun tracks your camera view You can also use the palette s memory dots to store settings as you experiment with different environmental attributes Using the Control Thumbnails The thumbnails are visual guides and they are also used to set the attributes of Sky amp Fog effects To change the intensity of an effect e Drag to the left or right inside the thumbnail to change the intensity of the effect Creating Skies To pick a color for an effect Click the color bar below the thumbnail A color picker appears and your pointer changes to an eyedropper Click on the bar below the thumbnail to access the color picker
348. inted at the target object no matter where the object moves in the scene This means the Trackball is disabled because the orientation of the camera is controlled by the position of the target object Also you can t change the aim of the camera because it always aims at the target object 386 However you can position the camera using the Camera controls as these controls change the position of the camera not its orientation wv F For example if you link the camera to an airplane the view of the scene will follow the airplane s trajectory asit moves long its motion path Linking the camera can cause unpredictable movements when you rein Camera View If you change the position of the target object the view of the scene will also shift To link the camera to an object using the Camera amp 2D Projection dialog 1 Switch to an orthogonal view or Director s View 2 Select the Camera 3 Click theA icon that appears next to the camera s bounding box The Camera amp 2D Projection dialog appears You can also access the dialog by double clicking the Trackball or choosing Edit menu gt Current Camera 4 Click the Linking tab 387 5 Click the Object Parent Name menu and choose the name of the object you want to use as the parent object 6 Click the OK icon to link the two objects To link the camera to an object interactively l Switch to an Orthogonal view or Director s View 2 Select the Camera
349. ions without losing your favorite settings along the way Memory dots appear along the right side of the palette ULL U se the M emory dots to store your favorite Sky amp Fog settings To save Sky amp Fog settings e Inthe Sky amp Fog palette click on an empty dot empty dots are gray All the current Sky amp Fog palette settings are stored into the selected dot To switch to a saved Sky amp Fog setting e Click on a full dot full dots are turquoise The current settings are replaced with the settings stored in the dot D7 An active dot will be turquoise with a white point inside it To reset Sky amp Fog settings to default Inthe Sky amp Fog palette click the uppermost memory dot This dot always appears full To delete a saved Sky amp Fog setting Option click Alt click on a full Memory Dot The uppermost dot cannot be cleared Memory dots are saved with the scene but not between sessions so you may want to save your favorite skies as presets before ending a Bryce session Randomizing Skies Randomizing skies is a very powerful way of exploring possibilities you may never find any other way W hen you randomize the sky all the settings in the palettes are replaced by randomly generated values Click the Randomize Sky button to randomly generate sky settings To randomize your sky e Click on the Randomize Sky Button Remember you can always return to the default
350. iors relative to sun position and uses a single color for the sky This mode is useful when you need to render objects against a simple colored or black or white background The Sun color still affects objects in this mode If you have red sunlight for instance objects in your scene will reflect red light To set custom sky colors 1 Click the triangle icon next to the Sky Mode thumbnail and choose Custom Sky 28 from the menu The thumbnail changes to the Custom Sky control 2 Click the Sky Color swatch and choose a color from the color picker The Sky Color is the main sky color in this mode regardless of sun position 3 Click the Solar Halo Color swatch and choose acolor from the color picker This is the color of the halo around the sun 4 Click the Horizon Color swatch and choose acolor from the color picker This color will in certain cases affect your scene below ground level if you have a haze setting of greater than zero It will also impact the color of Stratus clouds near the horizon In most cases this will be the least obviously used color in your scene unless you are making outer space scenes in which case this could be very useful for you To render objects against a plain background 1 Click the triangle icon next to the Sky Mode thumbnail and choose Atmosphere Off from the menu The thumbnail changes to the Atmosphere Off control 2 Click the Atmosphere swatch and choose a color
351. ire Animation Range when you re creating the final animation To set the range of the Working Area manually 1 Make sure the Animation controls are visible If it s not click the Time S election Palette toggle 2 Drag either end of the existing Working Area Release the mouse button when the Working Area is the desired length TheWorking Area cannot be extended past the end of theA nimation Range To set the range of the Working Area numerically 1 Choose File menu gt Animation Setup or double click the Current Time Indicator TheAnimation Setup dialog appears 2 Click the word Current at the top of the dialog and choose Working Range Low from the menu 3 Enter the starting time for the Working Range 4 Click the word again and choose Working Range High 5 Enter the ending time for the Working Range 361 Setting Timeline Scale The scale indicator at the right edge of the timeline let you adjust the scale the timeline If you have a very long timeline you can use this controls to scale it down so you can see the whole timeline at once If you have a very short timeline you can use the control to scale it up so it extends across the length of the palette Use the scale indicator to scale the timeline To set the scale of the timeline 1 Make sure the Animation controls are visible If it s not click the Time S election Palette toggle 2 Drag the scale indicator Drag right to increase t
352. is example an object was scaled using O bject Space coordinates and then rotated You can see that it no longer rotates around its center Transforming using Object Space coordinates is not the same as using O bject Space with one of the Transformation tools When you choose Object Space for one of the transformation tools transformations are performed using Object Space axes as a reference but the final position or size is calculated using Absolute Coordinates So in this case the object origin and all its points move along with the object W hen you use O bject Space Coordinates to transform an object you re redefining how the object is created so its origin does not change as the size and position change Relative Coordinates Relative Coordinates use the World Space axes as reference for object transformations but the values represent changes relative to the object s current position or size For example if you 284 enter a position change of 2 units the object moves two units from its current position along one of the World Space axes Y 4 2 Z Relative Coordinates use the W orld Space axes as reference but transformations are relative to the current position or size of the selected object Relative Coordinates are the only coordinate systems available in the 3D Transformation dialog Transforming Objects Transformation Tools The transformation tools let you perform all the object transformation o
353. is is where you combine values colors and textures to set channel values The Materials Grid is divided into three M aterials sections each containing logical groups of channels The Material Grid gives you a one glance view of all the channels that make up your material The Color channels group contains all the material channels that define the colors that appear on the object surface when it s struck by light The Color group in the M aterial Grid contains all the channels that define the color of an object s surface or volume Each channel in the Color group has a color oval next to its title This oval lets you quickly set a color for the channel Use the Color oval to quickly set a color for the channel using the Color Picker 228 TheValue group contains all the channels that define how the object s surface or volume reacts to light In other words they control whether the object is shiny metallic bright or dark TheValue group contains all the channels that define how an object s surface or volume reacts to light The Optics group contains all the channels that define any optical effects associated with the object When you re creating volume materials the Optics group is replaced by the Volume group This group contains all the channels that define the appearance of an object s volume All of the channels in these three groups have sliders on the left side of its row The sliders
354. is next section you will make slight modifications to the lights and use Bryce s tracking controls to make the lights always point at certain objects To make it easier you ll need to temporarily rid your scene of extraneous objects To adjust lights 1 Click the Solo Mode button on the Selection palette to change to Solo mode The ground walls and building objects disappear leaving only the two lights and the pedestal and sphere Tutorial 78 BEEE The scenein Solo mode 2 Click away from the objects to deselect them then select the lower light The fourth button down in the group of buttons associated with the selected object is the Tracking icon Click the Tracking icon and drag from it to the sphere object W hile your mouse button is still pressed whatever object is underneath the mouse turns blue W hen the sphere turns blue release the mouse The light is now set to track the sphere Drag the light so that it is located above and to the left of the sphere The light remains pointing at the sphere Click the Land Selection button the Down arrow button located in the group of buttons associated with the selected object The light snaps to the ground pointing toward the sphere from this position Select the light that is located above and to the right of the pedestal The wireframe turns red Drag from this light s Tracking icon to the tall cylinder The tall cylinder turns blue Release the
355. is not in most cases desirable Use the smoothing command to eliminate this chunkiness You can set a threshold angle for smoothing as well 439 snap to A special form of 3D Transformation changes the selected object s position based on the Snap To command you select These com mands are located in the Edit palette in the Alignment Options menu solid texture A three dimensional mathemati cal description of an object s textural character istics Often referred to as procedural texture specular The highlight of any object with a shiny surface light that reflects non uniformly in specific directions depending on the surface roughness Specular highlight refers to the point where specular reflection is most pro nounced spotlight A light which casts rays in acone shaped spread often used top create the classic Hollywood spotlight effect square spotlight Similar to the SpotLight but casts rays in a pyramid shaped spread think of it as a slide projector symmetrical lattice A procedural BryceTerrain object which has another Terrain mirrored at the base terrain An object used in Bryce as the basis for mountains islands plateaus and other landscape objects terrain canvas The area in theTerrain Editor onto which you paint and apply effects Terrain data can be rendered at many levels of detail from 16x16 to 1024x1024 This resolution does not refer to the wireframe that is used to repre s
356. ise anglein theY and Z axes You can also drag over the scroll arrows to speed up the increments Phase Noise Octaves Phase noise octaves work exactly like the noise octaves T hey introduce an extra level of complexity to the noise Refer to Noise Octaves on page 252 for more on octaves 260 Phase Noise Modes Phase noise modes work exactly like the noise modes T hey modify the octaves of a noise Refer to Noise Modes on page 253 for more on octaves Filtering The filter you apply to the noisein a component can change the entire look of the noise The filter refines the noise so that it has more or less detail increases its contrast applies it only at high altitude or changes its spatial orientation W hatever the change the filter has a profound effect on the final look of your texture Filters are expressed as equations with variables W hen the equation is applied to the noise it changes some aspect of the noise You can control how the equation affects the noise by changing the values of the variables The filter only affects the noise The phase cannot be altered using a filter The phase is blended with the noise Filters are edited using the Filtering palette The palette displays the current filter and provides tools for editing the filter graph 261 Component Indocat Fikting Eration Firing wph Rest budrt Fibtt rable The Filtering palette displays the current filter and provide
357. ise angles for noise orientation You can also use the scroll arrows to set the angle in increments YZ 0 a The Direction fields let you enter rotation angles to precisely control the noise direction along the X Y or Z axes Changing noise orientation can dramatically change the look of your noise You ll see just Textures how different your noise can look when you rotate it along a single axis Rotation in Rotation in XYZ Rotation in Noise orientation controls the direction of the noise To change the orientation of noise 1 Display the Deep Texture Editor 2 Display the Noise Editor 3 Drag over the XY field in the Direction area to set the noise angle in the X and Y axes Drag left to decrease the value or right to increase it 4 Drag over theYZ field in the Direction area to set the noise anglein theY and Z axes You can also drag over thescroll arrows to speed up the increments Noise Octaves Noise octaves are like musical octaves In a musical scale if you play F and then F an octave down you re playing the same note only it sounds lower If you play both notes at the same time the sound is more complex than if you played only one note The same is true of noise W hen you add an octave to noise it 252 becomes more complex but the type of noise remains the same EE 1 Octave 2 Octaves 3 Octaves These examples use RND Continuous noiseand RND Linear noise to show the ef
358. isplay the Deep Texture Editor 2 Display the Noise Editor 3 Click the type field at the top of the editor and choose a noise type from the menu Type RND Continuous TheType area at the top of the editor displays the name of the currently selected noise type 250 Noise Frequency Noise Frequency determines how often the pattern within a texture repeats Frequency is like scaling the noise Higher frequencies decrease the scale of the noise so you can see the pattern more often L ower frequencies increase the scale of the noise so the pattern repeats less often You can change noise frequency using the Frequency fields The fields let you enter numerical values to adjust the noise frequency along the X Y or Z axis You can also adjust the values using the scroll arrows The number of dimensions in the noise determines how many axes you can use to adjust the frequency For 1D noise you can only use the X axis With 2D noise you can use both the X and Y axes For 3D noise you can use all the axes If you try to adjust the Z axis frequency for a2D noise your changes will have no effect The Frequency fields let you enter values to precisely control the noise frequency along the X Y or Z axes Adjusting the frequency can radically change the look of your noise If you adjust the 251 frequency in separate axes you can achieve even more interesting effects Frequency Frequency Frequency 100 Noise frequenc
359. ith Bryce as well Many of these princi ples apply especially to character animation but most are useful for any subject matter For more information you can refer to one of the many excellent books on cartoon animation Squash and Stretch Squash and stretch are animator s terms for the exaggerated redistribution of an object s mass as it moves or shifts positions Squash and stretch portray the qualities of elasticity and weight in a character or an object Think of a bouncing rubber ball As it falls it stretches as soon as it hits the ground it is squashed If the ball failed to change shape the audience would interpret it as a solid rigid mass You can accomplish squash and stretch in Bryce by transforming the object at different points in time Bryce 4 This ball s bouncing motion is exaggerated by deforming its shape so that it stretches as its descending and squashes when it hit the surface Lag and Overlap When an object moves from one point to another not everything has to move at once For true to life movement action that is sec ondary to the main activity can lag and overlap For example when you animate swirling curves the cubes at the top would swirl faster than those at the bottom In Bryce an object s hier archy can be used to create these effects Arc vs Straight Line Movement Character motion appears more realistic if it follows an arc or curved path instead of a straight line
360. ith excessive places to the right of the decimal point Bryce 4 To reposition an object numerically 1 Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Select an object 3 Click the triangle icon next to the Reposition tool and choose 3D Transformations from the menu The 3D Transformations dialog appears 4 Enter a value in one or all of the Offset fields Offset ERM i024 o Enter a value in the Offset fields to move objects by a specific number of units The value determines the number of Bryce units the object is offset from its current position Remember that since this dialog only performs transformations in world space you are moving the object relative to world X Y and Z coordinates You can also position an object numerically using the Object Attributes dialog The values in the Attributes dialog position the object using either Absolute coordinates or Object space coordinates Refer to Absolute Coordinates on page 283 and Object Space Coordinates on page 283 for more on the these coordinate systems Interactive Repositioning The simplest way of positioning objects is by dragging them to different locations in your scene W hen you drag an object you re repositioning it with respect to the camera Arranging O bjects To reposition objects by dragging e Pass you cursor over an object W hen it changes to a crossed
361. ith height intensity and color and mul tiple sky color components You can also use Bryce controls to create a wide variety of objects you can use to populate your environment You can use the Terrain editor to create an infinite number of custom terrains which you in turn use to create land scapes The realism of a Bryce environment is largely dependent on the Materials applied to the objects in the scene Materials are complex combinations of textures and values The Mate rials Lab lets you combine textures and channel values that simulate any material found in the real world and a few that aren t When you have set up your environment just the way you want it you can add a fourth dimension time You can use Bryce s anima tion tools to set up landscapes that move and materials that change over time Application Overview The Bryce Window Bryce s default environment consists of the Working window the Control palette and the Tool palettes By default the Bryce environment replaces your screen whenever you launch the applica tion H owever your operating system s stan dard menus and windows are still available from within Bryce a Sree Tek tea i W hen you launch the application the Bryce window replaces your desktop Bryce Overview 8 The Working Window TheWorking window displays all the objects in your Bryce scene It s the work area where you ll arrange the objects and lights
362. ition of all the events on the path so this animated ball occurs at a higher altitude To move a motion path Click on a section of the path that does not contain any control points and drag it to new location You have to click on a part of the path without control points otherwise you ll change its shape Aligning Objects to the Path Normally the center of object remains perpendicular to the motion path as it moves from point to point Using the aligning option you can have the object s center remain parallel to the path so that it reorients itself as moves from point to point Animating You can use this option to create more realistic motion for objects that have a distinct front and back a het sae For example the motion of this airplane looks rather unrealistic since its rising and falling without tilting J i If you align the airplane to its path the airplane s nose tilts down as it moves down and up asit moves up There are two align options available e DoNotAlign disables aligning The shape of the curve has no effect on the object s orientation e Align adjusts the object so that its orientation is matches the shape of the path To align an object to a motion path 1 Select the object 2 Click the A icon that appears next to its bounding box The Object Attributes dialog appears 3 Click the Animation tab 4 Enable an alignment option and click the OK icon 380
363. itive objects appear as ghost images This mode is very useful for creating planets and quarter moons light beams and ghost images Distance Blur This modifier is designed to minimize the problem created by highly bumpy textures fading into infinity i e the horizon Often moir like patterns appear in these cases as the pixels try to resolve the infinitely receding high frequencies of bumpy water or grooved sand and so on The Distance Blur modifier fades the bumpiness well before it hits the horizon Bryce 4 Receive Shadows This modifier prevents an object s surface from accepting shadows cast by objects around it The object itself will cast a shadow but it won t accept them from other objects W hen the Receive Shadow filter is disabled no shadows will appear on the object s surface Cast Shadows This modifier prevents an object from casting shadows T he object s surface still reacts normally with light but it does not cast any shadows Self Shadows This modifier prevents an object from casting a shadow onto itself yet still shadow all the other elements of the scene Volume Blend Altitude This modifier gradually blends in the Volume color based on altitude Areas at lower altitudes are tinted with the 100 Volume Color as you M aterials move higher up less of the Volume Color is added Using theVolume Blend A Ititude you can simulate the effects of sinking deeper into a volume
364. itors Bryce has several editors that let you do every thing from creating terrains to editing the speed of animation Each editor is like a sepa rate room in Bryce W hen active the editor takes over the interface completely replacing the Working window Bryce Overview WZ The Terrain Editor TheTerrain Editor is where you ll create all the terrain objects in your scene The editor con tains tools for painting and refining terrain objects TheTerrain E ditor lets you create any type of landscape using the preset tools and paint brush TheTerrain Editor also has a real time preview so you can see the effects of your changes instantly Three tabs in the Terrain Editor let you switch between the various terrain creation tools e Elevation provides access to the terrain generation and editing tools e Filtering lets you adjust the filter curve for aterrain By adjusting this curve you can make subtle changes to the topography of your terrain e Picture lets you use 2D pictures to create terrains Refer to The Terrain Editor on page 158 for more on theTerrain Editor The Materials Lab The Materials Lab is where you ll create the materials to apply to your objects By combin ing up to four texture components on the mate rials grid you can create incredibly complex surfaces that can bring your scene to life The Materials Lab lets you create different types of materials by combining texture components
365. ive Positive Negative Neutral If you were to group a neutral object with a Boolean object both objects would remain visible with no Boolean operation occurring Neutral is the default object property If you are importing objects from Bryce 2 you may want to change some positive objects to neu tral for faster rendering Boolean Operations Boolean Union is performed by grouping two positive objects The area that is common to both object is removed creating a continuous object For example when you group two posi tive spheres you get a kind of peanut shaped object which is the union of the two objects a 5 a E Boolean union is performed by grouping two positive objects Boolean Subtraction is performed by grouping a negative object with a positive object The area that is common to both objects is sub tracted from the positive object resulting in a positive object with negative space For exam ple when you group a positive sphere with a negative one the resulting object looks like a sphere with a crater Bryce 4 ores Boolean subtraction is performed by grouping a positive object with a negative object Boolean Intersection is performed by combin ing an Intersecting object with a Positive object The area that is common to both objects becomes the only visible portion of the group Boolean Intersection is performed by grouping a Positive object with an Intersecting object
366. jects you connect them so that when one object moves so does the other This is called a Parent Child link Bryce 4 In a parent child link the parent controls the actions of the child This means that when the parent object moves so does the child object However when the child object moves the parent object does not Parent moves Child moves In a parent child link the movement of parent object dictates the movement of the child Parent doesn t move Child moves H owever the parent object is unaffected by the child object A child object will start its movement from it original position and always maintain a constant distance from the parent The distance is determined by the original positions of the objects before they were linked The movement of the child object depends entirely on the type of transformations you apply to the parent object If you rotate the parent the child will orbit around it like a moon around a planet Arranging O bjects If the parent is moving along a path the child will match the trajectory of the parent s path but maintain a constant distance from the parent object d i 9 re y If both the parent and the child are moving along a path the child object moves along its path while matching the trajectory of the parent object s path To link objects in the Working window l Select the object you want to set as the child object A series of icons a
367. jects and click the G button next to the selection s bounding box to group them 117 Bryce 4 Objects attached to a geometric path can move to any point along the path but they can t move off it So their trajectory is controlled by the shape of the path You can control how an object is constrained to the path using the options in the O bject Attributes dialog Geometric paths can be edited just like you would any other object You rotate position or scale the path using the tools in the Edit pal ette You can also edit a path by dragging its control points This way can change the geome try of the paths as well as the trajectory of any object attached to it Geometric paths are especially useful when you creating motion animations as they can help you create predictable and repeatable motion The other great thing about geometric paths is that you can have more than one object attached to it This can be very useful if you want anumber of objects to move along the same trajectory You can attach multiple objects to the same path The motion of each object on the path is constrained by the shape of the path Objects that are attached to the same path can be animated at different rates So if you can think of the objects as different trains on the same track some trains are at the beginning of the track others are in the middle and some are at the end All the object attached to the path will have the same tr
368. k with is the pyramid So the cube is aligned on the outside edge However it needs to be made wider to match the pyramid s width and narrower in depth so that it does not occupy so much of the pyramid s interior We ll start with this size change To adjust the wall size 1 Place the cursor over the top center point of the bounding box The cursor changes to a Z indicating that Bryce is ready to work with the object along the Z axis Click there and hold down the Shift key then slowly drag to the left The cube snaps to half its depth Release the mouse Repeat this step to shrink it to half its depth again will resize the object from the center Press Shift and click then slowly drag to the right The cube widens by set increments By the fourth snap it matches the width of the pyramid Release the mouse and keys If needed nudge it into position so that it aligns correctly Widening the wall Lesson 4 Duplicate the Walls You now have one wall Duplicate this wall to create the one opposite To duplicate the walls 1 Duplicate the cube by choosing Edit menu gt Duplicate or by pressing Command Ctrl D A second cube appears in the same place it shares the size characteristics of the first Press the up arrow key to move the wall to the opposite side 11 to 13 taps should place it there The second wall is now located at the opposite end Adjusting the wall size The wall is thin enough n
369. key event to the other There are two quick ways of creating different materials Animating Techniques 392 Thisis not the most effective way to see a material aniamtion T he best way of seeing a material transformation is by rendering the scene The M aterial Preview area displays the preview of your material animation To preview a material animation e Click the Play button in the Animation controls at the bottom of the Materials Lab Click the Stop button to stop the preview Animating Skies All the properties of a Bryce sky can be ani mated This means that any attribute you can set in the Sky amp Fog palette or the Skylab dia log can be animated using the Animation con trols on the Timeline This section assumes that you re familiar with the concepts and procedures involved in creating skies Refer to Creating Skies on page 123 for more on creating skies By changing the attributes in the Sky amp Fog palette at different points in the time you can 393 animate everything from the position of the sun to the color of the clouds _ For example you can simulate changes in the time of day by changing the position of the sun over time There are several techniques you can use to add motion to your skies You can animate all or some of the properties of your sky You can acti vate and deactivate sky effects at different points in the animation You can also animate the position of the
370. late any of the other modes For example if you place the camera s origin point in its center it acts like its on a tripod Bryce 4 In Free mode the camera can move to any point and can rotate around its center or any other point in the scene Refer to Manually Positioning the Camera on page 339 for more on positioning the camera s origin point To choose a camera mode 1 Double click either the Trackball or one of the Camera controls The Camera amp 2D Projection dialog appears 2 Make sure the General tab is visible 3 Click one of the mode buttons at the top of the dialog You can also switch between modes by clicking the triangleicon next to theTrackball and choos ing a mode from the menu Using the Trackball TheTrackball lets you rotate the camera around its origin point The position of the origin depends on the Camera mode you select Refer to previous sections for more on these modes The Camera and Lights The Trackball doesn t rotate the scene it only changes the camera s location Offset and orientation Rotation relative to your scene To move the camera using the Camera Trackball Drag the mouse over the Camera Trackball control The view of your scene moves in the direction you drag Using the Camera Controls Camera controls let you move the view of your scene along specific axes When you re using these controls the view does not tilt or rotate from its original positio
371. lay your scene from different angles in the Nano Preview e Click the triangle icon below the Nano Preview and choose a preset display angle nce de Sky Only v Full Scene Wireframe v Auto Update v Current View Director s View Camera View From Top From Right From Front d From Left From Back Lt From Bottom Click thetriangleicon to access the display anglesfor the Nano Preview 24 The view of your scene does not change in the Working window To set Nano Preview options e Click the triangle icon below the Nano Preview and choose a display option Sky Only previews only your sky settings e Full Scene previews your actual scene This is the default setting for the N ano Preview Wireframe Only previews your wireframes only as opposed to a rendered preview Auto Update will automatically update the preview render with every single change you make during your session In most cases this is a godsend giving you almost immediate feedback after any action On slower machines or when working with highly complex scenes you may wish to deselect this option With this option deselected you ll need to click in the Nano Preview window to update the render Select either Fast Preview or Full Rendering to adjust the quality of the rendered preview With Full Render selected every pixel is raytraced and anti aliased Fast preview mode skips pixels to achieve faster updates
372. lays the object you selected 4 233 Click a category name The library switches to the category you selected The new preset will be added to the category you select Click the triangle icon at the bottom right corner of the preview and choose a view option from the menu Normal is the default view of your selected object Up Close displays a close up of your object Render With Neutral Sky displays your object with a flat sky instead of the sky applied to your scene Render With Neutral Ground displays your object on a flat ground plane instead of the ground used in your scene Current Selection displays your object exactly as it appears in your scene Box displays your material applied to a cube Sphere displays your material applied to a sphere Cone displays your material applied to a cone Cylinder displays your material applied to a cylinder Terrain displays your material applied to a terrain You might want to disable Render With Neutral Ground as terrain materials look better when placed on a ground plane with the same material Ground displays your material applied to an infinite plane Torus displays your material applied to a torus object Drag the preview area to rotate the view of your object Bryce 4 6 Hold down the Spacebar and drag up Importing and Exporting Preset down right or left to pan the your object Materials preview 7 Hold down Command Ctrl and dragin the Impor
373. le in the lower right hand corner The Selection Palette appears EEE e ce 57 3 Click the Select Sphere tool A pop up Miir menu appears Finishing the path Congratulations You have just created a Gebak ma a camera trajectory to animate this camera here At this point you will not be creating any new keyframes for the camera position but adjusting the ones that are already there Select Sphere menu You ll no longer need the Bryce s Auto key The options are Select All of Type and a function To ensure that you do not listing of the individual spheres by number inadvertently create a new keyframe during The sphere that you want to point at will be the next steps of this tutorial you can the bottom sphere on this list In the figure deactivate the autokeyframe function shown it is Sphere 4 but the number in your scene may differ Make a note of the sphere s name you will find it in a different pop up menu in the next couple of steps VA Click the triangle to the right of the Animation palette then select Auto key from the list so that it is unchecked 4 Click the camera to select it The camera s Lesson 2 Pointing the Camera wireframe turns red and the blue trajectory line appears Check to see what the camera does duringthis 5 Click the Object Attributes button The sequence by playing the sequence Object Attributes dialog box appears it says Camera amp 2D Projection but it s the Object Att
374. lement The name of the element is displayed In some cases the element s current settings are also displayed 21 To display statistics about the objects in your scene 1 Switch to Wireframe display using the Display Mode tool 2 Pass the pointer over the working window e If no objects are selected the Text Display area displays a count of all of the objects in your scene as well as a total polygon count e Ifan object is selected the Text Display area displays object and polygon counts for the selected object To display information about rendered images 1 Switch to bitmap display mode using the Display Mode tool If you have not rendered your image the working window is blank 2 Pass the pointer over the working window TheText Display area shows the file size Displaying Hiding Palettes To keep the interface uncluttered many of Bryce s palettes and toolbars are hidden when you first launch the application Some palettes are hidden behind other palettes To display different palettes e Either click on a text button above the Working window or press the key combination for the desired palette e Command 1 Ctrl 1 Create palette e Command 2 Ctrl 2 Edit palette Bryce 4 e Command 3 Ctrl 3 Sky amp Fog palette e Command 4 Ctrl 4 C ontrol palette To display hidden palettes Pass the cursor over the edges of the Working window or Press the key combination for the hidden palette y
375. lend pictures 1 Load pictures into the first two squares If you load only one picture a white square is used as the second blend image 2 Click the triangle icon under the third picture box and choose a Blend mode from the menu Blend compares each corresponding pixel from the first two squares and displays an average of the two in the corresponding location of the third square Minimum compares each corresponding pixel from the first two squares and displays the darker of the two in the corresponding location of the third square Subtract compares each corresponding pixel from the first two squares subtracts the brightness value of one from the brightness value of the other and displays the result in the corresponding location of the third square Add compares each corresponding pixel from the first two squares adds the brightness value of one to the brightness value of the other and displays the result in the corresponding location of the third square 3 Drag the pointer over the Blend control Click and drag to the left to use more of the first image in the blend Click and drag to the right to use more of the second image Terrains Applying Changes to the Terrain Canvas Although the results of blending pictures appears in the third picture box it is not auto matically applied to your Terrain Canvas To apply a picture to the Terrain Canvas Click the Apply text button beneath the third pictur
376. lets you quickly set the value of the channel Values can be used in conjunction with textures or on their own In the case of the Refraction channel you must use a value DIFFUSION AMBIENCE Use the value sliders to set a value for the channel Each channel is divided into four columns A B C and D These columns represent texture components you can use to set the value of the channel At the top of each column isa Frequency slider T his slider lets you quickly set the frequency of a texture component Setting the frequency is the same as scaling the texture W hen a texture component indicator appears in a column it means that a component is 229 being used to drive the value of the channel The column in which the indicator appears indicates which texture component is being used For example if a texture component indicator appears in column A of the Ambience channel component A is being used to drive the Ambience value DIFFUSION Component indicators let you know which channels are being driven by a texture and which texture component A B C or D is being used Texture Component Windows Along the right side of the lab are the Texture Component windows T hese four windows are also labeled A B C and D W hen a texture component is active these windows display a preview of the texture and provide access to texture editing tools Component A Component B Component C Component D T he four T
377. lex lighting effects Refer to Linking Objects on page 305 for more on linking and Tracking Objects on page 382 for more on Tracking 351 Bryce 4 The Camera and Lights 352 14 Animating Key Event Animation and Bryce Animation is process of simulating time In the real world we perceive time through the changes in our environment The most obvious type of change is motion W hen an object changes position at different points in time it appears to be moving But an object doesn t have to be moving to indicate the passage time A change in color texture or geometry also indicates that time is passing These changes in the environment are called key events You create an animation in Bryce by moving to different points in time and changing the properties of a scene to define the action at that point in time Bryce automatically fills in the gaps between these key events to create the illusion of time passing Animation can simulate the passage of time by changing the position of an object at different points in time H ere an airplaneis at the top of the scene at one point in time and at the bottom of the scene at another point by filling in the gaps between the two points or key events Bryce simulates motion Animating The same principle applies to other scene properties H ere the illusion of time is created by changing the geometry of a terrain object at two differ
378. lick the Sky Lab button The Sky Lab palette appears 3 Click the Sun amp Moon tab 4 Inthe Numeric Sun Values fields type a value into the Azimuth field The Azimuth field controls the east to west position of 147 the sun The range is 0 to 360 and the default value is in the range of 0 to 90 5 Enter a value in to theAltitude field TheY field controls the height of the sun relative to your scene The range is 99 to 99 and the default value is 20 Positive values are above the horizon negative values below Linking the Sun to the Camera Normally you d have to reposition the sun every time you changed the camera to maintain acertain effect or sunlight angle H owever if you apply the Link Sun to Camera you re sun will track the camera The position of the sun relative to the camera remains the same no matter where the camera is positioned This way you can set up the sun position once and then not worry about losing the effect as you move the camera W hen the sun is linked to the camera the sun moves relative to the Camera Wherever the camera moves the sun follows As it moves the sun maintains a constant distance from the camera This feature can also be very useful when you re animating your scene Refer to Animating on page 353 for more Bryce 4 To link the sun to the camera l Display the Sky amp Fog palette by clicking the Sky amp Fog text button 2 Click the Sky Lab button Th
379. light sensitivity of material particles Higher values create brighter particles and lower values create darker particles To get the best results for light objects use the Additive blend mode The color of the particles is determined entirely by the Diffuse Color channel The result is like shining alight through a volume If you were shining a light through a 224 cloud material you would be able to see the clouds within the light cone W hen this mode is active Diffusion Ambience Specularity Ambient Color Specular Color and Transparency Color have no effect af a eat they oi siir a sa r Tad T Bo r lt n Use Light Sensitive shading mode to create visible light effects like light beams Shading Mode Modifiers Shading mode modifiers are not shading modes but they modify an existing shading mode When you select a modifier it remains enabled until you disable it You can also apply more than one modifier at the same time Additive a W hen this modifier is active material channels are applied to the environment behind the object instead of to the object s surface If you put an object on a bright background it appears almost white For best results set your Ambient Color control to zero and render against a dark plain background Objects with 225 this shading mode modifier selected will not cast shadows When you modify a shading mode using A dd
380. lor Value channels e Diffusion e Ambience e Specularity e Metallicity e Bump Height Bryce 4 Optics channels e Transparency e Reflection e Refraction Color Channels The Color group contains all the channels that control the color reflected off an object s surface The channels in the Color group are Diffuse Color Ambient Color Specular Color Transparent Color and Volume Color Diffuse Color Ambient Color and Specular Color define the colors the surface reflects when direct light hits it For example Diffuse Color defines the color that is reflected in all directions when direct light hits it and Specular Color is the color that appears in the object s highlight These color channels are directly related to the Diffusion Ambience and Specularity channels Diffusion Ambience and Specularity contro how light reflects off the object while Diffuse Color Ambient Color and Specular Color control the color of that light So for example if you selected yellow as the Diffuse Color the object appears yellow The intensity of the yellow color is controlled by the Diffusion channel Refer to Diffuse Color on page 197 Ambient Color on page 199 and Specular Color on page 200 for more information Transparent Color sets the color of any light that passes through the surface of the object and Specular Halo controls the size of the highlight that appears when an object has a shiny surfa
381. louds you want to edit Click the Edit button The Deep Texture Editor appears The cloud texture and its components appear in the component windows 139 If you re not familiar with using the D eep Tex ture Editor you may get some very unpredictable results which may result in clouds that don t look much like clouds Before you start editing the clouds texture you may want to refer to Tex tures on page 237 for more instruction on how to use the editor W hen you open a cloud texture in the texture editor you can see its componentsin the various windows You can use the editor s tools to completely redesign the texture or to alter the existing texture 6 Ifyou want to add additional turbulence to the cloud texture adjust the texture s Noise e Click the Noise button at the bottom of the editor The Noise control appears The Noise control lets you adjust the frequency of the noise in any of the texture s components e Move the component indicator at the top of the control to the component you want to edit e Adjust the Noise slider to increase decrease the frequency of the noise in the texture 7 Ifyou want to change the colors of a component click one of the color Bryce 4 indicators in the component window and choose anew color 8 If you want to add more complexity to the texture adjust its Phase e Click the Phase button at the bottom of the editor The Phase control appears Th
382. ls to record and preview your animation The Animation controls appears in three areas in Bryce e TheWorking Window e The Materials Lab e TheTerrain Editor e TheSkyLab The tools have basically the same function in each area The only difference is that controls in the editors let you create key events for the properties associated with the editor This means that in the Terrain Editor you can only add key events for terrain objects and in the Materials Lab you can only add key events for material properties The Timeline TheTimeline is a graphical representation of time The darker gray area within the Timeline represents the current length of your anima tion Timeline Working Area Current Time Indicator TheT imeline indicates the length of your animation and the current time The green colored section of the timeline rep resents the length of the Working Area The Working Area can be used as a visual guide to help you isolate portions of your timeline When you render the animation you can choose to render the entire timeline or just the Working Area This is also the only area that is previewed when you use the animation preview controls The Current Time indicator lets you move to different points in time This is the main tool you ll use to create animations Every time you want to add a key event you move the Current Time indicator to a different point on the time line Animation Preview Controls
383. lt inverts the gray level For example if you re painting white holding down Option Alt will paint black In Paint Effect mode the Option Alt key will toggle to Unpaint Effect mode Hold down Shift to constrain the pen movements in 45 degree steps Terrains Filtering Terrains Filtering is the process of adjusting the gray scale curve of your Terrain Canvas By adjusting the grayscale curve you create a custom eleva tion effect How Filtering Works The Filter area is essentially a graph that repre sents gray level input from black to white hori zontally and gray level output from black to white vertically Lightest Gray Value Output Darkest Gray Value Output Rex 2 002 M Darkest Gray Value Lightest Gray Input Value Input The Filtering graph expresses all the input and output gray valuesin your Terrain Canvas The default diagonal filter creates a graph where all values input as black are also output as black and all values input as white are also output as white That is why your Terrain Can vas appears unchanged none of its gray level values have been altered By dragging in this Filter area you can remap the gray values in your Terrain Canvas 176 To see how filtering works 1 Place your cursor which changes to a Pen within the Filtering area in the top left corner of the Filter Area 2 Drag diagonally to the bottom right corner As you can seein the Preview area
384. mage The image is then converted to a terrain object You can also create aterrain by importing a pic ture into the editor The picture is converted to grayscale which is then used to generate alti tude values Creating Landscapes When you re planning the shape of your terrain you should keep in mind the kind of landscape you want to create You don t have to create all the land in your scene as a single terrain More complex landscapes can be created by combin ing several terrain objects Before creating terrain objects plan out the entire map of your landscape Then you ll be able to see where different terrain objects might be combined to create a single land mass v Before you start creating terrains you should map out all the land masses in your environment 164 then you ll be able to see where you will need to combine more than one terrain to create a specific type of landscape If you have more terrains in your scene you ll have a bigger scale for the environment This gives you more resolution and better atmo sphere effects Pay attention to where the camera is positioned in the scene Terrains that are closer to the cam era need to be more detailed than those off in the distance Animation and Terrain Editing You can record the process of creating a terrain into an animation using the Animation con trols Refer to Animating on page 353 for more on animating Some of the Elevatio
385. main objects in the scene Al W hen you move the Camera it s still pointing in the same direction but from its new position only one of the objects in the scene is visible To solve this problem Bryce lets you adjust the aim of the camera as you adjust its position When you look at the Camera as an object you ll see that there is a control handle extending out from the front of the object This Bryce 4 handle represents the Camera s current aim By dragging this handle to a point in your scene you can change the Camera s aim The handle that extends out from the front of the Camera lets you aim the camera When you change the aim of the Camera it rotates to face the new target but remains in the same position To change the Camera s aim in an orthogonal view l In theWorking window click the triangle icon next to the View Control and choose top left right bottom front or back from the menu 2 Drag the end of the control handle to the point in you scene where you want the camera to aim As you drag the end of the handle changes to a red dot so you can see the aiming point better Asyou drag the end of the camera s control handle it changes to a red dot T he dot represents the point where the camera will aim The Camera and Lights Saving Camera Positions You can save your favorite camera positions using the Memory dots T he dots let yo
386. mesh to be written to the exported file Tips for Speeding Up the Terrain Editor on Slower Machines To speed up performance on slower machines disable both the Realtime Linking and AutoR o tate options To speed up the Elevation effects use the sin gle click method rather than the click drag dial in method as the latter can be quite slow on these machines W hen you create a terrain in your Bryce scene anatural impulse is to immediately dress it up with a cool material and render it right away to see what it looks like For serious composition consider keeping your terrains free of textural attributes until the final stages as procedural textures take longer to render than smooth shaded surfaces This will keep you working rapidly on your composition Then before your final output you can take some time to design surfaces for your terrain Bryce 4 Terrains 188 Materials Materials are what bring your Bryce environment to life A material defines the surface properties of an object in your scene It has the power to turn a bunch of polygons into an island or the peaks of the Himalayas You can also alter the basic function of an object A simple cylinder can become a pillar a tree trunk or a metal pipe just by adjusting the properties of the material applied to it In Bryce a material isn t just a picture that s wrapped around an object it s a truly 3D surface The material properties you assig
387. mitive will be the basis of your walls To create walls 1 On the Create Palette click the Create Cube icon A cube appears in your scene With so many objects in the scene assign this cube to its own family right away 2 While the newly created cube is still selected click the family color button to access the Family dialog box Change its color to an unused color and type the word Wall in the text entry field The family color is changed Creating the walls Tutorial 70 Look at your scene from Top View by choosing the Control Palette View Options menu gt From Top The scene changes to top view Another way to see your scene Ti p from top view is to use a keyboard shortcut P ress the number 2 or is Director s View 1 is Camera View 2 is Top View 3 is From Right 4is From Front You can zoom in on your view to make the wireframes bigger Click the Zoom In tool on the Advanced Display palette the Zoom In tool is the magnifying glass with a The Advanced Display palette is a hidden palette located to the right of the Working Window Move the cursor over it to display it The view grows larger with the selected cube object in the center of your scene window View from the top Lesson 3 Adjusting the Wall Size Notice that the cube s bottom edge is aligned with the pyramid s edge The group s edge extends beyond that due to the size of the sphere but the edge that you want to wor
388. mode outputs only green color values W hen the HLS model is used only Lightness values are output Blueor Saturation When the RGB model is used this mode outputs only blue color values W hen the HLS model is used only Saturation values are output Spline Interpol This mode creates a blend between all the colors in the component Thisiswhata color blend looks like using Spline Interpol Bryce 4 Linear Interpol 2 This mode creates a linear blend between the first two colors selected for the component Thisis what a color blend looks like using Linear Interpol 2 Linear Interpol 3 This mode creates a linear blend between all the colors in the component Thisis what a color blend looks like using Linear Interpol 3 Randomized In this mode the three colors are blended and then applied randomly throughout the component Thisiswhata color blend looks like using Randomized Textures Earth Map In this mode extra colors are generated according to the contours of the component s bump map The three colors you selected for the component are applied to the middle range of the bump map Blue is applied to the lowest bump values and white is applied to the highest values to simulate polar caps Earth Map is excellent for creating planets Thisiswhat a color blend looks like using Earth Map Banded In this mode colors are applied in bands The bands are determined by color values Colors wi
389. motion path for an object only appears when the object is selected Otherwise the path is invisible As well it does not render in the final animation You can change the display mode of the motion path in the Animation tab of the O bject Attributes dialog To show the motion path as a ribbon 1 Select the object 2 Click theA icon that appears next to its bounding box The Object Attributes dialog appears 3 Click the Animation tab 4 Enable the Show as Ribbon option and click the OK icon Bryce 4 To display the path only when the object is selected 1 Select the object 2 Click theA icon that appears next to its bounding box The Object Attributes dialog appears 3 Click the Animation tab 4 Enable the Show Only when Selected option and click the OK icon To display the path at all times 1 Select the object 2 Click theA icon that appears next to its bounding box The Object Attributes dialog appears 3 Click the Animation tab 4 Enable the Show Always option and click the OK icon Editing Motion Paths Changing the shape of the motion path changes the trajectory of the object The path acts likea Bezier curve You can change its shape by dragging its control points You don t have to be in Auto Record mode to edit the path The changes you make to the path s shape are applied directly to path the in real time Animating Changing the shape of a path does not affect when key events o
390. mouse 8 Drag the light down and to the right slightly SAPE Repositioning a light 9 Click the Solo Mode button to exit Solo Mode The rest of your scene appears 10 Render and save your scene In the next tutorial you ll animate your camera to fly through the scene Part 2 Animate the Scene In this second part of the building tutorial we will animate the camera to fly through this scene You may start with the scene file you were working with before or you may use the scene file entitled Animation start What You ll Need A stopwatch watch or clock with a sweep second hand Or you can count very slowly 19 Pre Production In this tutorial you will go through the process of thinking through the creation of an animation where you fly the camera through this scene You ll work on some pre production tasks prior to animation Then you will animate the camera and tweak and finesse the animation and conduct test renders Lesson 1 Pre Visualizing and Timing the Sequence Let s take a moment and think about where the camera should go The pre production and storyboard phase is one where you think through what you want to accomplish for the animation We ll take a modified storyboard approach where we ll think through the camera path Up until now however you ve been working with your scene in Director s View and in the different orthogonal views For scene creation Director s View is better
391. move between camera posi tions Refer to Object Hierarchies on page 303 for more on working in the Hierarchy Bryce 4 or Time Mapping Curves on page 371 for more on remapping time 0 0 O44 erbe perspective Foeit Scale Shear Origin Crane Orientatic Body Orientator t Field Of View After you re done adjusting the position of the camera you can see the events recorded for the changes in the Hierarchy Area Camera Motion and Skies The motion of sky elements can affect how fast the action in your animation appears For exam ple in time elapsed movies the clouds and sun fly by quickly as the objects stay in the same position You could inadvertently create this type of action in your scene if you move only the camera in the scene without considering the static nature of the sky elements Since the clouds stay in exactly the same position as you move the camera they ll appear to be moving much faster than the objects in the scene To avoid this problem Bryce lets you link the clouds to the camera T his way whenever the camera moves the cloud positions also move so they look like they re staying in the same position Although you can also link the sun to the cam era it s not a very good idea to link the two dur ing an animation since any change in the camera position will change the time of day To link clouds to the camera l Display the Sky amp Fog palette Animating Techniq
392. mp Fog text button 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Drag the slider or enter a value in the Cloud H eight field Cioud Height i The Height field controls the height of the cloudsin your scene The range is 0 to 999 and the default value is 3 Sky Dome Color The Sky Dome color lets you create a color wash over your scenes even if there is no sunlight present This color simulates the natural effect that occurs when you have color in the sky even though the sun has set Sky Creating Skies dome color is a great way of creating late afternoon or evening scenes Sky Dome Color The Sky Dome Color control in the Sky amp Fog palette lets you choose a color from either the color picker or the color dialog For late afternoon and early evening realism try using a touch of orange or yellow This will cre ate a cast of color over your entire scene regard less of the position or color of the sun or moon To set Sky Dome color 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Click the color bar beneath the Cloud Altitude control thumbnail and choose a color from the color picker Frequency and Amplitude The Frequency and Amplitude control lets you set the types of cloud formation you ll see in your sky By combining these two controls you can change your clouds from light and fluffy to dark
393. n Advanced M otion Lab 7 Click the OK icon to leave the dialog box On the bottom half the objects and their Your camera should now be located at the timelines are displayed The round blue end of the path button at the upper right of the timelines is f the current time display Because of the 8 Click the Add keyframe button length of the animation you can t see the 9 Check your animation by pressing the Play entire timeline for this sequence button Your camera should now move 2 Drag the round blue current time marker smoothly along the path to the left The numbers and timeline bars scroll off to the right Continue dragging You now have very smooth camera movement left until there is no more movement over a complex path using only two keyframes Lesson 3 Velocity Adjustment The last thing you will do with your animation in this tutorial is adjust the camera s velocity along the path To do this you will work in Bryce s Advanced Motion Lab Your camera should still be selected If it is not select it Adjusting the timeline Tutorial 92 Next you will scale the timeline so that Additionally in the Velocity Controls everything shows in the provided area section also known as the Time Mapping curve a diagonal line has appeared 3 Drag the scale tool to the right It is located under the preview window The Next to the window to the right is a Camera space between numbers decreases and icon and
394. n It only moves up down back or forward Camera controls are not available if you arein any Orthogonal View When unavailable these controls turn white If you arein an Orthogonal View you must use the Zoom and Pan tools for navigation Refer to Orthogonality and Views on page 25 for more on these views The Camera controls behave differently depending on Camera Mode selected e InTrackball and Center to Selection modes the Camera controls change the position of the camera but the origin point remains the same So in this mode the controls are actually adjusting the radius of the camera s orbit e In Tripod mode the controls change both the position of the camera and the origin point e In Free mode the controls change position of the camera and its origin point at the same time In this mode the relative positions of the camera and the origin point remain the same So if the camera s origin point is offset it will remain offset when you use the Camera controls If you hold down O ption A It while in this mode the origin point will remain fixed There are three Camera controls available X Y Camera Control The X Y Camera control provides control for horizontal and vertical motion The sphere at the center of the camera control lets you move the camerain both the X andY axis The arrows let you constrain movement either horizontally or vertically This control affects your camera s position Offset
395. n Rings If you look directly at the sun on a hazy day you ll be able so see rings surrounding it T hese rings are created by the reflection off ice particles in the air In Bryce you can use the Sun Moon Rings to create this effect In this example rings have been added to the sun to make the scene look like a sweltering desert This effect creates concentric circles around the image of the sun or moon Using the Sky Lab palette you can set the radius of the rings and add a secondary ring to increase the effect The color of the rings is controlled by the color of the sun moon To add Sun Moon rings 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Sun amp Moon tab 4 Click the Halo Rings button Bryce 4 5 Inthe Rings area enter a value in the Intensity field or drag the slider to set the brightness of the ring The Intensity field next to the rings preview sets the brightness of the rings 6 Enter a value in the Radius field or drag the slider to set the radius of the ring Radius The Radiusfield next to the Rings preview sets the radius of the ring To add a secondary Sun Moon ring 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab palette appears 3 Click the Sun amp
396. n back along the same path during the course of the animation All you have to do to see the new motion is extend the duration of the animation The motion of this clock s pendulum was created using the Pendulum modifier 379 There are four modifiers available e Make One Shot restores the motion of the path its original configuration meaning the action along the path only occurs once e Make Repeat creates a loop in the action The motion on the path repeats continuously e Make Pendulum creates a repeating cycle in the action along a path The object will move forward on the path then back and then forward continuously e Make Circular closes the path to create a circular path The object will move along the path and when it hits the end it ll swing around to the front of the path and start all over To apply a modifier to a motion path 1 Select the object 2 Click theA icon that appears next to its bounding box The Object Attributes dialog appears 3 Click the Animation tab 4 Enable a modifier 5 Extend the duration of the animation so you can see the change in motion Bryce 4 Moving the Path You can also move the path by dragging it to a new location W hen you drag the path all the events on the path shift position Changes in motion path position are not recorded as key events Pane we When you drag the motion path you re not changing its shape you re adjusting the pos
397. n containsa section called The Story So Far which summa rizes the procedures and techniques that have been covered in the previous lessons A section called W hatYou ll N eed tells you where to locate files that will help you complete the lesson Getting Started Before you start any project in Bryce it s probably a good idea to become acquainted with the unique Bryce interface l W hen you place the cursor over a Tip control the name displays in the lower left corner of the window The first thing you ll want to do is configure the window to best suit how you work To configure the Bryce environment Launch Bryce The Bryce window appears and fills the entire screen This is a great way of working as it removes all the clutter from your desktop and gives you clear access to all of Bryce s tools e Click a palette then hold the Spacebar while you drag it to a new location To keep the Bryce interface as uncluttered as possible some toolbars are layered on top of each other and others are hidden when you first start the application Tutorial To display layered palettes e Click the text buttons at the top of the Bryce environment The active palette s title appears highlighted i es uiw WY The active palettes title appears highlighted Some tools are hidden because you won t need them regularly so they appear only when you need them and then they disappear again To
398. n the last pass of the rendering process 5 x 1 An image rendered without antialiasing and the same image rendered using Anti A liasing There are three Anti A liasing modes available in Bryce AntiAliasing Off Anti A liasing Normal Quality and Anti A liasing Fine Art Anti Aliasing Off In this mode there is no Anti Aliasing performed on the image Bryce 4 Anti Aliasing Normal Quality In this mode after the image is rendered Bryce scans the entire bitmap to determine which areas require Anti Aliasing O nly the areas of high concentration are antialiased In this mode Anti Aliasing is performed in only the last pass of the rendering process Anti Aliasing Fine Art Slow In this mode Bryce uses 16 rays to trace every pixel in the image This produces a higher quality image but it slows down the entire rendering process from start to finish You should probably only use this mode to render showcase type artwork not normal working images To enable Anti Aliasing e Click the triangle icon next to the Render Controls and choose either Normal or Fine Art from the menu An option is enabled when a checkmark appears next to its name Normal antialiasing is enabled by default To disable Anti Aliasing e Click the triangle icon next to the Render Controls and choose Anti Aliasing from the menu again The option is disabled when there is no checkmark next to its name W hen Anti Alia
399. n to an object are applied to the whole object inside and out Bryce s new volume materials let you apply a material to the interior of the object as well as to its surface The Volume Material controls let you set how the entire object s volume reacts to its environment Material Structure A material is made up of fourteen channels Each of these channels defines a different property of an object s surface W hen you combine all the channels together you get a material aterial Channels A material has fourteen channels that define its surface properties The combination of the values of all the channels produces a material New materials are created by adjusting the values for each channel There are two types of materials you can create in Bryce surface materials which define the properties of an object s surface and volume materials which define the properties of an object s volume Understanding Surface Material Channels The fourteen channels of a surface material each represent a different surface property These properties simulate different physical properties of a surface and the combination defines how the object s surface interacts with light in the Bryce environment M aterials To understand how the channels work you need to understand a little about how you perceive light and color The color and size of an object is determined by how the light that hits the object is reflected b
400. n tool E Bryce scales the 2D projection of your scene larger creating the illusion of zooming into your 3D scene your camera position remains unchanged Keyboard Shortcut Command plus Ctrl plus 26 To zoom out Click the Zoom Out tool E Bryce scales the 2D projection of your scene smaller creating the illusion of zooming out of your 3D scene Your camera position remains unchanged Keyboard Shortcut Command minus Ctrl minus To zoom into an area Hold down Command S pacebar Ctrl S pacebar and drag a marquee around an area of your scene Your cursor changes to a Zoom tool and Bryce centers and scales up the area in the marquee to fit your window To zoom out of an area Hold down Command O ption S pacebar Ctrl Alt S pacebar and drag around an area Bryce scales down your entire scene to fit within the area your marquee selected To zoom numerically 1 Double click the Trackball in the Control palette The Camera amp 2D Projection dialog appears 2 Enter a value in the Scale field The default value is 100 To reset the zoom value e Press the Option Alt key and click the Zoom tool 27 The view of your scene resets to 100 Panning Panning works exactly like zooming W hen you use the Panning tool you are moving a 2D projection of your scene right and left up and down in front of the camera Your camera position in 3D space does not change To pan your scene
401. n tools can produce some unpredictable results when they re animated so you may want to experi ment with animating elevations before you cre ate your final terrain Elevation Tools The Elevation tools are preset effects that apply different calculations to your Terrain Canvas The tools are divided into three categories on the tab Source Generator Basic Tools and Spe cial E ffects 165 Source Generators create basic terrain sur faces The Basic Tools edit the overall shape of your terrain and Special Effects add realism to your terrain s surface You can create a terrain by combining effects For example you can start off creating a basic terrain using the Fractal tool then create realis tic ridges by applying the Erode tool From there you can fine tune your terrain by apply ing Spikes creating Mounds or adding Cross Ridges Finally you can define the basic shape of your terrain by blurring the edges Using Elevation Tools Along the bottom left corner of the Elevation tab are an orange and green curve of dots The orange curve contains tools for changing a ter rain s geometry like adding mounds or spikes The orange curve contains tools that apply fil tering effects to an existing terrain like poster izing or equalizing These two curves represent different sets of elevation tools Click the curves to toggle between the two sets To switch between sets of elevation tools 1 Click the curves in t
402. n turn into a desert during the course of your animation Refer to Animating Materials on page 388 for more on animating materials Animating Terrains TheTerrain Editor has aset of animation tools that let you animate a terrain over time You can animate the shape of the terrain or the filtering effects like Erosion or Mounds Using these tools you can create a terrain that changes shape as time passes Refer to Animating Terrains on page 396 for more on animating terrains Animating Skies The Sky amp Fog palette and the Environmental Attributes dialog have a number of controls that let you set the properties of your environ ment By changing these properties over the course of an animation you can animate your environment For examples you can make clouds move or gradually change the time of day Bryce 4 Refer to Animating Skies on page 393 for more on animating skies Managing Your Project Storyboarding If you are attempting anything other than a brief animation it s a good idea to create a sto ryboard first A storyboard is a series of drawn images showing the key actions in an anima tion The storyboard helps you quickly work out the animations viewpoint framing and composition Because you re just sketching it s easy to make changes and other arrangements Your work on the storyboard will give you an idea of the types of objects you ll need to model and how to arrange the scen
403. nal color is determined for each pixel in your image reflectivity The degree to which an object bounces light back from its surfaces refraction Asa light wave passes from air through another medium such as water or thick glass it seems to bend or turn to a certain degree This phenomenon is known as refrac tion and the degree to which light bends or turns in these situations is controlled by the Refraction channel in the Materials L ab relative coordinates Values which express location orientation or size relative to the cur rent location orientation or size render The complex process of building a 2 dimensional bitmapped image from all the information contained in your 3 dimensional wireframe scene render resolution The size of your rendered image expressed in pixels or as a multiple of your Document Resolution The implication here is that your rendered image can be larger or smaller than your Document Resolution replicate W hile Duplicate will create a copy of your selected object Replicate will create a copy of the object and the last 3D transforma tions applied If you create an object move it up a bit and rotate it a bit selecting Replicate will create a copy move it and rotate it for you Multi replicate will do the same with multiple copies in one step roll Camera rotation around its Z axis kind of a left right tilt Also known as banking it cre ates the illusion that your horizon is tilted 4
404. nd any editors associated with the object e Group objects in a selection e Add objects to families e Align objects e Link objects e Setup object tracking uf a romi The Object Attribute icons that appear next to an object s bounding box let you access different editors and set object attributes If your selection falls outside of your Working window the icons appear in the rightmost area available on the screen To display Object Attribute icons Select an object or group of objects Object Attributes Icon Al This control displays the O bject Attributes dia log W hen the dialog opens it shows the cur 3B rent name position orientation and scale of the object To display the Object Attribute dialog 1 Select an object or group of objects 2 Click theA icon that appears next to the object s bounding box Families Icon This control indicates the family to which the object belongs It also displays the Family dia log Refer to Families on page 310 for more information To add selected objects to a family 1 Select all the objects you want to add to the family 2 Click the Family icon that appears next to the object s bounding box The Family dialog appears 3 Choose a color that represents an existing family or enter a name to create a new family 85505 PP Default Family Use the Families dialog to add an object to an existing amily or create a new one
405. nd applying them to the brush To pick up gray levels from the terrain image 1 While holding down the spacebar move the cursor over the Terrain Canvas and click the desired altitude color The color is applied to the brush 2 Drag the brush over a different area of the canvas The altitude color you picked up is applied to the new area Brush Behaviors The paintbrush in the Terrain Editor paints ele vations by default but this is not the only way of painting using the brush You can also set the brush to paint effects This lets you apply eleva tion effects locally or to increase decrease existing gray levels in your Terrain Canvas To paint elevations 1 Make sure the Elevation tab is visible If it s not click the Elevation title 2 Click the triangle icon to the right of the Brush Behaviors heading and choose Paint Elevation from the menu The brush paints in shades of gray that are then used to generate altitudes This is the default brush behavior 1 5 To apply an effect locally 1 Make sure the Elevation tab is visible If it s not click the Elevation title 2 Click the triangle icon next to the Brush Behavior heading and choose Paint E ffect from the menu 3 Hold down the Spacebar and click the Elevation effect you want to paint 4 Drag the paintbrush over an area of your canvas To remove an effect locally 1 Click the triangle icon next to the Brush Behavior heading and choose Unpain
406. nd to deselect it The selection bounding box encloses only the pyramid group and the wall objects The Group button is showing Click the Group button to group these objects The G disappears d Ei N Grouping the building 4 Press the key two times Shift 8 Each time your group s size doubles So itis now four times what it was when you started There is also an up arrow button at the bottom of the group of buttons associated with the selected object The upward pointing arrow indicates that a portion of your grouped building is underground In this case when you doubled its size it enlarged from its center so a good portion of the building is underground Bryce 4 5 Click the upward pointing arrow button of the front and back walls line up in the located with the group of buttons center of the window looking like the associated with the bounding box of the scene shown selected object The group jumps up so that it is now resting at ground level ry Ji oll mi f Changing perspective Grouping and positioning the building 3 Click the Render button You ll see a diagonal streak of light running from the Lesson 2 Change Your Perspective upper right to the lower left in your scene as the scene renders of the Scene You are now looking through the doorway of the building but are very close So how You need to adjust your perspective of the earned about moving back scene so you can s
407. nder a portion of your wireframe or rendered image to quickly see any modifications made to your scene You can render from W ireframe mode or from Render mode RayS pray from Wireframe mode is a preview render that is lost when you press the Escape key RayS pray from Render mode is a true render and can be continued by using Resume Render To render from Wireframe mode 1 Click the RaySpray tool on the Display palette 2 Click and move the cursor around the wireframe area you want to render 3 Press the RaySpray tool again or press the Escape key to dismiss this render and return to Wireframe mode This doesn t affecting any previous render To render from Render Mode 1 Press the Escape key to switch from Wireframe to Render mode 2 Click the RaySpray tool on the Display palette 3 Click and move the cursor around the area you want to render 4 Click the RaySpray tool to put the tool away and remain in render mode Press Escape again to return to Wireframe mode yet not lose your paint rendered area 5 if you Resume Render your scene Bryce continues to render the un rendered portions of your scene 422 Rendering a Movie Rendering an animation isa lot like rendering a still image Each frame in the animation is processed exactly like a still image You can use the same rendering options you used to render still images for movies Besides the standard still image rendering options there are several opti
408. ned in the Program manual or other documentation are used for identification purposes only and may be trademarks or registered trademarks of their respective companies Registered and unregistered trademarks used herein are the exclusive property of their respective owners MetaCreations Corp makes no claim to any such marks nor willingly or knowingly misused or misapplied such marks License
409. nes These objects are highly dependent upon the clumpiness of the polyhedral shape as well as the bumpiness in the assigned proce dural texture to retain their realism Smooth stones look very unnatural To smooth imported objects or stones 1 Click the imported object or stone 2 Click the E button that appears next to the object s bounding box 3 Adjust the value of the smoothing range by dragging the gauge along the left side of the dialog The gauge sets the maximum angle you wish to be smoothed For instance you may wish to smooth all angles under 90 to preserve the sharpness of cubes perhaps In that case set the maximum angle to 85 before smoothing 4 Click the Smooth button until you achieve the desired effect The more you click the smoother the object becomes 322 To unsmooth imported objects or stones 1 Click the imported object or stone 2 Click the E button that appears next to the object s bounding box 3 Adjust the value of the smoothing range by dragging the gauge along the left side of the dialog The gauge sets the maximum angle you wish to be unsmoothed For instance you may wish to unsmooth all angles under 90 In that case set the maximum angle to 85 before unsmoothing 4 Click the Unsmooth button until you achieve the desired effect The more you click the sharper the object becomes Converting Objects The Convert tool in the Edit palette lets you covert any type
410. ness F uzzy Factor and Quality Speed control the appearance of texture elements within the material Edge Softness and F uzzy Factor control the quality of the edges and sharpness of the texture while Quality controls the render quality of the material Refer to E dge Softness on page 207 Fuzzy Factor on page 207 and Quality Speed on page 207 for more Understanding Material Components Each Bryce material channel can contain up to three components that determine the channel s setting A component can be a color a texture or anumerical value A texture can be either a 2D texture picture or a 3D texture 2D 3DTexture___ Value Color Component Each Bryce material channel contains components that determine its setting You can have up to three texture components in a channel and some channels let you use four textures and a value as components 194 Colors can only be used in the Diffuse Ambient Specular Transparent Specular Halo and Volume channels Values are used in the Diffusion Ambience Specularity Metallicity Bump Height Transparency Reflection Refraction Base Density Edge Softness F uzzy Factor and Quality Speed channels When you re using a texture as a component the information in the texture s channels is used as the value of the material channel For example if you re using a texture to set Diffuse Color the texture s color channel is used If you
411. ng This tool sharpens the gray values in your Ter rain Canvas Click and drag left to increase sharpening and right to decrease it This tool sharpens the Terrain Canvas gray values You can use smoothing to create spikes or ridges Bryce 4 Smoothing This tool blurs the Terrain Canvas Click and drag right to decrease the blurring effect or left to increase it Smoothing is especially effective prior to using the Erode button since the Erode algorithm works best when there are shades of gray in an image If your canvas has too many sharp black to white transitions the Erode may not be as effective This tool blurs your Terrain Canvas creating smoother black to white transitions Terrains Gaussian Edges This tool does not blur your map It creates a Gaussian curve from dark to light starting from the edges of your Terrain Canvas This cre ates edges that gradually transition from dark to light or start at the lowest possible altitude and gradually progress into higher altitudes Gaussian E dges eliminates the seams between ground and terrain objects when the ground plane and the terrain have the same surface material You should apply this tool to any ter rain that is going to be sitting on aground plane in your scene This tool creates gradually ascending edges on your terrain which can create a smooth transition from the ground plane of your scene to the terrain Square Edges This tool c
412. ngs create less dense objects like clouds Base Density set to 100 Base D ensity controls the density of the area within an object O bjects with a low density will appear more transparent Base Density set to 0 206 You should use this channel cautiously The more transparent objects are the more time they take to render Setting Base Density Using a Texture W hen you use a texture to set this channel the alpha channel is used to determine which areas of the object are solid and which are empty Edge Softness Edge Softness controls the softness of the edges of the silhouette of objects with a volume material For example asphere with alow Edge Softness value will have a hard silhouette meaning that you ll be able to clearly see the edges of the sphere A high Edge Softness value will almost totally obscure the edges of the sphere Edge Softness set to 0 E dge Softness controls the softness of an object s silhouette This channel is useful for obscuring the general shape of an object Use this effect if you want to blur the overall shape of the object to which you re applying the material Fuzzy Factor Fuzzy Factor controls the dullness or sharpness of a material Values greater than 100 adjust the dullness of the material and values less than 207 100 adjust the sharpness of a material At 100 there is no dullness or sharpness applied Fuzzy Factor set Fuzzy Factor set to 0 to 20
413. nimation The Director s View can also be an invaluable tool for animating the view of your The Camera and Lights scene W hile in this view you can select the Camera and reposition it anywhere in the scene to create camera motions Director s View is the default view of the scene Thisiswhat your scene looks like when you view it in Director sView Orthogonal Views These six views let you see the scene from all sides They do not show you any perspective but you can see all the objects in the scene including the camera These views are only flat projections of the scene so you can t move around them using the camera controls Lights Lighting is what makes your scene visible Different types of lighting can dramatically alter the appearance of your scene and the objects in the scene In Bryce most of the lighting in your scene is provided by either the sun or the moon As in nature the position of the Bryce sun controls the general brightness and ambient color of scenes H owever you can add additional light 326 sources to create a variety of effects like adding headlights to acar or creating the glare of a distant city You can use light sources to shine light from areas where sunlight couldn t shine like the light from insidea lighthouse Refer to Working with the Sun on page 145 for more on positioning and setting up the sun Viewing Lights In Wireframe mode lighting effect
414. ntrols on the object s bounding box that let you resize objects directly in the Working window You may find this a much more intuitive way of transforming your objects When you select an object a bounding box appears surrounding your selection At each corner of the box and at the center of each face is acontrol point Control Points ESnree An object s bounding box has control points at the corners and at the center of each face that can be used to resize the object 290 As your cursor passes over the corner control points it changes to a generic Resize cursor As it passes over the control points on the faces it changes to an X Y or Z This indicates the axis along which you can resize the object by pressing and dragging at that point The corner control points resize the object along all three axes The control points on the faces of the bounding box resize the object along a single axis To resize an object along a single axis interactively 1 Select an object 2 Drag one of the control points at the center of a bounding box face As you pass your cursor over the face the cursor changes to an X Y or Z to indicate the axis you re resizing along To enlarge or shrink an object interactively 1 Select an object 2 Drag one of the control points on the corners of the bounding box Drag right to enlarge it or left to shrink the object Hold down Command Ctrl while dragging to resize in the
415. nvenient location for later use Since your scene files can quickly become large and complex you should save your work often Saving Files To save a file 1 Chose File menu gt Save The Save dialog appears 2 Use the dialog controls to choose a location for your work and click Save Bryce 4 To save a file under a different name 1 Chose File menu gt Save As The Save dialog appears 2 Enter anew name and or location in the fields provided and click Save 3 A copy of your work is saved leaving the original intact If the mageW ith Scene O pen Save preference is selected Bryce saves both the scene data and the rendered image when it saves the file Closing W hen you close the application a dialog appears asking you to save your work To close Bryce Choose File menu gt Quit or press Command Q Ctrl Q Bryce Basics 36 Mi jth AFi S a pa 4 gt N B i TR 2 ma F T pa Animation in Bryce Animation Overview Animation is the process of adding a fourth dimension to your scene time To create an animation you arrange a scene then record your movements or transformations of objects over time Bryce creates a motion path from your recorded movements and then generates an animation You can animate almost anything in your scene e the motion of objects lights and the camera e object size and shape e object materials e terrain objects e sky
416. o a Motion Path Refer to Motion Paths on page 376 for more on motion paths To display the Object Attributes dialog 1 Select an object 101 2 Click Objects menu gt Attributes or Click the A icon that appears next to an object s bounding box Naming Objects When you create an object the first thing you should do is assign a name to it An object s name identifies it in the Working window You can select objects by name using the Selection palette The name can also help you distinguish a specific object when your scene contains more than one object of the same type Refer to Selecting Objects on page 30 for more information An object s name is also used when you re cre ating parent child links and setting up object tracking To name an object 1 Select an object 2 Click theA icon that appears next to its bounding box 3 Enter aname in the Object Name field Creating Infinite Planes An infinite plane object extends in all direc tions out to infinity W hen you create a plane in Bryce it appears as a finite plane to make it eas ier to position but when your scene is ren dered the plane extends infinitely in all directions Though procedurally these three infinite planes are different they are all considered to be Infinite Planes for the purpose of selecting with the Selection tools Bryce 4 When you add a plane object it appears as a finite object in the Working window
417. o delete W hen all the preset slots are filled anew oneis automatically generated when you click on the right arrow e To scroll to the newest present or to the next preset in line click on the nd of the present container Previewing the Animation The Preview Area in the Advanced Motion Lab lets you see a preview of your animation as you edit the Hierarchy or the Time Mapping curves The Preview Area in the A dvanced M otion Lab displays the results of your changes to the Hierarchy or Time Mapping curves Any change you make in the lab is automatically applied to the preview W hen you play the preview you see the effects of your changes Animating Once a start playing the animation it will run continuously until your press the Stop button Running the preview also moves the Current Time Bar in the Sequencer area and the cross hairs in the Time Mapping editor As well the counter at the bottom of the Time Mapping editor displays the current time of the animation as it plays To preview an animation e Click the Play button in the Preview Area controls TE The animation starts running It will continue playing until you press the Stop button Click the stop button to stop the preview The controls along the left side of the Preview Area control several options for your animation preview To switch between Camera View and Director s View in the preview Click the Swap Views button next to the
418. objects to arrange These objects have been placed in the Preset Objects Library for you Other than that all you ll need is a blank scene Adding Objects If you have started with the default settings and see the Animation controls along the bottom of the screen click the Selection Animation toggle at the bottom right corner of the screen to toggle to the Selection Palette You can also use theS key to toggle between the two modes a NONOOO8b00M S100 The Selection palette This palette allows you to select various objects in your scene prior to resizing rotating repositioning or applying material properties to the selected object At the top of the screen you ll see the words Create Edit and Sky amp Fog When clicked they bring up different palettes described below The Create Palette Click Create then click any of the objects in the Create Palette to place that object in your scene me ME oth uhatsd E The Create palette Placing the mouse pointer over the different objects displays the name of the object at the bottom left of the screen Try moving the mouse pointer over these object to familiarize yourself with them The Edit Palette Click Edit to display the Edit Palette In the Edit Palette you will be using three of the tools Resize Rotate and Reposition ele T a aol ia TIELT The Edit palette Bryce uses three axes to Resize along Rotate about and Reposition along They are la
419. of incredible power or incredible frustration It all depends on how you jump into it The editor can be used in two ways If you re comfortable with equations and algorithms it Textures gives you the freedom to create any textural pattern or surface you can imagine If you re not so mathematically inclined playing around with these deep functions can get you lost rather quickly For those who don t want to learn to calculate and postulate the Deep Texture Editor can be used as a large palette Take a little of this and little of that blend them all together and see if you like the result If it s a magnificent work of art keep it if not discard it The only real penalty you may encounter when using the Deep Texture Editor unawares is that you may inadvertently create a very complex texture that could add considerably to your rendering time This is an easy pitfall to avoid however The last section of this chapter gives you some tips on reducing the complexity of your textures Refer to Tips for Speeding Up Textures on page 276 for more Before you start creating textures you may want to familiarize yourself with this incredible tool Tip When you re just exploring the editor set all the component outputs to Alpha T his lets you see the effects of your changes more clearly To display the Deep Texture Editor l Display the Materials Lab 2 Click theA B or C column of the material channel to whic
420. of the texture component window The Edit Texture palette appears Click the button in the upper left corner of theTexture Component window to display its transformation controls 6 Adjust the position orientation or scale of the texture and click the OK icon to exit the controls 7 Click the pink button in the upper left corner of the texture component window The Deep Texture E ditor appears Click the pink button in the upper left corner of theTexture Component window to display the D eep Texture E ditor 8 Adjust the values of the texture s components and click the OK icon to close the editor 9 Move the CurrentTime Indicator to a different point on the Timeline The current time appears in the counter next to the preview controls Change the texture properties again FS Continue moving the Current Time Indicator and changing texture properties until you achieve the effect you want P Click the OK icon to exit the Materials Lab 301 Bryce 4 By switching the Texture Component used to set a material channel you can completely change the color pattern or bumpiness of a texture Animating Between Materials Animating channel values or texture compo nents is a good way of creating subtle effects in a material but to create more dramatic action Using the Preset Materials Library you can you ll need to animate between two completely quickly apply a different material to the different materials obje
421. of water The lower you sink the darker it becomes This modifier can be used to create a sense of depth in an infinite water slab If you blend between a light Diffuse Color and a darker Volume Color you can create the illusion of depth as you sink deeper into the water Volume Blend Distance This modifier blends the Diffuse and Volume Colors of your material based on the distance from the camera Areas that are closer to the camera will be tinted less with the Volume 226 color As you move further away more of the Volume Color is visible Using theVolume Blend D istance you can simulate the effects of looking through murky water D istant objects appear darker than closer ones This modifier is excellent for creating underwater depth effects If you blend a darker Diffuse Color with a lighter Volume Color in an infinite slab you can simulate the effects of murky water on distant objects The Materials Lab The Materials Lab is where you create and edit your materials in Bryce This unique editor lets you combine a wide variety of components and channels to create an infinite number of different surfaces and volumes To display the Materials Lab l Create an object 221 2 Select the object in the Working window A number of object attribute icons appear to the right of the object Use the quick access buttons next to a selected object to access editors and get information about the object 3 Click th
422. ographic output resolution Available in the Export Ren der dialog you can set the print resolution of the resulting rendered image expressed in dots per inch parallel light A light which cast rays that are perfectly parallel to one another patch rendering A technique you can use in Bryce 3D select a specific area or patch of your image for further rendering Useful to examine areas for detail before doing a final render or for re rendering specific areas after making a change thereby avoiding having to re render your entire image pict mapping A process that interprets a 2 dimensional Pict and expresses it as the surface of a 3 dimensional object according to a speci fied algorithm pitch Camera rotation around its X axis kind of a tilt forward or back plop render Just a cute name for our way of representing a marqueed selection of your ren dered image Selections appear to plop for ward with attendant drop shadows and rendering controls This feature can be enabled disabled or hidden as you wish polygon All 3D objects in Bryce 3D are built from multiple sided in Bryce we use 4 sides Bryce 4 geometric surfaces and are therefore inher ently polygonal in nature primary rays The quantity of virtual rays of light that are initially shot into the Bryce scene primitive A basic geometric form such as a cube or sphere used as a basis for constructing compound 3D objects such as buildings
423. ole or in part except as expressly provided for in this Agreement If you transfer possession of any copy modification or merged portion of the Program or Documentation to another party your license is automatically terminated H If you have purchased a NETWORK version of the software this License Agreement applies to the installation of the software onto a single file server It may not be copied onto multiple systems Each node connected to the file server must also have its own node copy of the software that becomes alicense for that specific user Term This license granted to you is effective until terminated You may terminate it at any time by returning the Program and Documentation to Company together with all copies modifications and merged portions in any form The license will also terminate upon conditions set forth elsewhere in this Agreement or if you fail to comply with any term or condition of this Agreement You agree upon such termination to return the Program and Documentation to Company together with all copies modifications and merged portion in any form Upon termination Company can also enforce any rights provided by law The provision of this Agreement which protects the proprietary rights of Company will continue in force after termination Termination of this license either voluntary or involuntary does not entitle you to a refund of your purchase cost except as provided elsewhere in this License Agreement
424. olor you apply to the object s surface is mixed with 130 the Ambient color to create the final surface color For example if the Ambient Color is red any color you assign to an object s surface ambience is mixed with red Refer to Ambience on page 197 for more on material ambience To set Ambient Color Click the color swatch below the shadow control thumbnail and choose a color from the color picker For realistic effects at noon or in the afternoon ambient color should be alittle blue to get nice blue ish shadows At dawn you can set Ambient Color to red or pink and at night you can set it to gray blue Adding Fog and Haze Fog and Haze are two atmospheric effects that can add realistic depth to your scene Fog can make objects appear to disappear the farther they get from the camera Haze can add the illusion of a distant horizon The Fog and Haze controls in the Sky amp Fog palette let you control the color and intensity of these effects Fog Haze Intensity Haze Color Fog Color Use the Fog and H aze controls to set the intensity and color of Fog and H aze effects Bl Fog Fog can add an element of sensuality mystery and even realism to your scenes It acts like a thin layer of cloud close to the ground Using Fog you can create the illusion of depth without having to add distant objects Fog can create a sense of depth in your scene In this scene the fog was used to a
425. on Stones are assigned random textures automati cally from the Rocks amp Stones Preset Materials Library To change a stone s preset material 1 Click the second Triangle icon at the top of the Bryce environment The Preset Materials Library appears 2 Choose a library and material then click the OK icon Since Stones are essentially clumps of meshes they are highly dependent on the textures assigned to them for their realism For example if you assign a flat texture with no bumpiness to a Stone the results won t be very Stone like Try to assign rocky textures to stones Refer to Using the Material Preview Area on page 231 for more on assigning textures Creating Symmetrical Lattices A Symmetrical Lattice is a terrain object that has a mirror image of itself fused at its base When you modify one half of the lattice the corresponding changes are applied to the mir rored half The Symmetrical Lattice can be a great time saving tool Instead of creating symmetrical shapes by duplicating and aligning two halves you just need to edit one half of a lattice and your object is created for you Symmetrical L at tices are edited as Terrains using the Terrain 104 Editor Refer to Clipping Terrains on page 184 for more information Many advanced types of objects can be created using the lattice object Any object that s sym metical can be created by painting it s shape in the Terrain Editor
426. on path appears To set motion path display options 1 Display the Object Attributes dialog 2 Click the Animation tab 3 Enable one or all of the display options Show Trajectory enables or disables the display of the motion path When itis disabled no motion path is drawn Show When Selected displays the motion path only when the object is selected Show Always displays the motion path at all times even when the object is not selected Motion Path Attributes W hen a motion path is created it looks like a curve that extends out from an object The motion path attributes let you display addi tional information on a motion path Show Handles Show Tangents Show As Ribbon J Hide Trajectory Show When Selected Show Always The Motion Path Attributes let you control the appearance of an object s motion path To set motion path attributes 1 Display the Object Attributes dialog 320 2 Click the Animation tab 3 Enable one or all of the attributes Show Handles displays or hides the path s control handles The handles represent key frames Show Tangents hides or displays lines extending from each control handle Tangents help you see the slope of the curve Show as Ribbon displays the motion path as a flat ribbon in the working window This makes the path easier to see when you move the camera Align Options Normally unless you apply a rotation an object s orientation remains constant
427. on to change to Solo Mode Many objects disappear and you get a much clearer view of your camera trajectory and the tangents extending from each point The trajectory path Any kinks in the path result from a lengthy tangent interfering with a neighboring point Shortening the tangent will smooth out the trajectory line Click the camera to select it The points appear Place the cursor over the point with the long trajectory The cursor changes to crossed arrows Press theT key for tangent then click and drag to the right and watch the Tangent lines shorten You may also reposition points to smooth out the trajectory line Make any other adjustments necessary to smooth out the trajectory line The line shown in the previous figure was changed by aslight repositioning of all the points of the trajectory except the endpoints In addition the next to the last point s tangent line was lengthened Adjusting the trajectory path 9 Click the Solo Mode button to turn off Solo Mode T he other objects reappear 10 Switch back to Camera View and click the Play button to view the animation now You may need to click the Selection Animation toggle to switch back to the Animation palette before clicking Play Il Save your scene To see the final results you can also open the file Animation smoothCam located in the Manual Tutorials folder Lesson 5 Test Render It s time to set up atest render of your
428. on tool on the Edit palette The cursor changes to aY Hold the Shift key click then drag to the left The sphere drops so that it is half hidden under ground Release the mouse Bryce 4 Next you will lower the sphere a bit more without using a key constraint until the next rung of the wireframe is aligned with the ground level foree Lowering the sphere 5 Click the top of the Reposition tool again then hold the Shift key and drag to the left slightly until the wireframe is aligned with the ground You may have to do it two or more times to get the alignment exact The sphere should now look like the one shown below ae The converted pyramid Tutorial 66 If your scene doesn t look like the one shown select the pyramid and zoom in twice by clicking the Zoom in button located on the lower section of the Display palette to the right of the Working Window Lesson 4 Cut Out the Roof with the Sphere The next task is to carve out the under side of the roof with the sphere by using a boolean operation For this change back to the Director s View To cut out the roof 1 Click the triangle next to the View control then choose View Options menu gt Director s View from the Control palette The view icon changes to a Director s chair and your scene changes to the perspective you had when you started this tutorial Now assign boolean properties to your objects The sphere is selected so w
429. ond button that appears beside the selection To scale the selected area to fill the working window 1 Make sure Plop Render mode is enabled 2 Switch to Bitmap display mode by clicking the display mode icon on the right side of the Bryce window Bryce 4 3 Draga marquee around an area of your image The selection is outlined in athin white line and is separated from the rest of the image by a drop shadow 4 Click the triangle icon below the render buttons and choose Zoom to Selection from the menu The command centers the selected portion of your wireframe scene and scales it up to fit your window This isa pan amp zoom operation and therefore does not affect your camera position RaySpray You can also paint an area of your scene to render it Use RayS pray to preview a specific area of your scene If you render the entire scene after doing a RaySpray render of a specific section that area will not be re rendered e RaySpray controls include 5 circular and 5 square spray nozzles W hile in RayS pray mode use the 1 through 5 keys to select the circular spray sizes and the 6 through 0 keys to select the square nozzles The RatSray tool To render using RaySpray 1 Click the RaySpray tool on the Advanced Display palette 2 Use the tool to paint over the area of your scene that you want to render Rendering 3 Adjust the brush size to more easily paint a larger or smaller area You can also re
430. onment by setting up cloud motion parame ters Based on your settings Bryce automatically moves the clouds in your envi ronment to create motion Cloud motion parameters are set in the Sky Lab dialog Cloud Direction Speed control controls C v8 Speed T Turbulence Turbulence control The Cloud Direction control lets you set the direction for cloud motion while the other controls set the speed and distortion of the clouds To animate clouds 1 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 2 In Sky amp Fog palette click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Move the direction indicator in the Cloud Motion controls to set a direction for the clouds as they move in the animation 394 5 Adjust the speed control to set how fast the effect For example the radius of moon rings clouds move You can also enter a speed can increase or decrease during the course of value your animation 6 Adjust the Turbulence control to set how To animate environmental effects much the clouds will distort as they move You can also enter a turbulence value 1 Click the triangle icon in the Animation controls and make sure Auto Key is Animating Environmental enabled Effects 2 Move the CurrentTime Indicator to the point in the Timeline where you want the Many environmental effects like rainbows and sky to change fog are not permanent fea
431. ons TheText Display Area displays the name of items in the user interface as you pass your cursor over them T his area also displays information about tool settings The Tool Palettes Bryce uses a series of palettes to manage tools and controls the Create palette E dit palette Sky amp Fog palette Advanced Display palette Selection palette and Animation controls These palettes let you create objects edit objects create skies and fog control the display of your scene select objects and animate objects Beside the title of each of the three palettes along the top of the interface is asmall triangle which opens the different Preset Libraries available in Bryce The Create Palette The Create palette contains tools for creating infinite planes terrains stones primitive shapes derivative primitives 2D picture objects and lights The Create palette contains tools for creating all the types of objects you can usein a Bryce scene TheTriangle icon for this palette opens the Pre set Objects Library Refer to The Create Pal ette on page 100 for more on the Create palette The Edit Palette The Edit palette contains tools for editing object materials resizing rotating reposition ing aligning and randomizing objects The Edit Terrain O bject tool accesses the Terrain Editor which lets you design and adjust terrain objects TIER e The Edit palette contains tools for transforming objects and
432. ons you can set for movie files you can choose a file type a compression option and a range of frames to render You set movie rendering options using the Render Movie dialog The Render Movie dialog This dialog contains all the options you ll need to render your scene as a movie Lindi thesd at eet Deetnation hirea Cres Tacs bee Favrai HIT baaret wi Set Compreseion amp Quality H bh HET Fie Fimu ier iiien i maa tebe Aa Te o Fare dct Sore The Render Movie dialog lets you set options for rendering your scene asa movie file Name This control lets you set a name and location for the rendered movie The default name and destination is the same as the scene file 4B File Type This control lets you choose the type of movie file you want to produce e On the Mac you can render a scene as a QuickTime MOV file or as sequenced frame images e OnthePC you can render your scene as a MOV AVI file or as sequences frame files Compression This menu lets you access all the available compressors T he items listed in this menu depends on the compressors you have on your system Refer to the documentation that came with the compressor or your system software for instructions on using a specific compressor Render Range These options let you choose a range of frames to render as the final movie You can choose to render all the frames in your animation a specific range of frames or only th
433. ordinates degrees of rota tion or units of measure additive mode A color blending algorithm which adds the brightness value of colors from one item to the brightness values of another algorithm A finite step by step problem solv ing procedure aliasing A visual artifact caused by low resolu tion sampling that can cause hard edges or areas of high frequency in an image to look jagged often referred to as jaggies See anti aliasing alpha channel A separate grayscale channel accompanying any PICT BMP file that can determine which areas of the PICT BMP will be visible in the final image and which will not Typically white areas in the alpha channel describe the areas in the corresponding image that will be visible while black areas in the alpha channel describe the areas in the corre sponding image that will not be visible Also referred to as a mask In the absence of an alpha channel Bryce can use the luminance values of any 2D PICT or 3D solid texture as alpha information altitude A measurement of height In Bryce many textures will change their behavior based on altitude ambient Light that has no point of origin or specific direction and is presumed to strike every point on every object with equal intensity Since it is not affected by other environmental light it tends to affect objects in shadow and can make objects visible even with no specific light source amplitude In Bryce this refers to
434. orld center or at an arbitrary location based on your current view O bject placement is determined by your preference setting Refer to To control new object placement on page 16 for more infor mation The Create Palette The main tool for creating objects is the Create palette This palette provides access to tools which let you create all the object types avail able in Bryce Create Primitives Create Planes Create Picture Objects Create Lights The Create palette provides access to tools you ll need to create all the different types of object available in Bryce The tools on the palette represent the type of object they create When you click a tool the object appears in the center of the scene The name of each tool appears in the Text Dis play area as you move your cursor over it vg Y Create Stretched Pyramid As you move the cursor over the tool in the Create palette its name appears in theText Display area Creating O bjects To display the Create palette Click the Create button at the top of the Bryce window To use a Create tool 1 Display the Create palette 2 Click on the tool for the object type you want to create The object appears in the working window TheTriangle icon next to the Create button at the top of the Bryce window lets you access the Preset Objects Library To open the Preset Objects Library e Click the Triangle icon next to the Create button at t
435. ou need to conserve memory or plan to create aQTVR Panorama movie you ll want to use the Render to Disk option Choose File menu gt Save As then select a file type from the list Not all file types are supported Choose File menu gt Export Image then select a file type from the list Bryce uses Using Bryce with O ther Applications plug in filters for both the E xport I mage and Render to Disk options e Choose File menu gt Render to Disk T his is the best choice if you have created a very large image because it lets you set the dpi resolution and saves memory Export Image and Render to Disk allow you to export the following additional formats HTML pages htm e QTVR Panorama Movies mov To learn more about QTVR see QuickTime VR Panorama Movies on page 425 Importing and Exporting Objects Bryce can import objects created in the follow ing file formats To learn more details about importing and exporting these file formats check the MetaCreations web site e TrueSpace cCOB Versions up to 4 0 are supported Material properties are supported e VideoScape VSA All versions are fully supported e VRML1 WRL Imports all properties relevant to Bryce including camera light and surface and material textures e LightWave LWO or LWS Both objects and scenes are supported The camera lights and all objects with material information are imported e Heightfield H F Used to impor
436. ou prefer numeric precision ue Fog Fog Color TheTextArea displays the name of a Sky amp Fog control as you pass the cursor over it When you re adjusting the setting of a control this area displays its current value Each control has at least one color swatch along the bottom of the thumbnail Theses swatches are used to set the color for a given sky attribute like cloud color or fog color Next to the thumbnails are a series of controls that let you set the frequency and amplitude of clouds the position of the sun or moon and store sky properties You can see their effects in the Preview area 1 Sky Lab Day Night Toggle Random Skies de Memory Dots Cloud Frequency and Amplitude Sun Color Sun Moon Position Sky amp Fog Options The set of controls at the end of the palette does not have visual guides but you can see their effects in the Preview area Working with Sky Lab The Sky Lab button provides access to the Sky Lab dialog This dialog contains controls for fine tuning environmental effects like clouds rainbows and sun and moon rings Click the Sky Lab button which looks like acloud with a rainbow in the Sky amp Fog palette to display the Sky Lab dialog You can also click the triangle icon below the memory dots and choose Sky Lab from the menu The dialog contains three tabs e Sun amp Moon contains controls for positioning the sun and moon as well as adding effects like r
437. ou want to display e Command 6 Ctrl 6 D isplay palette Displaying Submenus and Pop up Dialogs Wherever you see an inverted or sideways triangle icon in the interface it indicates that there is amenu or other item available that contains options pertinent to the item closest to it For example in the Create palette there are triangle icons next to each tool in the palette These triangles access the additional options for the tools Thetriangle icon next to a tool or text button indicates that there are more options available for the dement To display a submenu e Click the triangle icon z Trackball Center to Selection Tripod Free Camera HoE Click thetriangleicon next to a tool to access additional options Bryce Basics 22 Working with Documents Before you can create a Bryce environment you need a document A document can be either a blank scene or an existing file that you re going to edit Creating an Empty Scene W hen you create a blank scene Bryce opens the Document Setup dialog which lets you specify the aspect ratio and dimensions of the new scene To create a new document 1 Choose File menu gt New The Document Setup dialog appears Document Setup Uniithed Document Nomoto Donnen ispis Rais p siran Anyer mmj r em SS amna B Aral Hemin lirar Mondor Masiriion 1 025 1 030 1 10 1 200 iia LEES Usethe Document Setup dialog to set the re
438. ou want to save 3 Click on an empty Memory Dot at the bottom of the Animation controls Animating A dot is empty when it appears gray Use the M emory D ots to save the position of the Current Time Indicator To move the Current Time Indicator to a saved position 1 Make sure the Animation controls are visible If it s not click the Time S election Palette toggle 2 Click the Memory dot for the position you want to use To delete a saved position 1 Make sure the Animation controls are visible If it s not click the Time S election Palette toggle 2 Option Alt click on a full memory dot A full dot appears teal Setting Up the Working Area The green portion of the Timeline represents the Working Area This area highlights the portion of the timeline you re currently working on Use theW orking A rea to isolate the portion of the timeline you re currently working on When you re previewing your animation only the portion of the timeline within the Working Area is previewed The Working Area is most useful when you re working on along animations as it saves on preview time or when you re refining a specific portion of your animation 360 When you re rendering the animation you can choose to render the entire animation or just the Working Area portion You can also use the Working Area to render out sections of the timeline while your setting up the animation and then render the ent
439. ow Bryce works with other applications the file formats that Bryce supports for both import and export how to use Bryce to create web based applications and how you can communicate with other Bryce users on the web The effects you add to a rendered image are considered post production Post production includes things like compositing filtering and retouching the image in an image editing application Post production can also include exporting to other applications These aspects of post production are also covered in this chapter W hen you re working with animations post production can include all of the still image operations or it can include more advanced editing like combining clips and adding sound effects Working with Other Applications Bryce allows you to import images and objects from other applications You can also export images and objects to many of those same file formats To learn more about the file formats listed here refer to the MetaCreations web site for details Importing Images Choose File menu gt Open Image and select from one of the following image types e Bitmap bmp Enhanced Metafile emf e Flashpix fpx e CompuServe GIF gif e JPEG ipg e Photoshop psd e Targa tga e TIFF tif e PICT Mac only Exporting Images You can export all of the formats listed above except for the Enhanced Metafile format Use one of the following commands to export files If y
440. ow it s time to make it wider Place the cursor over the right center point of the bounding box The cursor changes to an X Press the Option or Alt key this 71 Bryce 4 The wall could be duplicated rotated 90 degrees and nudged into position with the arrow keys and then duplicated again and nudged to the opposite end There is an easier way however 3 Click the Select Families icon on the Selection palette and select Wall from the list Both walls are selected 4 Duplicate these walls by choosing Edit menu gt Duplicate or by pressing Command Ctrl D A second set of walls is created in your scene For the next action you will temporarily group the newly created second set of walls 5 Click the Group button to group the walls The G button changes to a U indicating that the objects are grouped The Family button color is gray for Default family as a new entity it takes on the Default Family color and label Now you can rotate this group around its center which happens to be the same as the center of the pyramid room 6 Click the Edit button to bring up the Edit Palette Place your cursor over the horizontal band of the Rotate tool The cursor changes to aY GM SkyBFog The Rotate tool 7 Press the Shift key to constrain rotation to 45 degree increments Click and slowly drag in either direction The group snaps first to 45 degrees and as you continue dragging to 90 degrees Release the mo
441. parent and solid areas All pictures are treated as color So if you paste a picture copied from the Alpha Channel window in this window you ll get an RGB representation of the alpha channel image As well any image pasted into this window creates a new picture entry in the library To copy and paste RGB information in a picture 1 Click the Copy button below the RGB Image window The Copy button places the contents of the RGB Image window on the clipboard 2 Click the Paste button below the window where you want the RGB image to appear e If you paste the image into the Alpha Channel window it is desaturated and used as an alpha channel e If you paste it into the Combined Image window the RGB image becomes a new entry in the library To copy and paste Alpha Channel information in a picture 1 Click the Copy button below the Alpha Channel window 2 Click the Paste button below the window where you want the Alpha Channel information to appear e If you paste the image into the RGB Image window an RGB representation of the alpha channel is placed in the window e If you paste it into the Combined Image window an RGB representation of the alpha channel is placed in an empty slot in the library i3 To create a new picture using RGB color information only 1 Click the Copy button below the RGB Image window 2 Click the Paste button below the Combined window The RGB information is placed in an empty slot
442. perations available in Bryce The tools act as interactive controls As you drag over the tool the operation is performed on the selected object The transformation tools are located on the Edit Palette To select a tool 1 Click the Edit button at the top of the Bryce window to display the Edit palette 2 Select an object 285 3 Drag over the tool to perform a transformation operation Resize Tool Z Use the Resize Tool to resize objects along one of the three axes Rotate Tool Use the Rotate tool to rotate objects in 3D space Reposition Tool Use the Reposition tool to reposition objects along any of three axes Align Tool Use the Align tool to align objects along their tops bottoms left sides right sides fronts backs or centers Bryce 4 Randomize Tool Use the Randomize tool to scatter or disperse objects in 2D or 3D space Object Origin Points Every object in Bryce has an origin point This point defines the object s center of rotation Origin Point al r di The object s origin point defines the object s center of rotation In the Working window the Origin point appears as a small dot By default the origin point appears at the center of the object s bounding box You can adjust the position of the origin point to any point along the object s surface or outside of the object W here you place the origin point depends on the effect you want to cr
443. pic ture squares let you load a picture to use a ter rain and the third square shows you the result of combining the two pictures The blend con trol lets you specify how the pictures are com bined Use the Picture tab to load and blend pictures to create unique terrains 181 Working in the Pictures Tab Loading Pictures You can load any two pictures from anywhere on your system You can also copy and paste images from the Clipboard To load pictures e Click the Load text button above the picture box into which you want to load the picture From the Picture button in the Elevation tab hold down O ption A It key to load the picture s color data directly into the 3D Terrain preview This allows you to seethe interaction between the picture and the grayscale to height interpreta tion of its luminance values The color data is only for viewing purposes and will not render with the terrain To copy and paste a picture into the Picture tab 1 In another application copy the picture you want to use to the Clipboard 2 In the Picture tab click the Paste text button below the picture box where you want the picture to appear W hen you use Command V Ctr V to paste from the Clipboard the picture always appears in the first square Blending Pictures Once you have a picture in each of the first two squares you blend them to create athird image that is used to create the new Terrain Canvas Bryce 4 To b
444. ping vs Linking Both grouping and linking let you create functional or spatial relationships between objects The difference is how the objects within each hierarchy work Within a group all the objects act as one If one moves they all move If one object is rotated they all rotate This type of hierarchy is good for creating complex objects with static parts like a tree or a large terrain CERLO Group hierarchies are good for creating complex objects that have no moving parts like this terrain group As you move the group all the objects in the group move 303 Within a linked hierarchy objects behave differently depending on which object within the hierarchy is being transformed Any transformation you apply to the parent object is applied to all its children H owever transformations applied to a child object do not affect the parent This type of hierarchy is good for creating objects that have moving parts or animating two objects with the same motion Linked hierarchies are good for creating objects that have moving parts like this grandfather clock As you move the parent all the objectsin the hierarchy move as the child moves the parent remains unchanged You can control exactly which transformations are applied to a child object using the options on the Linking tab in the Object Attributes dialog Hierarchical Structure A hierarchical structure consists of a parent object or objects and its descendants In t
445. ple you can keep the main terrain while eliminating the black square on which it sits Using theClipping Bracket you can eliminateunwanted areas from the terrain s edges T his feature can be useful when you re creating islands The clipping feature is particularly useful when editing a Symmetrical Lattice The maximum lower range of the Clipping Bracket determines where the two halves of the Symmetrical L at tices are joined To set the clipping range 1 Drag the top of the Clipping Bracket to set the maximum upper range Any areas in the Terrain Canvas whose gray levels fall outside the bracket s maximum Terrains upper range will appear colored to indicate they will be omitted from rendering 2 Drag the bottom of the Clipping Bracket to set the maximum lower range Any areas in the Terrain Canvas whose gray levels fall outside the bracket s maximum lower range will also appear colored to indicate they will be omitted from rendering The out of range colors for upper and lower limits are different to better enable you to dis tinguish upper and lower clipped areas at a glance Upper out of range color is usually blue and lower out of range is usually red though the colors change for many of the color maps To reset the Clipping Bracket Hold down Option Alt and click the bracket To move the entire Clipping Bracket at once e Click the center of the Clipping Bracket and drag up or down Ter
446. ply your changes To transform a texture interactively 1 IntheTexture Component window click the click the first button on the left at the top of the window TheTransformation tools appear 2 Move the cursor over the tool you want to use until the mode you want is active 3 As you pass the cursor over the tool the tool changes to display the different modes available 4 Drag the mouse in the direction you want to move scale or rotate the texture 5 Click the OK icon to apply your changes Editing Textures You can edit the makeup of an existing texture or create a completely new texture using the Deep Texture E ditor This editor uses some rather complex texture generation concepts to create textures for Bryce You can either choose to learn all these concepts to create your textures precisely or use the editor as a type of 219 lab where you combine random settings and see the results Refer to Textures on page 237 for more information about learning texture generation concepts Combining Components You can combine material components using one of three blending modes e ModeA ModeAB Mode ABC Mode A In Mode A only one component is used to set the value of achannel T he component can bea value a picture or 3D texture Mode AB In Mode AB two textures are blended together based on altitudes At the lowest altitudes the values from textureA are used at higher altitudes texture B is us
447. ponent Color Components A color component is an RGB color that is directly applied to a channel Colors can only be used in the Color channels Diffuse Ambient Specular Specular H alo and Volume W hen you re using a color in these channels you cannot combine it with a texture If you choose a texture component for any of the Color channels the color oval appears blank TheVolume channel can only be set with a color To use a color as a component 1 Inthe Materials Lab click the color oval in one of the channel rows on the Material Grid and choose a color from the palette The Color oval in the channel column displays the color palette M aterials e To choose a color using the Color Picker hold down Option Alt when you click the color oval The selected color appears in the color oval If you click on one of the columns the color oval appears blank Value Components Value components are numerical values you use to set the intensity of a channel Values can only be used in the Value Optics or Volume channels A value is indicated by either the numerical field in the left side of the channel in the Material Grid or the slider that extends out from the channel The sliders let you quickly set the value of achannel and the numeric field shows the current setting The value slider in a channel lets you set a numerical value for the intensity of the channel and displays the channel s current sett
448. ponent window let you display the Noise Phase and F ilter palettes 248 The Noise Editor is much more powerful than the Noise palette It contains controls for creating noise from scratch Octaves Noise Mode Noise Brie Noiseype No of Dimensiofsequency Conti Diection Comts The Noise E ditor lets you create noise and adjust its properties To display the Noise Editor 1 Display the Deep Texture Editor 2 Click the Noise button at the bottom of the editor The Noise palette appears 3 Click the top left corner of the palette The corner turns green as you pass your cursor over it The top left corner of the N oise palette lets you display the Noise E ditor 249 Creating Noise The Noise editor is the tool you ll use to create noise with a component or combined texture The noise creation process involves several steps Choose the number of dimensions in the noise e Choose a Noise Type This will give the basis for creating a noise pattern or grain e Adjust the frequency of the noise e Adjust the orientation of the noise e Apply a modifier to your noise by choosing a Noise Mode The following sections describe the various parts of the editor and how to use them in the noise creation process Noise Dimensions Texture in Bryce can exist in 3D so your noise can have up to three dimensions Noise dimensions determine which axes you can use to adjust the orientation and frequency of t
449. position E amp 8 activates fourth position ast 9 activates position nt A3 There are no keyboard shortcuts for the remaining two dots Setting Up Lights There are two types of lights in Bryce natural and direct Natural lighting is provided by the Sun By default every scene contains a sun Direct light is provided by light sources The light from direct light sources can be used to either add hyperrealism to natural scenes or add light to objects that cast light in the scene like lamps The lighting setup you choose can greatly affect the look of your scene so experiment with various lighting setups Creating Direct Light Sources There are five types of direct lights you can create Radial Spot Square Spot Parallel and Cylindrical Parallel You can create as many light sources as you need The only limit is your system s memory Creating additional lights or light sources may add significantly to the render time of your scene The size position and orientation of a light source can be edited exactly like any other object Refer to Transforming Objects on page 285 for more on transforming objects You can also link lights to specific objects so that alight source moves as the object moves or you set alight to track an object W hen it s tracking an object the light reorients itself so Bryce 4 that it s always facing the object no matter where it moves Linking and tracking are q
450. ppeal of Bryce terrains are Bryce materials which consist of different sig nificant properties Each of these properties can be exported along with their geometry through the Export Terrain Lab The image map controls lets you refine which of the material properties you wish to export by selecting out of the list of ten By default any material properties of the terrain that use image maps will be exported Depending on the selected export file format the image maps will be imbedded within the export file If however the export file format does not support imbedding of image maps they will be saved out as separate image files in the same folder as the export file The filename of each separate image will be the name of the export file appended with the name of the appropriate material property To adjust the resolution of the exported image maps Select one of the presets in the Size Menu To save the tessellated terrain and all its image maps Click on the OK icon If you do not wish to save click on Cancel 187 To export a terrain 1 Create a terrain and apply materials 2 Either select the terrain and go to File gt E xport Object or enter the Terrain Editor and click Export 3 Choose the desired file format and target folder 4 Adjust the complexity of the mesh 5 Select material properties to be exported as image maps 6 Select image map size 7 Click the OK icon to cause the tessellated
451. ppear next to the object s bounding box A EEES T W Theiconsalong the right side of the object s bounding box let you interactively link objects 306 2 Click the Link icon and drag the linking line to the object you want to use as the parent object You cannot create a link where the parent object isthe child of its own child object i e a loop The parent object turns blue FEEF F the child object The object you drag the link line to becomes the parent object The object you select fi rst becomes To link objects using the Object Attributes dialog 1 Select the object you want to use as the child object 2 Click theA icon that appears next to the object s bounding box The Object Attributes dialog appears 307 3 Click the Linking tab Object Attributes J General Linking Animation Object Parent Name Perspective Camera 6 Distance Offset Rotation Propagate J ak Track Object Name Plane 1 J Y 9 Z 2 m x Orientation J x Y Z Web Link http woe metacreat ions com R Use the options on the Linking tab of the O bject A ttributes dialog to setup the linking relationships between objects 4 Click the Object Parent Name menu and choose the name of the object you want to use as the parent object 5 Click the OK icon to link the two objects To break a link 1 Select a child object 2 Click theA icon that appears next to the object
452. r Frame numbers Animation Setup umento oo js oo fa 1 n i ki hi Mheaig E Hh i ji some 6 feed or Ge Pay a Come Fyre The Animation Setup dialog can used to set the duration of your animation or to move to a specific point in the timeline ae SE Tee Pme Cart 2397 To set the duration of your animation numerically 1 Choose File menu gt Animation Setup or double click the Current Time Indicator TheAnimation Setup dialog appears Click the Scale Timeline button This switches the Duration fields to set the duration of your animation N 3 Inthe Duration fields enter the total length of your animation in hours minutes seconds and frames When you enter a duration Bryce automatically calculates the number of frames in the animation based on the current frame rate The number of frames is displayed in the Frame field Setting the Frame Rate The Frame rate for your animation can have a large impact on the final quality of your rendered movie A low frame rate is faster to render but may produce more jumpy type motion while a higher frame rate produces much smoother motion Bryce displays frames as Frames per Second fos 15fps is usually good enough for motions displayed on a computer 30fps is video quality To set the frame rate for your animation 1 Choose File menu gt Animation Setup or double click the Current Time Indicator TheAnimation Setup dialog appears 2 Ent
453. r Terrain Canvas Use Dampen to create abrupt drops and valleys Equalize This tool acts like the Equalize function you may have seen in 2D image editing applica tions It redistributes gray values in your Ter rain Canvas such that a full range from black to white is present in your canvas This tool equalizes black and white values in your Terrain Canvas U se Equalize to eliminate sharp ridges or deep valleys 1 1 Posterize This tool stratifies the gray levels in your Ter rain Canvas resulting in stair stepped terrain structures This is a good tool for creating desert plateaus Use Posterize to create stair stepped desert plateaus or paddy fields on the side of a mountain Mosaic This tool is not a button on the Elevation tab To use this tool hold down Opt Alt as you drag over the Posterize button Mosaic creates highly pixelated square struc tures based on the gray content of your canvas This tool is excellent for instant cityscapes Try adding one of the sci fi city materials from the Preset Materials Library to a Mosaic terrain This tool pixelizes your Terrain Canvas Use M osaic to create cityscapes Bryce 4 Sawtooth This tool modifies your Terrain Canvas based on a sawtooth waveform structure The results look like schizoid desert canyons and icebergs This tool creates schizoid desert canyons or icebergs Subcontours This tool works like a contrast control with the threshold
454. r press Option C AIt4c The selected object s matrix is copied to the clipboard 3 Select a different object 4 Choose Edit menu gt Paste Matrix or press Option V AIt yv To delete a selected object 1l Select an object 2 Choose Edit menu gt Clear or press the Delete Backspace key Bryce Basics Duplicating and Replicating Objects When you duplicate an object Bryce creates an exact copy of the object and places it in exactly the same position as the original When you replicate an object Bryce creates a new object and applies the last set of transformations to it To duplicate an object 1 Select an object 2 Choose Edit menu gt Duplicate or press Command D Ctrl D To replicate an object l Select an object 2 Choose Edit menu gt Replicate or press Option D AIt D A new object appears at a size location and orientation based on the last set of transformations For example if you select an object drag it to a new location and then select Replicate a new object is created at the same distance from the original To replicate objects numerically 1 Select an object 2 Choose Edit menu gt Multi Replicate or press Command O ption Shift D Alt Shift D The Multi Replicate dialog appears 3 Enter avalue in the Quantity field This value sets the number of duplicates you want to create 4 Enter X Y and Z values in the Offset fields Offset values are expressed in a range from 0 to 99999
455. ra you may want to display its motion path Just like with other motion paths you adjust the trajectory of the camera by adjusting the shape of the path Refer to Editing Motion Bryce 4 Paths on page 378 for more on working with motion paths FECES W hen you display the camera s trajectory you can see the exact path it will take during the course of the animation To display the camera s trajectory l in theWorking window click the triangle icon next to the View Control and choose Top Left Right Bottom Front or Back from the menu 2 Select the Camera in the Working window 3 Click theA icon that appears next to the camera s bounding box The Camera amp 2D Projection dialog appears 4 Click the Animation tab 5 Click the Show Trajectory option and click the OK icon Animating Techniques Linking and Tracking with the Camera Since Bryce lets you treat the camera as an object you can also link the camera to an object or you can have it track an object When you link the camera to an object the view of the scene changes as the position of the parent object changes gt For example if you link the camera to an airplane the view of the scene will follow the airplane s trajectory as it moves long its motion path W hen the camera is linked to an object both its aim and position change as the object changes W hen you set the camera to track an object the camera remains po
456. rain objects are actually hollow so if you clip the upper range off your terrain you ll be able to see through the top of the terrain to whatever is underneath To make the top solid you should select Make Solid from the drop down menu 184 Saving Terrains Since the terrains you create in the Terrain Edi tor are objects in the scene you can save any terrain in the Preset O bjects Library just as you would any object Refer to Adding and Delet ing Preset Categories and Objects on page 120 for instruction on saving objects to the preset library Exporting Terrains The Export Terrain Lab allows you to convert Bryce terrains into polygonal meshes The Lab provides you with full control over the level of detail of the polygonal mesh You can adjust the number of polygons with realtime feedback so you can instantly see the resulting change to your mesh In addition the Lab allows you to manage the all important texture maps so that your exported meshes retain the cool look as gener ated within Bryce The ExportTerrain Lab 185 To access the Export Terrain Lab Do one of the following e Selecta terrain and go to File menu gt E xport Object or e Editand save a terrain in the Terrain Editor and click Export which is located at the bottom of the map view Features of the Export Terrain Lab The Export Terrain lab is divided into two areas e The polygonal mesh previewer with polygon count sli
457. re 202 Diffusion to the surface Glass has a refraction effect associated to it so you ll need to add Refraction to the surface Setting Transparency Using a Texture When you apply a texture to the Transparency channel the texture s alpha channel is used to determine which areas of the object are transparent Lighter areas of the alpha channel are not transparent while darker areas are You can create some interesting effects using textures For instance a checkerboard texture will result in an object that s alternately transparent and solid The final look of the Transparency channel is determined by the Shading mode W hen the material is applied using normal shading Transparency creates an optical effect W hen the material is applied using Blend Transparency mode Transparency creates a punch out effect The areas of the surface that are 100 transparent are completely ignored during shading so that they appear as gaps or holes it the surface Any areas that are less than a 100 result in anormal transparency effect Refer to Shading Modes on page 221 for more on Shading modes Cage texture applie to Transparency channel You can create some interesting effects using textures in theTransparency channel like this checkerboard object This example was created using regular shading 203 Thisis what the same material looks like when you use Blend Transparency Transparent Color TheTransparent
458. re in the Bryce window To reset a palette to its original position e Hold down the Option Alt key and the Spacebar then either click on a palette or choose E dit menu gt Reset Palettes to reset all palettes to their default positions To hide the Bryce interface 1 Press Command Tab Ctrl Tab All the palettes disappear and your image appears at the center of your work space 2 Press Command Tab Ctrl Tab again to display all the palettes To display individual palettes 1 Press Command Tab Ctrl Tab to hide the interface 2 Press the key combination for the palette you want to display e Command 1 Ctrl 1 Create palette e Command 2 Ctrl 2 Edit palette Command 3 Ctrl 3 Sky amp Fog palette e Command 4 Ctrl 4 C ontrol palette e Command 5 Ctrl 5 Selection palette e Command 6 Ctrl 6 D isplay palette Displaying Text Information The Text Display area at the bottom of the Control palette displays a great deal of valuable information about the interface and statistics for your scene During rendering the Text Display area displays projected and elapsed time estimates This estimate does not include the time for anti aliasing The total time including anti aliasing will be calculated and displayed in the Render Report When you re working in the Timeline or Animation controls the Text Display area displays the current time To display information about the interface Pass the pointer over any interface e
459. re using a texture to set the Diffusion value the texture s alpha channel determines the Diffusion intensity Components are combined using one of three modes Mode A Mode AB and Mode ABC In ModeA only one component is used to set the channel s value In Mode AB two components are combined to set the channel s value based on altitudes The values from textureA are applied at low altitude and values from texture B are applied at higher altitude In Mode ABC the values of two textures A and B are blended based on the alpha channel of texture C When you re using textures as a component you can choose from a number of preset textures or you can open the Texture Editor and create your own textures Refer to Combining Components on page 219 for more information In some channels you can use both a texture and a value In this case the value determines how much of the texture s value is used to drive the channel For example if you apply a Blue 195 Checkers texture to the Bump H eight channel the texture sets the shape of the bumps and the value sets how prominent those bump appear In this example the shape of the bumps on the object is set by the texture component in the Bump H eight channel but the height of those bumps is set by a value A Word About Alpha Channels One of the outputs a texture component can produce isan alpha channel The alpha channel is a grayscale representation of the texture
460. reates an abrupt drop at the edges of your terrain Use this tool when you have a ter rain whose edges are not level and you do not wish to use the Gaussian Edges tool for soft transitions 168 This tool creates an abrupt drop at the edges of your terrain Use Square Edges to level the edges of a terrain You can add a slope to the square edges of your terrain by applying this tool gradually Click and drag left to increase the slope and right to decrease it Round Edges This tool creates an abrupt circular drop at the edges of your terrain You can add aslope to the round edges of your terrain by applying this tool gradually Click and drag left to increase the slope and right to decrease it This tool creates an abrupt circular drop at the edges of your terrain Use Round Edges to create a circular base for your terrains 169 Basic Noise This tool adds roughness to your terrain s sur face by adding noise to the Terrain Canvas Click and drag left to increase the noise and right to decrease it This tool adds roughness to your terrain s surface Use Basic Noise to create rocky mountains Slope Noise This tool adds roughness to any sloping sur faces in your terrain Slope Noise adds noise to all the sloping areas of your terrain Click and drag left to increase the noise and right to decrease it Slope Noise has no effect on flat surfaces More noise is added to steep slopes This tool add
461. red so no light is reflected off the object Try to avoid using pure colors for the Diffuse Color so that your object always reflects some color Ambience Ambience simulates the effects of light hitting the object from all directions The Ambience value controls the amount of light that is reflected off the surface uniformly reece Light from all direc tions is scat tered back The large arrowsrepresent ambient light hitting the object s surface The smaller arrows represent the light reflected off the object s surface W hen Ambience is set to a value higher than zero the object will reflect light from all over its surface not only from the area hit by light This makes the object look brighter The higher theA mbience value the brighter an object appears At 100 the object appears unnaturally bright regardless of the light source If you want to create a realistic effect Bryce 4 the sum of the Ambience and Diffusion values should add up to 100 Ambience set to Ambience set to 0 100 Ambience controls the general brightness of an object An object s ambience is directly related to the general ambience of the environment So the ambient value you set for the object is directly affected by the Ambient Color you set in the Sky amp Fog palette TheAmbient Color in the Sky amp Fog palette controls how much ambient light is available in the environment The Ambience channel con
462. reviewing you animation 367 All the changes you make in the A dvanced Motion Lab are automatically applied to your animation Viewing Object Hierarchies The Hierarchy List area displays the hierarchical structure of your scene The term hierarchy refers to the structure of object links and groups in the scene The Hierarchy List area is used to control the display of both the object hierarchies and object property timelines If you want to view only your scene s object hierarchies you ll have to hide all the properties for all objects You can hide each object individually or select from the menu to the right of the Preview Area to display or not display the hierarchy Refer to O bject Hierarchies on page 303 for more on object hierarchies To hide an object s property timelines To hide an individual object s property timelines click the name of the object whose properties you want to hide To hide all the property timelines in the Hierarchy List area either hold down Option Alt while you click or select Collapse all timelines from the menu to the right of the Preview Area W hen all the object timelines are hidden the only thing displayed in the Hierarchy Area is the hierarchical structure of your scene Bryce 4 Object Name Collapsed gt Cone 1 Parent v Expanded Cylinder 2 Object Listing Cube 2 Child Me Object Position Animatable Rotation Object Scale Properties Shear
463. ributes dialog box and it s accessed using the same key commands and so on Tutorial 84 6 Click the center tab called Linking A new panel appears with options for Object Parent Name and Track Object Name Cameron amp 20 Projection Lie Pace Hee Ron _ Track Tapar Parsa e Object Parent and Track O bject Name 7 Click theTrack O bject Name pop up menu and select Sphere 4 or whatever the number for the sphere you have in your scene The Object Name appears Click the OK icon to leave the Camera s Object Attributes dialog box The camera snaps to the right to point at the sphere and a gray line extends from the camera to the sphere orn W hat you should see 9 2 Toggle back to the Animation palette and click the Play button The camera moves along the trajectory facing the sphere for the entire duration of the sequence You can view this sequence from the camera s point of view Switch to Camera View by selecting View Options menu gt Camera View or by pressing the 1 key The wireframe view of your scene changes Click the Play button to watch the wireframe animation The camera flies through the space all the while keeping the sphere at the center of the scene window Save your scene and call it Animation RoughCam Lesson 3 Making Camera Adjustments The camera flythrough is all at a single height which is below the mirrored sphere and below the open arch on
464. rically Bryce 4 To reposition the camera numerically 1 Double click the Trackball The Camera amp 2D Projection dialog appears 2 Enter Position X 24 Position Y 15 Position Z 10 Rotate X 0 Rotate Y 30 Z 0 3 Leave the remaining values at their defaults 4 Click the OK icon to apply the changes to the camera When you apply the values you entered in the Camera amp 2D Projection dialog the view of your scene should look like this Now that you can see your objects you can select and reposition them 5 Close the file Since it is a lesson you don t need to save it unless you want to Arranging Objects in the Scene The Basic Tutorial A 3D illustration depends heavily on the arrangement of the objects in the scene to create a specific look or feel Tutorial 52 W hen arranging a scene you should remember that you re working in 3D space meaning that your object can be viewed from any angle You should take all of these angles into account when you re arranging objects an arrangement that looks good from above may not look so good from the back and so on The lessons in this section will help you learn how to add position and transform objects to create a 3D illustration The Story So Far Before starting this lesson you should have your document set up and know how to access the tools and palettes in Bryce What You ll Need To complete these lessons you ll need some
465. rrent Time Indicator fills with a green timeline 81 The green extends beyond what is visible in the Time Working area Use the Scale tool above the right end of the timeline to scale the green timeline so that you can see it in its entirety 2 Drag the cursor to the right at the Scale tool The tick marks move closer together and more of them appear from the right Continue dragging until you can see the entire green portion of the timeline ee T Scaling the timeline 3 Ifthe Selection palette is showing toggle to the Animation palette by clicking the Selection Animation toggle in the lower right corner of the Bryce interface or pressing the S key The Animation palette appears 4 Click the triangle on the right side of the Animation palette then select Auto key if it isn t already selected Animation palette 5 Click the triangle again and select Ticker Marks gt Every 5 Frames A check mark appears on the menu If your frame rate is 10 frames per second then atickmark every 5 frames is equivalent to a tickmark every half a second You now have set up your timeline in preparation to animate the camera Before animating the camera think about the placement of keyframes Bryce 4 Animate the Camera Lesson 1 Setting the Camera Trajectory To adjust the camera s trajectory Look at your scene from top view The camera is located at the bottom 1 Click the Add Keyframe button to ad
466. rt Click the Export button at the bottom of the dialog The save file dialog appears Enter aname and location for the file and click Save Bryce 4 Creating O bjects 22 Creating Skies Environments and Bryce A Bryce sky defines the virtual environment of your scene Unlike many other 3D applications Bryce s virtual environment is not merely a backdrop it is an infinite 3D representation of natural environmental phenomena All of the elements in your sky interact with each other just as they would in the real world Colors in your environment interact with everything in your scene just as they would in nature For example red sunlight is invisible until it strikes an object then the object exhibits red highlights If it s a blue object it takes on a purple cast and so on Thecolorsin the sky change depending on the position of the sun and how much moisture Haze Fog is present in the atmosphere All this plus natural reflection refraction and more make Bryce s Sky amp Fog palette responsible for a great deal of the natural or supernatural look and feel of Bryce images The objects in your scene may look incredibly realistic on their own but when you add a sky the scene becomes a window looking out into a real world You can add even more realism to a sky by enabling one of the many environmental effects available for skies Using these effects you can create night skies full
467. rved for terrains that are very close to your camera and for any other case where detail is important For items that are far away or where detail is not so important lower resolutions are more appropriate Brush sizes may appear to vary depending on your resolution but in fact they remain propor tional to the size of the Terrain Canvas The Ter rain Canvas is always displayed at 256x256 So if you change the resolution to 1024x1024 the Terrain Canvas will still appear in that 256x256 window and in order to remain proportional brushes will appear smaller To set the Terrain resolution Click the Grid icon on the left side of the Terrain Canvas frame and choose a resolution from the menu The resolutions available are e 16 very coarse e 32 coarse e 64 simple e 128 normal e 256 fine e 512 ultrafine 1024 massive resolution Creating Terrains You can create terrains in several ways You can let the editor do all the work of generating a terrain based on a series of algorithms you can use the editor s painting tools to create a cus tom image or you can import an image into the editor When you generate a terrain you use the Ter rain Editor s Elevation tools which include Terrains erosion effects as well as dozens of other effects optimized for the purpose of heightening real ism in Bryce terrains When you paint a terrain you use the editor s grayscale paintbrush to paint a topographical i
468. ry line are selected 5 Click the Object Attributes button to Lesson 2 Creating Keyframes for access the Camera and 2D Options dialog the Beginning and End of the Path box Click the Linking panel to display it For Object Parent name select Path 1 from To create keyframes the pop up menu of your objects Click the button next to Constrain to Path Your 1 Click the First keyframe button on the dialog box should look like the one shown Animation palette The scrubber moves to the beginning of the sequence time 00 00 00 0 2 Click the Add keyframe button 3 Click the Last keyframe button The scrubber moves to the end of the sequence time 00 00 09 0 4 Click where the camerais located and drag to the right The camera moves along the path You may have to drag several times to move the camera to the end There is an alternative way to place the camera at the Linking Options end of the path 5 Click the Object Attributes button The Camera amp 2D Projection dialog box appears 6 Click the OK icon to leave the dialog box The blue trajectory line disappears 91 Bryce 4 6 Typethenumber 100 in the Position box To adjust the velocity Your dialog box should look like the one shown 1 Click the Advanced Motion Lab button The Advanced Motion Lab appears Camera amp 20 Projection Linney Object Farani Morr Path 1 rapes d Driss A Ae Tek Utyort Heme Sober 4 SSS H Camera and 2D Projectio
469. ryce 4 More Irregular This mode works exactly like Irregular except that this mode is more intense In this example M ore Irregular mode was applied to RND Continuous noise Maximum This mode uses the only the highest values or lightest areas to produce the modified noise y a ar ee al blll In this example Maximum mode was applied to RND Continuous noise Mulitfractal In this mode lighter areas create higher contrast noise mAN In this example M ulitfractal mode was applied to RND Continuous noise Textures With Rotation In this mode each additional octave is rotated With Rotation mode it s easier to see linear noise types TT GR a In this example W ith Rotation mode was applied to RND Linear noise Minimum This mode uses only the lowest values or darkest areas to produce the modified noise i I as Li x 2 E In this example Minimum mode was applied to RND Continuous noise Multiply In this mode all the values in the noise are multiplied together The results is a darker noise Urr hy In this example Multiply mode was applied to RND Continuous noise 254 Difference In this mode all the values in the noise are evaluated All the values that are equal create black areas W hen the values are different the lower value becomes darker The more octaves you have in the noise the darker the modified noise Difference works ev
470. s W hen the sun position is closer to the edges of the control the sun appears closer to the horizon making the scene darker W hen the sun isin the center of the control the sun shines from directly above the sun like it would at high noon The colors in your sky will change depending on the position of the Sun Control or the time of day just like in the real world The angle of the shadows changes as the sun changes If your object is shiny and there are Bryce 4 no other light sources the position of the sun controls where the highlight appears In this example you can see the effects of the sun s position on several reflective and shiny objects Day and Night Your sky always contains two heavenly bodies the sun and the moon There is always one body visible in your sky At night it is the moon and in the day its the sun The two bodies are connected and always remain at opposite ends of the sky As you move the sun you re also moving the moon This means that when the sun dips below the horizon in front of you the moon is rising behind you p The link between the sun and the moon can be seen by positioning the sun at the horizon in front of the camera Creating Skies if you turn the camera 180 you ll see the moon just rising over the horizon as well To switch between night and day 1 Display the Sky amp Fog palette 2 Click the Day Night toggle button in the top lef
471. s are not visible Instead all objects are displayed as wireframes to make it easier and faster for you to edit and position objects Lighting appears in three places the Shaded Preview mode the final rendered scene or in the Nano Preview In Nano Preview you can see a small preview of your lighting effects This is the only preview available in Wireframe mode Lighting effects also appear in the Nano Preview 327 In Shaded Preview mode all the objects in your scene appear as flat solids Any lighting you apply creates simple highlights on the surface of the object This mode does not show materials In Shaded mode the objects in your scene are displayed as solids You can also see the effects of different lighting Shaded Preview mode is only available if you havea system that supports O penGL Refer to Display Modes on page 17 for more on this mode If you want to see the effects of lighting on object materials you ll need to render the final image W hen you render your scene you can see the effects of light position and color on your object s materials Bryce 4 Visible Lights One of the most spectacular uses of light sources is visible light Visible light effects are like cones of light that appear in your scene like a searchlight cutting through the fog The effect of a searchlight cutting through the fog can be created using a visible light There are two types of visible lights sur
472. s com ponents in materials or gels When you use a picture as an object itis applied to a 2D plane and appears as an object in the Working window Refer to Creating a Pict Object on page 106 for more on creating 2D Pict Objects Creating O bjects Thisiswhat a picture looks like when it is used as an object W hen you use a picture as a material compo nent the image is applied to a material chan nel where its values are used to drive the value of the channel Refer to Materials on page 189 for more on working with Materials Thisiswhata picturelookslike when it is used aspartofa material When you use a picture as a gel the image is placed in front of the light and appears as a 108 projection Refer to Applying Gels on page 350 for more on gels Thisiswhat a picture looks like when it is used asa gel Alpha Channels Every image contains a number of channels that store data about the makeup of the picture For instance channels can contain masks col ors or bump information The alpha channel of an image is its first chan nel The channel is alike a grayscale map that accompanies an image that is used primarily as a mask Areas in the alpha channel that are black are ignored by the Bryce as it computes the picture appearing transparent Bryce rec ognizes and computes areas that are white appearing opaque The most common use for alpha channels is to mask the contours of a
473. s do not always display a full range of colors Bryce has compensated by add ing gamma correction so that colors are truer terrains more natural and earth tones more real Bryce also now has an automatic process called 48 bit dithering that allows for a better display of gradients Instead of distinct color bands you now see a smoother transition from one color to the next Light Editor Enhancements Bryce 4 now provides more control over the way light falls The Light Editor contains options for a falloff method and distance In addition to gradual dimming you can now choose to stop light abruptly Refer to The Camera and Lights on page 325 for more information New Material Lab features Many new options in the Materials L ab let you apply pictures in new ways that include tiling and mirroring Bryce also allows you to export textured terrains as Metastream files R efer to Materials on page 189 for more information Picture Editor Enhancements You can launch Photoshop plug ins to enhance or edit your 2D image map textures In addition you can import more image formats than ever Refer to Working with Pictures on page 108 for more information Preset Enhancements You can create your own preset categories and easily organize your presets Refer to zot for more information About Your User Guide This user guide provides all the information you need to get the most out of Bryce It will help you l
474. s has a great effect on the personality of your sky Higher altitudes will result in smaller more distant cloud formations as well as a thicker band of haze at the horizon Lower altitudes result in larger more languorous cloud formations and a thinner band of haze at the horizon Cloud Altitude The Cloud Altitude controlsin the Sky amp Fog palette lets you interactively set the height of the cloud layer in the sky Cloud Altitude 10 Cloud Altitude 90 For example you can see how the clouds change in these Skies as the cloud altitude value changes There are two things to remember when working with this control First the Cloud Altitude will affect the size of your Haze band if you have a haze setting greater than zero The higher the altitude the wider the haze region will be on the horizon You can use this interaction to your benefit Bryce 4 Second remember to lower your altitude setting if you are creating a nighttime scene Since high altitudes increase the size of the horizon Haze region the sky will be too unnaturally bright for realistic night scenes To set cloud altitude 1 If it s not already visible display the Sky amp Fog palette by clicking the text item on the menu bar 2 Drag horizontally inside the Cloud Altitude control thumbnail Drag left to decrease altitude and right to increase it To set cloud altitude numerically 1 Display the Sky amp Fog palette by clicking the Sky a
475. s in the alpha channel have ahigh diffusion value and darker areas have low diffusion values Higher Diffusion values Lower Diffusion values Alpha Channel W hen you use a texture to set the Diffusion channel the grayscale values in the texture s alpha channel determine the diffusion of the objects 196 Diffuse Color Diffuse Color acts like a filter through which all diffuse light passes W hen light hits the object the amount of light that s reflected diffusely is determined by the Diffusion channel setting and the color of that light is set by the Diffuse Color channel Direct Light Diffuse Color Surface reflects light diffusely This graphic shows how diffuse light passes through the Diffuse Color W hen Diffusion is set to a value greater than zero the Diffuse Color appears wherever the object is hit by direct light Diffuse Color applied to areas Diffuse Color is the color of diffusely reflected light Be careful when using pure constant colors as the Diffuse Color because you may not get the results you re expecting If you use a pure color only that color is reflected off the object So if you re using 100 green only green light is 197 reflected off the surface This doesn t cause a problem when the object is hit by white light because there is green in white H owever if you use 100 red light on the object it will appear black since there is no green in 100
476. s into triangles for greater flexibility unity The state a Bryce object is in when it is first created or just after the Unity button has been pressed positioned within a cube of fixed size in an invisible 3D grid with no rota tion applied view Thesum of camera position in 3D space plus 2D Projection pan and scale values wireframe A mesh representation of a 3D object Glossary wireframe resolution Your onscreen wire frame objects can be displayed at various levels of detail this display resolution can be set dis creetly for static selected and moving wire frames This resolution has no relevance to document render or output resolution world space A method for representing objects in 3D space It uses a fixed or absolute set of arbitrarily determined Cartesian coordi nates yaw Camerarotation around itsY axis kind of turning to look right or left MetaCreations License Agreement By using this software you are agreeing and indicating your acceptance of these terms and conditions If you do not agree with them you should return the software to the dealer from whom you purchased the product and your money will be refunded If the dealer from whom you purchased this package fails to refund your money contact MetaCreations Corp immediately at the address below MetaCreations Corp hereinafter referred to as Company a Delaware based Corporation provides the computer software hereinafter referred to
477. s roughness to the sloping surfaces of your terrain Bryce 4 Height Noise This tool adds small amounts of noise at lower altitudes and more noise at higher altitudes Click and drag left to increase the noise and right to decrease it This tool adds a little roughness to your terrain s surface at lower altitudes and more at higher altitudes Image Filtering Effects These tools located on the orange curve apply filters to your terrain that act like image filters They can change the look of the terrain without altering its basic shape Spikes This tool adds spiky structures to your map When you apply the right material to these structures they can look remarkably like trees if they re viewed from a distance Terrains Thistool adds spikes to your terrain s surface Use Spikes when you want to add trees to your terrain Mounds This tool adds midsized splotches to your can vas You can use this tool to create the appear ance of stones or boulders under transparent water planes on 3 a f wE A This tool adds splotches to your Terrain Canvasthat look like boulders on flat surfaces or towers on sloped surfaces Dampen This tool works like a contrast control It will push gray values towards either black or white depending on where the gray value falls in the 1 0 black white range L ess than 50 goes to black greater than 50 goes to white This tool controls the contrast of you
478. s rush through gorges the sun sets over the ocean or mist evaporates to reveal flocks of birds soar ing between mountain peaks Bryce can also be an invaluable tool for inter active multimedia Your Bryce package includes e The Bryce CD ROM e The Bryce User Guide e The Bryce Quick Reference Card e Your Bryce serial number e A Software Registration Card If you are missing any of these items please contact your Bryce dealer distributor or Meta Creations Customer Service at 831 430 4063 What s New in Bryce The new Bryce 4 has new tools features and improvements from Bryce 3D For those of you who are upgrading the overview in the follow ing paragraphs provides a head start on locat ing learning about and taking advantage of new features in Bryce that include New Sky Lab The Sky Lab provides new and improved tools for creating stunning skies It provides one stop access to Cloud Atmosphere and Sun and Moon controls Refer to Creating Skies on page 123 for more information New Import Export Many additional image formats and object types are supported for import and export including US Geological Survey maps DEM files and USGS SDTS files Refer to Using Bryce with Other Applications on page 417 for more information Terrain Enhancements Bryce 4 provides over 20 new fractal terrain cre ation models W elcome to Bryce 4 In addition you can perform textured terrain export
479. s through the new real time multi reso lution Export Lab which converts Bryce ter rains into mesh objects for export in all popular 3D file formats Terrain mesh density is fully user adjustable and you can have instant visual feedback with real time textured preview Refer to Terrains on page 157 for more information Using Bryce on the Web Use Bryce to export both still or motion images to the web with embedded object links You can also communicate with other Bryce users via BryceTalk or go directly to Bryce related web links from within Bryce Refer to Using Bryce on the Web on page 423 for more information Interactive Movie Previewing Now you can immediately see your Bryce ani mation in a preview window without having to render it then play it using an external viewer You can quickly generate thumbnail previews of your animations preview animations directly within Bryce or navigate through your anima tion using a storyboard style interface R efer to Animating on page 353 for more information Enhanced Rendering You can enhance render quality using gamma correction and 48 bit dithering Lights havea new falloff mode for more control over how far light travels Bryce 4 provides new and improved texture mapping modes along with anew material shading mode to control self shadowing of objects R efer to Rendering on page 403 for more information Enhanced Screen Resolution Since monitor
480. s tools for editing it To display the Filtering palette l Display the Deep Texture Editor 2 Click the Filtering button at the bottom of the editor PHase Noise GX Filter The three buttons at the bottom of the D eep Texture E ditor let you display the Noise Phase and F ilter palettes or e Click the Filtering button in the top right corner of any of the component windows The three buttons along the outside of a component window let you display the Noise Phase and F ilter palettes Bryce 4 Editing the Filter Filters are equations which have variables Each equation can have up to three variables labeled a b and c The values for each variable are displayed at the bottom of the palette Generally a controls the intensity of the filter effect while b controls the overall height In some filters a and b may stand for other things There are two ways you can adjust a filter by changing the variable values or by changing the shape of the graph which automatically changes the variable values The method you use depends on how much you know about a particular filter If you re not sure what the filter does change the graph it s a much more intuitive way of working To edit the Filtering graph 1 Display the Filtering palette 2 Drag over the Filtering graph area The shape of the graph changes as you drag The graph area of the Filtering palette lets you interactively adjust the
481. scured by the Current Time Indicator so you might have to move the indicator to a different position Setting the Current Time for an Animation The large green handlein theTimeline is called the Current Time Indicator commonly called a scrubber It sets the current time of the animation The Current Time Indicator is the most important tool of the Animation controls W hen you re creating key events the Current Time Indicator controls when the key event occurs in the animation Refer to Recording Key E vents on page 362 for complete instruction on creating key events 359 As you move the Current Time Indicator the Text Display Area shows you the current time If you re using SMPTE time the current time is displayed as 00 00 02 13 Hours Minutes Seconds Frame The Frame changes as you change the frame rate for the animation For example at 15fps Bryce will insert 15 frames within each second If you re using Frame number the number of the current frame is displayed You can also move to a specific point in time using the Animation Setup dialog In this dialog you can move to either a specific time or frame To move to a specific frame manually e Drag the CurrentTime Indicator along the Timeline As you drag watch the Text Display Area You ll notice that the final number cycles through each frame in the second of animation time So at 15fps the final number will cycle through frame 0 14
482. se handles can be used to edit the object s size and orientation As you pass your cursor over the handles it changes to display the type of control you re selecting W hen the cursor turns into letter it means that you re over a constrain handle The handle will only move along the axis indicated by the letter For example if the cursor changes to aY it Creating O bjects 96 means that the handle will only move along the Y axis If your cursor changes to a letter it means that you re over a constrained control handle Dragging this type of handle usually distorts the shape of the object If the handle changes to a black square with a right angle it means that the handle can move in any direction but the object will be scaled proportionally If your cursor changes to a black box with a right angle it means that you can use the handle to proportionally scale the object To display an object s bounding box l Create an object 2 Select the object Object Preview W hen you create an object it appears as a wire frame in the Working window T he wireframe represents the structure of the object s shape Objects appear as wireframes in the scene The wireframe gives you an idea of the object s shape and structure The wireframe preview lets you see how an object looks as it s being rotated or animated without having to calculate and render any complex surface properties The wireframe ca
483. se this control the Materials Lab displays the material currently applied to the selected object and the object appears in the Material Preview area of the lab To display the Materials Lab 1 Select an object or group of objects 2 Click the M icon that appears next the bounding box Edit Object Icon E This control only appears if the object you selected is a terrain a symmetrical lattice a torus a stone an imported polyhedron object or a light W hen you click this control the edi tor for the object type you have selected opens To display an object s editor 1 Select an object or group of objects 2 Click the E icon that appears next to the bounding box Land Object Icon This control appears as either an arrow point ing up or down depending on the position of the object selected W hen you click this control the object snaps to the top of the object below it This control works like the Land Selection option available Bryce 4 in the Edit palette Refer to Landing Objects on page 299 for more To land a selected object l Select the object you want to land 2 Click the Arrow icon that appears next to the object s bounding box The object snaps to the top of the object directly below it If the selected object is below ground it snaps to the bottom of the object directly above it Editing Object Names The Object Name field in the General tab of the Object Attributes d
484. set almost at white Most values are pushed to black while only the very lightest are pushed to white This tool produces spiky peaks with sloping contours Subcontours produces spiky peaks with very low gently sloping contours Geometry Effects This green set of Elevation tools add to the geometry of your terrain which can alter its basic shape You can also use most of these tools to create terrains from scratch Terrains Blob Maker This tool creates a smooth circular structure within your existing Terrain Canvas Click and drag left or right to change the size of the struc ture Click and drag up and down to set the ver tical location of the structure This tool creates circular structures within your Terrain Canvas Relief Noise This tool acts like an emboss effect It will emboss the grayscale data in your canvas and convert it to height information This tool embosses the grayscale data in your Terrain Canvas T72 Raise Edges This tool acts like an inverted version of the Square E dges tool It creates abrupt increases in altitude at the edges of your terrain Thistool creates abrupt increasesin altitude at the edges of your terrain Subplateaus This tool smears your grayscale data in one direction while averaging the gray values The result is natural structures not unlike those cre ated by the Mounds effect except that these structures are more directly related to your original
485. shown Another point appears at the camera s previous position and the blue trajectory extends around to this new position JO Drag the Scrubber around another three ticks to the right The time reading is 00 00 07 05 Il Drag the camera so that it crosses to the left of the path as shown Another camera location Another point appears where the camera was previously and the blue trajectory extends to this new position 8 Drag the Scrubber another three ticks to the right The time reading is 00 00 06 00 six seconds 9 Drag the camera so that it is on the right Continuing the trajectory side of the sphere wireframe as shown Another point appears and the trajectory extends to this new position I2 Drag the scrubber the final three ticks to the right to the end of the green timeline The time reading is 00 00 09 00 Yet another camera location 83 Bryce 4 B Drag the camera well beyond the To point the camera wireframe to the left of the building as shown 1 Click the Play button The camera moves along the blue trajectory while the Time scrubber moves from left to right Notice that the entire time the camera faces in one direction Next you will make the camera point toward the cylinder for the entire duration of the sequence In order to do that you need to know the name for that particular object 2 Toggle back to the Selection Palette by clicking the Selection Animation togg
486. sing is disabled the final rendering pass is not performed Rendering Render Resolution The render resolution options control the resolution of your final image These options do no effect the resolution of your working document only the final rendered image Resolutions are expressed in terms of aspect ratio and pixels To choose a render resolution 1 Double click the Render all control or choose File menu gt Document Setup 2 Click one of the render resolutions at bottom of the dialog The selected resolution appears highlighted 3 Click the checkmark button Spatial Optimization This option changes the number of rays used to raytrace your image depending on the contents of your scene This option has three modes Spatial Optimization Off This mode is best used for very simple scenes with less than 5 objects W hen in this mode Bryce predetermines the areas where your objects reside and shoots rays only through that area Spatial Optimization Low This is best mode to use for most scenes In this mode Bryce determines where your objects reside and then go out from there to a larger area to examine the concentration of objects within a larger area This eliminates the expenditure of unnecessary rays 406 Spatial Optimization High This mode is more extreme version of Spatial Optimization L ow It is best used for complex scenes with localized concentrations of objects If you have imported DXF objects
487. sktop To maximize the Bryce window e Wireframe Display shows all objects as wireframes 1 Pass the cursor over the right side of the Working window The Advanced Display palette appears 2 Click the Interface Max Min tool Use the Interface M ax M in tool to increase or decrease the screen coverage of the Bryce window 3 Click the tool again to switch to a standard window In Wireframe Display all objects are shown as 7 wireframes Setting Up the Working Window e Bitmap Display shows a rendered scene Before you start working in Bryce you may The display automatically switches to want to set up how objects are displayed in the this mode whenever you click the Working window These display modes can help you when you re arranging objects and can also speed up your redraw time Display Modes 0 The Display Mode tool at the bottom right corner of your Working window toggles through the three possible display modes Render button To switch between display modes 1 Click on the Display Mode tool in the corner of the Working window x In Bitmap Display all objects are displayed as rendered ial objects This button is only visible when you pass your pointer over it 2 Click the button until you re in the desired mode There are three modes available iF Bryce 4 Wireframe Bitmap Display lets you edit wireframes while simultaneously viewing your rendered image behind them In Wireframe
488. solution and aspect ratio for your image a 2 Enter values in the Document Resolution fields This is the absolute size of your working space expressed in pixels You can enter any values you like here though it s recommended that you not exceed your available screen space if you can avoid it You can work small and render large if you need to The values in the Aspect Ratio fields will update automatically as needed 3 Enter values in the Document Aspect Ratio fields These fields represent the Document Resolution as aratio Depending on the type of work you are doing it may be more convenient to enter values here rather than in the resolution fields above For instance many video formats as well as the standard 13 screen are 3 4 aspect ratios The values in the Document Resolution fields will update automatically if you change the aspect ratio 4 Enable the Constrain Proportions button if you want to preserve the current aspect ratio as you adjust the resolution 5 Select a Render Resolution from the list This resolution sets the absolute size of your rendered image expressed in pixels as a multiple of your document size You may be working at Bryce s default size as you build your scene but you may then wish to render that scene four times larger for print or four times smaller for a web page Rather than resetting your document resolution every time you render impacting your wireframe workspace
489. sphere Cone displays the material applied to a cone Cylinder displays the material applied to a cylinder Terrain displays the material applied to a randomly generated terrain object Ground displays the material applied to an infinite plane Torus displays the material applied to a torus object Torus objects are good for displaying material properties like altitude changes slope and height changes and metallicity To change the view angle of the preview area Drag the Preview area in the direction you want to view it from The preview switches to wireframe as you move it The angle of the preview does not affect the angle of the object in your scene Material Presets Material presets are predefined materials Presets contain channels values that simulate a wide variety of commonly used surfaces Presets are stored in the Material Presets Library Presets are a great way of understanding how materials are made You can open one of the presets and see what channel and components were used to create the final material M aterials The Material Presets Library can also be used as a cookbook Some of the shaders are organized as lessons that can lead you through the process of creating interesting effects For example try opening the Specularity lessons in the Simple amp Fast category Using the Preset Materials Library The Preset Materials Library contains all the material presets available in Bryce
490. stic related to how an object responds to light This includes Ambient Color Diffuse Reflectivity Refraction Specular and Transmi tivity image resolution Since Bryce renders bitmaps at 72dpi the only image resolution you need to determine is the height to width ratio of your image infinite plane A two dimensional surface that extends infinitely along the X and Z axes Bryce 3D s Ground Cloud and Water Planes are all infinite planes though they exhibit different textural properties and are placed in the scene at different altitudes landing Dropping an object straight down onto the object directly beneath it Usually used to land an object on the ground link to view A Bryce feature which locks the sun s position to the camera position This way you can use the sun control to set your sun Glossary position and you will not lose that position if you move the camera location An object s position in 3D space Synonymous with position and offset mapping The process of interpreting data input of one kind and expressing it as another See Bump Mapping Grayscale To H eight Map ping Pict Mapping and Texture Mapping marquee selection Marquee is anoun which refers to atool in many applications which will create a selection area it can also be used to refer to the selection itself Bryce has no mar quee tool per se but you can click and drag in the wireframe window to marquee a selection here the t
491. sting elements Changing Component Preview Each component window has a preview of the component s elements You can choose to display the elements mapped onto a flat surface a cube or a sphere Displaying the component on a cube makes it easier to see 3D noise and phase changes To choose a preview mode e Click the flat surface cube or sphere in the top right corner of the editor The three icons at the top of the editor let you choose a preview mode for the component windows Randomizing Textures A quick way of designing a texture without going into designing noise or filters is to create random components Bryce 4 The randomize buttons in the component windows let you randomize the elements in the component window The type of output you choose for the component determines what part of the component is randomized This is an excellent way of exploring the editor Just randomize the components elements and combine them to see what happens To randomize component elements e Click the knob in the bottom right corner of the component window The knob in the bottom right corner of the component window randomizes the elements in the component Undoing Changes The Reset control lets you undo all the changes you ve applied to a component and returns to the component displayed when you first entered the editor To reset a component e Click the knob in the top left corner of the component window
492. sts a shadow on the ground plane below it The shadow can be used as a visual guide to help you determine the object s position in 3D space Asyou move the object it s shadow followsit along the ground plane When you havea number of objects the shadows can help you see its exact position in the scene If you move the object below the ground plane the portion of the object that s below ground is not drawn This can help you avoid placing an object outside the view of the scene Wireframe 97 shadows do not interact with light These appear regardless of the light sources in the scene If you move an object below ground the portion of the wireframe that s below the ground plane is not displayed in the scene Both shadows and underground wireframes are preview options that can be turned on and off Refer to W ireframe attributes on page 18 for more on these features Object Preview Modes Besides wireframes there are three other ways you view an object Bounding Box Shaded Pre view and Rendered Preview Bounding Box If you have a large scene and you find that it s taking too long to redraw the entire scene you can change the display of the objects so that only their bounding box is displayed Bryce 4 Shaded Preview OpenGL mode performance is greatly increased from an Open GL accelerator card but W in dows 95 98 and NT also support software driven 7 Open GL mode l Paret In this
493. sun or moon Sky animations are created using the Anima tion tools in the Working window and the Sky Lab dialog Animating Sky amp Fog settings Animating Sky amp Fog settings changes the properties of a sky over time For example a scene can become cloudier or darker during an animation The intensity of the change depends Bryce 4 on how many properties you adjust and the amount of each adjustment In this example the animation of approaching storm clouds was created by changing the Cloud Frequency and Amplitude value and the Cloud Color at different points in theT imeline Most Sky amp Fog properties can be changed using the thumbnail controls Other settings are available in the Skylab dialog You won t be able to see the effects of a sky ani mation until you render the entire animation To animate Sky amp Fog settings 1 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 2 Move the CurrentTime Indicator to the point in the Timeline where you want the sky to change 3 Adjust the sky s properties using the Sky amp Fog palette controls Animating Techniques 4 MovetheCurrentTime Indicator to a different point on the Timeline 5 Change the properties of the sky again 6 Continue moving the Current Time Indicator and changing the sky s properties until you achieve the desired effect Animating Clouds You can create the effects of wind in your envi r
494. t Effect from the menu 2 Drag the paintbrush over an area of your canvas where you applied an effect locally The Unpaint Effect brush only affects areas where you applied an effect with the paintbrush An effective way of using this brush is to paint an effect in broad easy strokes and then selectively unpaint areas of effect away To erode areas of your terrain 1 Click the triangle icon next to the Brush Behaviors heading and choose Erode from the menu 2 Drag the paintbrush over the area you want to erode The paintbrush applies the erosion effect to the area painted over Bryce 4 To lighten gray levels 1 Click the triangle icon next to the Brush Behavior heading and choose Maximum from the menu 2 Drag the paintbrush over an area you want to lighten In this mode gray levels in your canvas that are below the current gray level are lightened to match the current level Values above the current L evel setting are untouched To darken gray levels 1 Click the triangle icon next to the Brush Behavior heading and choose Minimum from the menu 2 Drag the paintbrush over an area you want to darken In this mode gray levels in your canvas that are above the current gray level are darkened to match the current level Values below the current L evel setting are untouched Modifying Brush Behavior The Option Alt key can modify the behavior of the paintbrush on the fly e In Elevation mode Option A
495. t descriptions of heightfields terrains e USGSDEM DEM AII forms of DEM files are supported 418 e USGSSDTS DDF This format is the new USGS format which will replace DEM files e Portable Greyscale Map PGM Used to import descriptions of heightfields terrains Bryce can export your final rendered object to the file formats listed below The information includes vertices smoothed normals UVs tex ture coordinates and the texture maps Some of the formats have their own limitations For example DXF doesn t support smooth nor mals or UVs If the file format doesn t support texture embedding each texture map is written as a separate image at the same location speci fied for the mesh file The names of the images will start with the name you specified for the mesh file and include the name of the material If UV information can t be written two texture maps are exported one for the top part and one for the bottom W hen you export to a 2D format such as DEM or PGM all the possible texture maps are gen erated e RayDream Studio RDS e USGS DEM DEM AutoCAD DXF e Portable Greyscale Map PGM e VRML1 WRL Heightfield HF Infini D 4 0 1D 4 e LightWave LWO or LWS e Wavefront 0 BJ To export an image 1 Render your scene 419 2 Choose File menu gt Export Image The export dialog appears 3 Choose a format for your image and click OK Post Production
496. t as a 2D image Once you ve rendered the image it can be used in other image editing or page layout applications Bryce s rendering process uses multiple passes to generate the final rendered image On the first pass the image is rendered in large pixel blocks and then in successive passes is refined to produce finer detail The final pass of the rendering is an AntiAliasing pass Using this method you can quickly see how the final image will look T hings like colors and light object placement are very easy to see even during the first pass or two Bryce renders images using multiple passes On the first pass object placement and color are easily visible Rendering an image requires a great deal of computation Scenes with multiple terrains at 512x512 each or more can generate hundreds of thousands of height points plus the bump elevations in the textures This can yield millions of polygons to hit with the rays Raytracing Bryce renders images using a technique known as Raytracing With raytracing every pixel in an image has a certain color In the case of a photograph any given pixel s color is the result Rendering of light coming from a scene through a lens and onto the film Raytracing does the inverse Virtual rays of light are shot from the virtual film through a mathematical camera and out into a 3D scene As they pass through the scene these rays collide with objects The object
497. t corner of the sun position controls Sunrise Sunset You can create a sunset or sunrise by positioning the sun or moon so that it is visible on your horizon Sunsets or sunrises can be created by moving the sun closer to the horizon 146 The colors in the sky automatically change to create the illusion of the sunrise or sunset colors You can also use the Sky Dome color to give your sunset sunrise added color For amore realistic sunset you may want to link the fog and haze to the sun so that they react to the sun color as it approaches the horizon Refer to Blending the Fog Color on page 132 and Blending the Haze color with the Sun on page 135 for more on this feature You may also want to enable the Horizon illusion for the sun This feature makes the sun appear larger as it approaches the horizon Refer to Sun Moon Horizon Illusion on page 152 for more on this effect To position the sun manually 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Drag the larger highlight area in the Sun Position controls to the position where you want the light to originate You can position the sun or the moon on the horizon as you like by nudging the Sun Control until the light is visible in your scene To position the sun numerically l Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 C
498. tate tool lets you rotate a selected object along any axis Objects can be rotated in World Space Object Space or Camera space The Rotate tool has three different states As you move the pointer over the tool each state becomes active Rotate around X Rotate around Y Rotate around Z Asyou move your cursor over the tool each rotation state becomes active To rotate an object around a specific axis l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Move the cursor over the Rotate tool 3 When the state you want to use becomes active drag in the direction you want to rotate the object Hold down the Shift key while dragging to constrain rotation operations to 45 degree increments You can rotate an object using any of the three spatial options World Space Object Space Camera Space Arranging O bjects To choose a Spatial option for rotation l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Click the triangle icon next to the Rotate tool and choose an option from the menu Qo x DDT pact iiiar pe CAm hpa nreiats _30 Tea nsfteemations Object Spacerotates your selection relative to itself see O bject Space on page 281 World Space rotates your selection in absolute world coordinates see World Space on page 280 Camera Space rotates your
499. tation In this example Orientation was applied to RND Continuous noise and then to objects in a scene Smooth Clip This filter works exactly like the Clip filter It s also a contrast filter except that this filter smooths out the transitions between darks and grays Textures Thea variable controls the contrast and b controls the overall brightness In this example Smooth Clip was applied to RND Continuous noise Snow Puddles This filter turns noise into snow patches Snow is applied according to an object s slope and altitude Thea variable controls how much the noise interferes with the smoothness of the snow W hen a 0 the noise doesn t interfere at all so the snow is perfectly smooth W hen the a value is higher the snow starts looking like the noise The b variable shifts the altitude or snow level It sets where the snow begins The c variable controls how steep an object has to be before the snow appears on its surface 266 The higher the number the flatter an object has to be before snow appears on its surface In this example Snow Puddles was applied to RND Continuous noise and then to objects in a scene Combining Components The Deep Texture E ditor gives you unparalleled control over the look and feel of each one of the components that make up a texture but the control doesn t stop there The Deep Texture Editor also lets you control how those components are combined to
500. ter you should already have Internet E xplorer installed If not you ll need to install it Once you have an account with an ISP you can start using the web based features of Bryce 423 Macintosh Users Once you have an account with an Internet provider and a browser software package installed you can start using the Internet based features of Bryce Accessing the Web Bryce now has a Links menu that will launch your default browser and take you to the one of the Bryce related web links in your links list You can update this links list to add your own links and delete any default links you may not need to use In addition you can also export both still files to the web using the E xport Image or Render to Disk options on the File menu You can export animations through the Render Animation fea ture To select a web link 1 Goto the Links Menu 2 Click aweb link 3 Bryce communicates with your browser to access the desired link Modifying a Web Links Menu You can modify your web links menu using a text editor to edit the file called Bryce 4 Links Itis a simple ASCII file that contains one line per link Each line contains the name of the link surrounded by quotes a separating comma and the url in quotes Bryce 4 To add or delete web links l Open atext editor such as WordPad Note Pad or SimpleText 2 Find the file entitled Bryce 4 Links Note that each line of the file contains th
501. texture is applied to the entire world so the texture appears to move as you move the object Parametric In this mode the texture is applied onto the object as if it were a decal For example if you use this mapping mode on acube one iteration of the texture is placed on each face e Parametric mode applies the textureasa 2D decal The texture is mapped onto the object so it rotates and scales as the object is scaled or rotated This mode works best with 2D Pict textures Bryce 4 Parametric Scaled This mode works like the World Space mode only in 2D Textures mapped using this mode are not scaled with the object Parametric Scaled mode applies the texture asa decal but does not scale the texture as you scale the object Use this mode when you want to map a 2D picture onto constructed objects like buildings World Top In this mode a 2D projection of the texture is applied to the object from directly above it If you move your object or rotate it the texture does not move with the object it remains constant while the object moves through it WorldTop mode applies the texture to the top of the world The texture appears as a projection on top of the object and streaks down its sides M aterials Spherical In this mode a 2D projection of your texture is mapped onto a virtual sphere that surrounds your object It is then projected from the sphere onto your object Spherical mod
502. th the lowest value i e dark colors are applied to the bands furthest from the center colors with middle range values are applied next and colors with the highest values i e bright colors are applied closest to the center Thisiswhata color blend looks like using Banded 246 Perturbed In this mode colors are applied in irregular patterns Thisiswhata color blend looks like using Perturbed Interferences In this mode the red green and blue values of the first color in the component are used to create a repeating pattern around the contours of the component s noise Thisis what a color blend looks like using Interferences Interpol Interferences This mode is a combination of Linear Interpolation and Interferences Thisiswhat a color blend looks like using Interpol Interferences 241 Altitude In this mode a white layer is added above the colors at high altitudes Any portion of the object below ground is automatically colored blue Altitudes are based on the object s height Thisiswhat a color blend looks like using Altitude Spline with Snow This mode performs a spline interpolation of the colors in the component but adds a white layer above the colors at high altitudes Altitudes are based on the object s height Thisiswhata color blend looks like using Spline with Snow Bryce 4 Slope In this mode the three colors are applied to the object depending on its slope
503. that appears To add a key frame for sky properties e Make sure there is nothing selected and click the Add Key Frame button Bryce 4 or Hold down the mouse button over the Add Key Frame button and choose Sky from the menu Deleting Frames As with adding frames Bryce deletes frames differently based on your current selection If you have an object selected Bryce only deletes the changes in property for the selected object If you have nothing selected Bryce deletes the changes recorded for your scene s sky You can modify the D elete Fey Frame button s function so that only a certain type of object property is deleted Adding or deleting frames will effect the shape of an object s motion path To delete a key frame 1 Use the Animation Preview controls to move through the key frames until you find the frame you want to delete 2 Click the Delete Key Frame button All the properties recorded at that point in time are deleted To delete a frame for a specific object property 1 Select an object 2 Hold down the mouse button over the Delete Key Frame button and choose the object property from the menu that appears Animating Adding and Deleting Frames in the Editors When you add a frame in the editors only the properties associated with the editor are recorded as a key frame W hen you delete a frame in the editors only the properties associated with the editor are deleted
504. the View of Your Scene on page 332 for more on positioning the camera Set rendering options using the options menu and the Document Setup dialog Refer to Setting Render Options on page 405 for more on setting render options Choose a Render Mode Refer to Render Modes on page 407 for more on choosing rendering options e Use the Render Controls to produce a rendered image Refer to Using the Render Controls on page 410 for more on using the Render Controls Setting Up a Render Bryce offers a number of options and controls that let you control rendering As you re working on creating the scene you should use settings that produce fast renders but when you re ready to produce your final image you ll want to choose settings that produce the highest quality image Setting Render Options These options let you control the quality and size of the rendered image Anti Aliasing Anti Aliasing removes the jaggies on the edges of objects within the image In Bryce AntiAliasing is performed using a super sampling method This means that for every pixel that s raytraced more than one ray is used 405 to determine the pixel s color The increase in rays increases the quality of the raytraced object AntiAliasing can greatly improve the quality of your image but it is time consuming It can also eliminate some desired roughness from high frequency textures AntiAliasing is performed o
505. the selection To clear a selection and start a rendering Click the Clear amp Render control or press Command Ctrl 0 ption AIt R This control clears the contents of any marqueed region and starts a render of the selected region Refer to plop rendering below for more on rendering regions Plop Render Mode If you ve rendered your image at least once you can use the Plop Render controls to render specific areas of your image You can use this mode to quickly see the results of repositioning and transformation operations Use Plop Render mode to render specific areas of your image Plop render mode is enabled by default but can be turned off using the Display palette 40 To enable disable Plop Render Mode e Click the Plop Render On Off toggle in the Display palette When the small rectangle inside the icon which represents an active Plop R enderer is red Plop Render mode is on W hen it is white the mode is off To render an area of your scene 1 Make sure Plop Render mode is enabled 2 Switch to Bitmap display mode by clicking the display mode icon on the right side of the Bryce window 3 Draga marquee around an area of your image The selection is outlined in a thin white line and is separated from the rest of the image by a drop shadow 4 Click the top button that appears beside the selection You can interrupt the rendering by clicking the mouse To resume a render e Click the sec
506. the texture you assign as component A in the Diffusion channel is the same component A used in the Ambience channel and so on When you re setting channel values you can mix and match components For example you can assign component A to Diffusion and component D to Ambience You can also combine textures within the same channel using the blend modes AB and ABC In this case the texture you assigned to A is blended with the textures assigned to B and C to seta material channel value Refer to Combining Components on page 219 for more on blend modes 209 The Texture Component Window The Texture Component window displays the attributes of a selected texture component You can have up to four windows visible in the Materials L ab Display Deep Tex ture Editor Display Texture Texture Name Transformation Texture Library Palette Use Picture Mapping Modes Use 3D Texture Current Mapping Mode The Component window displays the selected component and its current attributes The six buttons on the Texture Component window let you set the type of component the texture mapping mode access the texture transformation controls and the Deep Texture Editor To use a Texture as a component e Click a column in the material grid A Texture Component window appears The component window corresponds to the columns in the grid so if you click column A in the grid texture componentA becomes active 3D Textures
507. the wireframe s size Increase the size to increase the spread and decrease its size to decrease the spread The Edge Softness attribute lets you set the sharpness softness of the edges of the spot projected by the light To adjust a light s edge softness e In the Edit Lights dialog change the position of the Edge Softness control Drag left to sharpen the edges and right to soften the edges Light Falloff Light falloff lets you control the relationship between the intensity of alight and the distance from the light In the real world the farther you are from a light source the less influence it has on the illumination of your surrounding In other words the greater the distance the weaker the light In Bryce there are four types of falloff you can apply to a light Linear Falloff causes the light s intensity to fall off at a constant rate W hen you use this type of falloff the light s range is rather large This type of falloff is good for outdoor lights like searchlights e Squared Falloff causes the light s intensity to fall off rapidly W hen you use this type of falloff the light s range is quite limited This is useful for indoor lights like lamps e Ranged Falloff causes the light to change abruptly from full intensity to zero no Bryce 4 illumination after a defined distance range e No Falloff causes the intensity of the light to stay the same regardless of the distance To
508. they are added to the first available gray slot ae Lo lel SEGERMCIG The thumbnails below the preview windows represent all the pictures available in the library If there are a large number of pictures in the library you can use the scroll bar to scroll through all the thumbnails To display an image in the library e Click on the picture s thumbnail The picture and its associated alpha channel appears in the three preview windows at the top of the dialog 110 Loading Pictures Into the Library You can load pictures into the library to create your own custom library Pictures can be loaded into any of the three preview windows When you load a picture into the first window you re loading only the picture s RGB Red Green and Blue color information The picture loaded into the first preview win dow replaces the currently selected picture in the library so you re replacing a picture in the library with the picture you re loading If you want to add a new picture to the library you need to load it into the Combined Image win dow When you load a picture into the second win dow you re only loading the picture s alpha channel The alpha channel determines which portions of the picture are visible and which arenot The areas of the picture that are transparent appear as a checkboard pattern W hen you load an image into theA Ipha Channel window the black and white alpha channel appearsin t
509. they collides with is assigned acolor For example if it hits a gray object then that gray color ends up on that portion of the film or your final image Raytracing becomes much more complex when the beam strikes an object that has reflective transparent refractive or other complex optical properties These properties can cause the ray to be traced further into your scene where it could end up bouncing from mirrors dissipating through fog or bending through a chunk of dense glass Eventually a final color is determined for each and every pixel one by one This technique can involve staggering amounts of computation which might make it impractical or impossible to use but Bryce contains raytracing algorithms optimized for the task of creating natural and supernatural landscapes of all kinds The Rendering Procedure Before you render your final image you ll need to complete the following steps e Create and transform the objects in the Working window to create a scene Refer to Creating Objects on page 95 for more on creating objects Refer to Transforming Objects on page 285 for more on transforming objects e Add asky and lights to illuminate your scene Refer to Creating Skies on page 123 for more on creating skies Refer to Setting Up Lights on page 343 for more on creating lights 404 e Adjust the position of the camera to get the best view of your scene Refer to Positioning
510. tial option from the menu Each of the transformation tools has a triangle icon below it which lets you access addition tool options Bryce Units Bryce maintains an invisible absolute infinite 3D grid internally This grid is comprised of 3D cube increments each 2048x2048x2048 Bryce units in size All primitive objects spheres cubes etc are created at the same size as a 3D cube increment 2048x2048x2048 called unity 282 Unity is the base size of all primitive objects created in Bryce Unity is always 2048x 2048x 2048 All interactive 3D transformations are relative to an absolute unity size position and orientation for all objects To reset object to unity e Hold down Command Option Ctrl Alt and click one of the object s control points The object is reset to 2048x2048x2048 Coordinate Systems W hen you re transforming objects numerically in the Object Attributes dialog you can use one of two coordinate systems Absolute Coordinates or Object Coordinates Absolute Coordinates Absolute Coordinates use theW orld Space axes as the reference for object transformations When you enter transformation values using 283 Absolute coordinates you re defining how the object is transformed along the World Space or absolute X Y and Z axes 2 2 3 Absolute Coordinates use the W orld Space axes as reference so you re repositioning the object along the absolute X Y and Z axes Obj
511. ting To open the Terrain Editor terrain 1 Select the terrain object You cannot access theTerrain Editor unless you have a terrain object in your scene W hen the 2 Click the E icon that appears next to the editor opens it temporarily replaces the screen terrain object and displays the current terrain as a three dimensional preview The height map that was or choose Objects menu gt E dit O bject used to create the terrain is displayed in the Terrain Canvas or click the Edit text button and then click A i the EditTerrain tool Editing Tool panels Terrain Canvas or press Command E Ctrl E Features of the Terrain Editor TheTerrain Editor is divided into four sections e The Editing tools which let you generate and edit the terrain s height map e TheTerrain Canvas which displays the grayscale image used as a height map 3D Terrain Preview When you access theTerrain Editor it temporarily takes over your screen e The 3D Terrain Preview which displays a three dimensional preview of the terrain To add a terrain object to your scene you re working on e TheAnimation controls which let you set 1 Click the Create text button at the top of up key frames for animating the terrain the Bryce environment The Create palette appears Terrains 158 Editing Tools Terrain tools are divided into three tabs that contain tools for generating terrain elevations filtering terrains and importing pictures to use as terrains
512. ting and exporting presets is a handy way preview area to zoom in and out of the to exchange custom presets with other users preview 8 Click the Add button at the bottom of the To import a preset material file diag hendd Material dialog appears 1 Click the triangle icon next to the E dit text 9 Enter a name for the new preset in the Preset Name field JO Enter a description of the preset in the Description field and click the OK icon The name and description will appear next to the material preview whenever the preset is accessed 2 You can edit the name and description of any preset at any time simply by pressing theTab key or by clicking the name or description 3 Il Click the OK icon Your preset will be added to the first available space within the current category To delete a material preset 1 1 Click the triangle icon next to the E dit text button at the top of the Bryce environment The Preset Materials Library appears 2 2 Click the preset you want to delete or 3 Hold down Shift and select a continuous series of presets or 4 Hold down Command Ctrl and select a discontinuous set of presets 3 Click the Delete button at the bottom of the Preset Materials Library dialog Materials 234 button at the top of the Bryce environment The Preset Materials Library appears or In the Materials Lab click the triangle icon next to the Material Preview window Click the Import button at the bottom o
513. tions are recorded When Auto Record mode is disabled the animation system is off This means that your changes are not recorded as key events and changes in the timeline do not effect your view in the Working window You can continue changing object and scene properties but they won t be recorded as key events If you want to record a setting or transformation you ll have to manually add a key frame using the Add Frame button Refer to Adding and Deleting Key Frames on page 365 for more on adding frames To enable or disable Auto Record mode 1 In theWorking window make sure the Animation controls are visible If it s not click the Time S election Palette toggle 2 Click the triangle icon to the right of the controls and choose Auto Key The animation system is on when the option has a checkmark next to it Choose Auto K ey again to turn off the animation system 363 Recording Key Events in the Editors When you record a key event in either the Materials Lab or theTerrain Editor you re only recording a change to the properties associated with the editor e In the Materials Lab only changes to an object s material properties are recorded e In theTerrain Editor only changes to a terrain object s geometry are recorded Previewing Animations You can preview your animations using either the mini preview in the movie nano preview window or by using the Animation Preview controls Both of these metho
514. tively using the transformation tools To transform a texture numerically l IntheTexture Component window click Position the click the first button on the left at the top of the window Using the Position controls you can control The Transformation palette appears where the texture appears on the object s surface W hen you re using a picture as a component placement can be vital to the look of the material For example if you re placing a decal on an object use the Position controls to precisely place the image in the center of the object or on the correct face P s Use the texture transformation palette to adjust the scale Position Position Position position and orientation of the texture component X 100 BU Since a 3D texture existsin 3D space you can changeits 2 Move your cursor over the transformation position in all three axes Adjusting the position in X you want to apply changes the placement of the texture along the X axis 3 Drag the cursor over the value you want to adjust Drag left to increase the value or right to decrease it Position Position Position Y 50 BU Y 100 BU Adjusting the position inY changes the placement of the texture along theY axis Materials 218 As you adjust the value the material preview updates to show the results of your changes ia wv rasie Copy The material preview area updates as you transform the texture to show your changes 4 Click the OK icon to ap
515. to increase or decrease the amount of noise in the component Textures e Click the top left corner of the palette to display the Noise editor then use the editor controls to design or edit the noise in the component 8 Click the bottom right button on the Component window The Phase palette appears 9 Adjust the phase in the component by e Dragging the Phase slider on the Phase palette to increase or decrease the amplitude of the phase in the component e Click the top left corner of the palette to display the Phase editor then use the editor controls to design or edit the phase in the component WO Click the Filtering button at the bottom of the editor The Filtering palette appears Il Choose a filter to apply the component noise and adjust that filter s variables I2 Repeat steps 3 11 for each component in the texture As you edit the noise phase or filter of the remaining components make sure you move the component indicator at the top of each palette to be sure you re editing the right component s attributes The component indicator at the top of each palette lets you know which component you re editing B Click the arrow between Component 1 and Component 2 and choose a Blend mode from the menu 14 If you have more than two components click the arrow between Components 2 and 3 and choose a second blend mode 2 4 The result of blending all the components appears in the Combination window
516. ton The Sky Lab dialog appears 3 Click the Sun amp Moon tab 4 Drag the Earthshine slider Drag left to increase the brightness and right to decrease it Earthshine TheE arthshine control lets you adjust the brightness of the moon 150 Enter a value in the Earthshine field to set E arthshine numerically 5 Click the OK icon to exit the dialog To set the moon s edge softness 1 Display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Sun amp Moon tab 4 Drag over the Softness control Drag left to soften edges or right to sharpen them CII 2 S more S The Softness control lets you set the edge softness of the moon Enter avaluein the Softness field to set Softness numerically 5 Click the OK icon to exit the palette Adding Environmental Effects The elements in a sky aren t constant it is always changing reflecting weather patterns or the time of day If it rains there s a rainbow If its night there s stars If it s sunset the sun looks bigger If you look right at the sun on a hazy day you ll see rings around it Sometimes if its hazy enough you can even see the sunlight streaking out of the clouds All these illusions are called environmental effects and Bryce s Sky Lab palette contains all the controls you ll need to the add them to your scene Bl Sun Moo
517. trols how much of the available ambient light is reflected off the object s surface So if you set the Ambient Color in the Sky amp Fog palette to black or 0 ambience then the Ambience channel value has no effect If you set the Ambient Color to white or 100 ambience the Ambience channel value will control how much of the available light is reflected off the object s surface Setting Ambience Using a Texture When you assign a texture to the Ambience channel the grayscale values from the texture s alpha channel determine which areas of the surface have high ambience and which have low ambience Bright areas in the alpha M aterials channel have high ambience values and darker areas have low ambience values Higher Ambience values Lower Ambience val ues Alpha Channel W hen you use a texture to set the A mbience channel s value the values are determined by the grayscale values in the texture s alpha channel Generally it s best to set Ambience using a value However you can get some interesting effects using textures instead For example if you use a Splotchy texture you ll get areas of your surface that appear to glow regardless of external light mixed in with normal surface areas 198 Ambient Color Ambient Color is the color that is reflected off the surface of an object regardless of where the light source hits it The Ambient Color is directly linked to the Ambience channel
518. ts e Click the triangle icon next to the selections palette and choose Select Group To select all objects except a specific type 1 Click the tool for the object you want to exclude from the selection All the objects of that type are selected 2 Click the triangle icon in the Selection palette and choose Select Inverse from the menu To select all the objects in your scene e Click the triangle icon in the Selection palette and choose Select All from the menu The VCR Controls TheVCR controls let you step through the various selection tools and activate Solo Mode il g i Bryce Basics To display the VCR Controls 1 Click the Time Selection Palette toggle in the lower right corner of the Working window The Selection palette appears 2 Pass your cursor over the right side of the Selection palette The VCR Controls appear To step forward and backward through the object types in your scene 1 Click on the larger forward arrow to step forward through object types within the current scene The first object of its type is selected _ 2 Click on the larger backward arrow to step back through object types cc If you watch the Select By Type icons the object type you are stepping to will highlight momentarily To step forward and backwards through the object in a selected object type 1 Click on the smaller forward arrow to step forward through each object of the type in aselection
519. ts that occur at specific times in your ani mation occur differently in actual time By adjusting the shape of the curve you can control how fast events occur W hen you create asharp jump in the curve you speed up the events in your animation W hen you flatten the curve you slow down key events Each property of your scene can have a differ ent curve so you can have key events occurring at different speeds Refer to Time Mapping Curves on page 43 for more on Time Mapping Curves Animating Transformations W hen you re in Auto Key mode every transfor mation you apply to an object is recorded asa key frame In the Hierarchy area you can see where the key frames for these transformations appear in the timeline By moving these key frames you can control the order in which transformations are applied For example you can take an object that grows larger and then moves left and turn 43 it into an object that moves left and then grows Several animation techniques like squash and stretch can be simulated using transforma tions Refer to Animating Transformations on page 43 for more on animating transformations Animating Materials The Materials Lab has its own set of animation tools that let you animate material properties You can animate almost any property or texture When you re animating between textures Bryce interpolates between patterns and colors over time You can have a rocky terrai
520. ts with the object s surface In a physical environment these channels control how transparent or reflective 192 the object appears Refer to Transparency on page 202 and Reflection on page 205 for more information Refraction is directly related to Transparency The Refraction channel sets how much the light that passes though the object is bent Refer to Refraction on page 204 for more information Understanding Volume Material Channels Surface materials define the properties of the surface of an object The interior of the object is empty If you were to fly through the object you would see one layer of material emptiness and then another layer of material A volume material is applied to the entire object both inside and out If you were to fly through a volume material you would be surrounded by a material Blue spots become blue spheres when the texture is applied as a Volume Material When you create a volume material the channels define not just the surface of an object but its volume as well 193 W hen you re setting channel values for a volume material you re setting up how light will interact with the object s volume Channels control whether the interior of an object is bright dark shiny or transparent In most cases the interior of an object will be filled with a texture If so the channels control the surface properties of the elements within the texture For
521. tton and choose the name of the family you want to select from the menu The Families button in the selection palette displays a list of all the families in your scene 310 Editing Objects Overview Every object in Bryce has attributes that allow you to control everything from its position in the scene to how it animates along a path Some objects have special editors that are spe cifically designed to adjust the attributes that are unique to the object type This chapter describes how you edit object properties and also covers how to use the Torus and Mesh editors Restoring Objects Every object in Bryce has a default size and shape W hen you create an object the default size is used to define its size and placement As you transform and edit objects these default properties are discarded and replaced H ow ever you can return an object to its original state at any time The restore control returns the object to its default size and orientation regardless of the number of transformations you ve applied to it W hen you use the restore control the cursor changes toa 1 when passed over the object s bounding box To restore an object Hold down Control O ption Alt S hift PC or Control Mac and click one of the bounding box handles Editing Object Attributes Every object in Bryce has several attributes that let you control the object s size position rota tion Boolean state preview
522. tton and load a picture Refer to Working with Pictures on page 108 for more on the Picture dialog 3 Click the checkmark The picture is applied as a gel To use a texture as a gel l Inthe Edit Light dialog click on the Texture Gels text button at the bottom of the dialog The Preset Materials Library appears 2 Select amaterial from one of the categories available 350 Refer to Using the Preset Materials Library on page 232 for more on the Preset Materials Library 3 Click the checkmark The texture in the material is applied as a gel To use a texture as a Gel you must select a preset that contains a texture Preset materials that contain only color or optic information such as many found in the Simple amp Fast category will have no effect If you selected a color other than white in the Edit Light dialog that color overrides colors from Texture gels H owever the luminance pat terns are still used Positioning Lights Light wireframes can be edited exactly like any other object either directly in the scene using its bounding box or indirectly using the tools in the Edit palette Refer to Positioning Objects on page 294 for more on positioning objects Linking and Tracking with Lights Since lights act just like other objects you can link them to other objects or have them track other objects in the scene In an animation lights that track an object can create some very comp
523. tton over the filter graph preview The 3D preview updates When you release the mouse the 3D Preview switches back to the unfiltered terrain To apply filtering changes to the Terrain Canvas Click the Apply text button beneath the Preview area Blending the Filtering Graph With the Terrain Canvas The Filtering Tab offers several ways of apply ing your Filtering graph to the Terrain Canvas You can apply the graph directly or you can blend the graph with the canvas When you use a blending option you re essen tially drawing a grayscale gradient and then blending it with your original canvas Bryce 4 Vertical vertically blends your Filtering uj graph expressed as a grayscale gradient f with your Terrain Canvas Horizontal Add horizontally blends your Filtering graph expressed as a grayscale gradient with your Terrain Canvas Frenne OTe T This option uses a slightly different algorithm than the previous H orizontal option it s not a traditional Additive but an average of the existing terrain grayscale values with the maximum of the Terrain and Filter values This terrain was altered by directly applying a filtering Vertical Add vertically blends your effect Filtering graph expressed as a grayscale gradient with your Terrain Canvas This option uses a slightly different algorithm than the previous Vertical option it s not a traditional Additive but an average of the existing terrain grayscal
524. ture component is an effective way of creating motion within a material W hen you change the orientation position or scale within a texture component the texture ele ments like dots checks or patterns will appear to move You can use this technique to create realistic wave motion in a water texture If you change the position of the texture pattern at different points in the Timeline the waves will appear to move over the surface of the object 390 Thistide effect was created by changing the makeup of the water texturein the material applied to the water slab If you wish to avoid unexpected texture move ment during a texture animation use Object Space mapping mode for the texture This way the texture moves as the object moves How ever you can create some very interesting effects using World Space You can also animate a texture component by altering the makeup of the texture using the Deep Texture E ditor Using the editor you can change the make up of any or all of the four texture components in a material To animate a material s texture components 1l Select an object 2 Click the M icon that appears next to the object s bounding box The Materials Lab appears 3 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 4 Movethe CurrentTime Indicator to the point where you want to start changing the material 5 Click the button in the upper left corner
525. tures of sky They r f appear for a brief time and then fade way You 3 Display the Sky Lab dialog Atmosphere can simulate this action by changing the prop tab and change the properties of an effect erties of the environmental effects at different 4 MovetheCurrentTime Indicator to a points along theTimeline different point on the Timeline 5 Change the properties of the effect again 6 Continue moving the Current Time Indicator and changing the effect s properties until you have the desired effect Animating Sun or Moon Position One of the most spectacular effects you can create using the scene s sky is elapsed time In the great outdoors we perceive time in relation to the position of the sun and the brightness of the sky By changing the position of the sun or The natural appearance and disappearance of this rainbow was created by changing the rainbow density over time Environmental effects controls are located on the Atmosphere tab of the Sky Lab dialog You can also animate the various settings for an 395 Bryce 4 moon you can simulate time passing in terms of days or months In this example the passage of time is simulated by the change in the sun s position Since all the elements in the sky are linked the other properties of the sky like Ambient Light change as the position of the sun changes add ing to the realism of the effect For the moon you can also change its phases so you simulate the
526. u gt Export I mage and choose QuickTimeVR from the list 4 Specify a location for the saved panorama then click Save Further VR Exploration This is a quick way to get started with simple single node QTVR movie making To create movies with other embedded nodes or to get deeper into the world of QuickTime VR con tact Apple Computer via the World Wide Web or any normal channel and ask them for fur ther information 431 Bryce 4 QuickTimeVR 432 Glossary 2D projection Your 3D scene must be inter preted as a 2D projection that s how it is translated to your 2D screen Pretend your 3D scene is a drawing on a 2D piece of paper which isin front of your camera lens you have control over the right left up down position of the paper Pan controls and over the scale of the drawing Zoom Scale tools 2D Projection values are an important factor in defining a View for your scene 3D transformation Thisis aterm that refers to any operation relating to the size rotation and position of any object There are in fact other types of 3D transformations that are possible in 3D space such as deformations sweeps and lathing but Bryce is not a modeler and supports only the basic three size rotation and position 3DMF Apple s 3D MetaF ile format for exchanging 3D geometry between applica tions absolute coordinates Values which express an absolute location rotation or size whether they are location co
527. u ll hide it using Solo Mode so you can concentrate only on your wall objects Ul On the Selection palette click the Solo Mode button All unselected objects the ground plane and the boolean group disappear leaving only your selected objects and the camera Make the boolean doorway by duplicating and resizing one of the cubes so that it cuts a hole through the wall We ll put the doorway in the front wall Deselect the wall objects by clicking elsewhere in your scene window Click the bottom cube object to select only it Duplicate the object by choosing Edit menu gt Duplicate or Command CtrI D This new object will become the doorway object The doorway object needs to be made a little thicker than the wall it will be subtracting from W hile you re still in Top View you will increase its depth slightly Click the Z axis on the Resize tool Hold down the Option Macintosh or Alt Windows key to change the size symmetrically Drag a tiny bit to the right on the Resize tool to make the doorway object thicker It doesn t have to be much The object is a little thicker than the front wall The other resize adjustment need to be made looking at the object from Front View Switch to Front View by choosing View Objects menu gt From Front or press the 4 key The view of the scene changes to front view Bryce 4 7 Click the X axis on the Resize tool Hold down the Option Alt key and drag to the left unt
528. u store up to seven different views of your scene Default position Saved positions Memory dots let you save views of your scene for later use The uppermost dot slightly separated from the rest is a quick way to return to the default Bryce camera position There is no way to clear this dot It will always contain the default Camera settings Dot settings are saved with your scene file so if you open a previously saved scene your dot settings from the previous session remain in place When you click on a full dot to activate it the saved position becomes the current Camera View If you switch to an active dot and then want to return to your previous Camera View undo the operation To return to the default camera position e Click the top memory dot The view returns to the default regardless of how many changes you ve made To save a camera position to a memory dot e Click an empty dot E mpty dots appear gray Full dots appear turquoise 342 To switch between saved positions Click a full turquoise dot Active dots appear turquoise with a white dot in the middle To clear a full dot Option Alt click a full dot The dot turns gray To switch between positions using the keyboard 1 Press thenumbers indicated to activate the saved memory dots Press 1 through 4 for different camera views 5 activates first position 6 activates second position 7 activates third
529. u use If you use one or two they are combined according to the blend method you select If you use three the first two components are combined and the resulting texture is then combined with the third component to create the final texture Component 1 Component 2 Component 3 COMBINED RESULT FINAL TEXTURE W hen you use three components the first two components Cl and C2 combine to create a hybrid texture which is then combined with the third component C3 to create the final texture So they re combined using the formula C1 C2 C3 F INAL The texture components are combined together to form the final Combination texture T he final texture can have its own color scheme noise phase or filter Any changes you make to the 239 combination texture changes the final texture These types of operations are called Global changes Refer to Global Changes on page 270 for more on global changes Changes to this texture are global W hen the components are combined they produce the combination texture T his texture can have its own color scheme noise phase or filter T hese operations are called Global changes The end result of the Global changes is the final texture which can then be used in the Materials lab to create a material Components vs Texture Components
530. uce more 201 predictable results because the difference between RGB values is less Check out the Specularity L esson series in the Fast amp Simple category in the P reset M aterials Library to see Specular H alo in action Setting Specular Halo Using a Tex ture W hen you assign a texture to the Specular Halo channel the RGB value of the texture s color channel is used for the Specular Halo Metallicity The Metallicity channel value acts as a filter for reflected light This value controls how much of the reflected light is filtered through the Diffuse Color At 50 half the reflected light is tinted with the Diffuse Color at 100 all the light that s reflected is tinted Metallicity is linked to Reflection If Reflection is set to zero the Metallicity channel has no effect Metallicity set to Metallicity set to 50 100 Metallicity controls how much of the reflected light is tinted with the D iffuse Color Metallicity makes objects look metallic because it tints the color of reflections If you want to create specific types of metals you need to adjust the Diffuse Color For example to create gold use a yellow Diffuse color Bryce 4 Setting Metallicity Using a Texture When you apply a texture to the Metallicity channel the texture s alpha channel is used to determine the intensity of the Diffuse Color Lighter areas of the alpha channel increase the intensity of the color and darker areas
531. ues 2 Click the triangle icon in the bottom right corner of the palette and choose Sky Lab from the menu The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Click the Link Clouds to View button at the bottom of the palette 5 Click the OK icon to exit the palette Using the Orthogonal Views In CameraView you can t see the physical posi tion of the camera in the scene since you re looking through it but using one of the Orthogonal views Top Bottom L eft Right Front and Back you ll be able to see the camera as an object In this example the scene is displayed in Top view H ere you can see the exact position of the camera in the scene In these view you can animate the camera by changing its position at different points in time When you run the animation Bryce fills in the gaps between positions to create smooth cam era motion 384 To animate the camera in an orthogonal view l In theWorking window click the triangle icon next to the View Control and choose an orthogonal view from the menu Top Left Right Bottom Front or Back 2 Move the CurrentTime Indicator in the Timeline to the point where you want to start changing the Camera View 3 Click the triangle icon in the Animation controls and make sure Auto Key is enabled 4 Drag the Camera wireframe in theWorking window to a new position 5 Ifyou want to see the results of your changes choose Camera View from the View Control menu
532. ues are mixed with equal weight Textures So if one component is white and the other is black the result is gray This is a good all purpose blend mode to use for creating textures Multiply When you use this blend mode to combine components you ll get a darker result In this mode when a black component is combined with a gray component the result is black W hen a gray component is combined with a white component the result is gray W hen two shades of gray are combined the result is proportionally darker In the case of Bump output this mode will flatten most areas since black is flat and darker values create flatter bumps Maximum W hen two components are combined using Maximum the two components are compared and the one that s lighter becomes the result Blend Maximum Blend Maximum works the same as Maximum except that it creates blurring at points of sharp transition When Blend Maximum is applied to Bump output the resulting bump map will have many high points and few deep pits This mode works best on Bump output Minimum This mode is the opposite of Maximum W hen two components are combined they re evaluated and the darker areas of both are combined to produce the result 268 Blend Minimum Blend Minimum works the same as Minimum except that it creates blurring at points of sharp transition W hen Blend Maximum is applied to Bump output the resulting bump map will have mostly
533. uick ways of animating light positions The motion of all the light sources in this example were animated using the track feature Light attributes can be edited in the Edit Lights dialog Radial Light Radial Lights throw light equally in all directions Use this as a general light source and remember that you can make these lights as tiny as you like as many as you need The lighting in this scene was created using a Radial Light Spotlight Spotlights throw light along a cone shaped path creating the classic stage spot effect The lighting in this scene was created using a Spotlight The Camera and Lights 34 Square Spotlight Cylindrical Parallel Light Square Spotlights are the same as spotlights Cylindrical Parallel Lights work exactly like except they cast light along a pyramid shaped parallel lights except that they produce path creating a square spot where the light cylindrical tubes of light and cast circular spots falls where the light falls The lighting in this scene was created using a Square The lighting in this scene was created using a Cylindrical Spotlight Parallel Light Parallel Light To create a light source Parallel Lights cast parallel rays resultinginno l Make sure the Create palette is visible If spatial distortion of shadows This type of light it s not click the Create button at the top is very useful for creating specific shadow of the Bryce window patterns or
534. unch state 1 Choose Edit menu gt Preferences The Preferences dialog appears 2 Enable either Launch to Previous State or Launch to Default State Launch to Previous State launches Bryce using the settings from your last session Launch to Default State launches Bryce using the default settings Bryce Basics 16 To save Images used in a scene with a file 1 Choose Edit menu gt Preferences The Preferences dialog appears 2 Enable Image with Scene Open Save With this option enabled Bryce will automatically open or save a PICT or BMP file PICT BMP files are automatically appended with the extension along with your scene file every time you open or save In most cases this option should always be selected To control new object placement 1 Choose Edit menu gt Preferences The Preferences dialog appears 2 Enable either Create Objects Within View or Create Objects at World Center Create O bjects Within View places newly created objects within the camera view rather than at world center Create O bjects at World Center places newly created objects at world center regardless of whether they will be visible in your current camera view Setting Up the Bryce Window When you first launch Bryce the interface snaps to the edges of your Working window The menu bar is hidden until you pass your cursor over it and other applications are hidden behind Bryce This setup lets you work with an uncluttered de
535. urs Setting Up the Paintbrush Before painting with the Paintbrush you should set up some of its parameters Using the brush settings you can control the size hard ness strength and color of your brush Terrains 1 4 In the Terrain Canvas frame drag over the Size control Drag away from the center to increase the size of the brush and towards the center to decrease it Drag over the Hard control Drag towards the center of the control to make brush edges harder or away from the center to make brush edges softer Drag the pointer over the Flow control Drag to the right to increase the flow or to the left to decrease it Brush Flow determines the strength of the paintbrush The higher the flow setting the more color is applied Drag over the Level control Drag down to apply a darker gray or up to apply a lighter gray Since you re painting altitudes lighter grays result in higher points and ridges while darker grays create lower points and valleys The default level is 100 gray However it effectively paints at 50 because of the other default settings W hile you re painting you may want to re cre ate a specific altitude in different parts of the terrain If you ve changed the brush settings re creating a specific altitude can be quite diffi cult However using the Height Picker tool you can quite easily re create altitudes by picking up gray levels from different parts of your image a
536. us clouds To add Cumulus clouds to a sky 1 If it s not already visible display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the triangle in the corner of the palette and choose Cumulus Clouds Cumulus clouds are thicker darker clouds at a lower altitude These clouds will take on tints of Sunlight color Ambient color or Cumulus color To add Stratus clouds to a sky 1 If it s not already visible display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the triangle in the corner of the palette and choose Stratus Clouds Stratus clouds are bright white thin clean clouds that appear at high altitudes These clouds are very responsive to Sunlight color and Sky Dome color and less responsive to Cumulus color or Ambient color Creating Skies You can also choose both cloud types or neither Selecting neither cloud type creates a clear sky Editing Cloud Textures Clouds in Bryce are created using a procedural texture with a cloud pattern The color position size and pattern within the texture determines the final look of the cloud in your sky You can edit this texture using either the Sky Lab palette or for more complex editing you can use the Texture E ditor The texture used for acloud can come from either the Bryce texture library or you can create your own To edit cloud texture in the
537. use Tutorial 72 8 Ungroup the group by clicking the Ungroup button The U changes to aG and the Family color changes to the Wall color Lesson 5 Make the Walls Taller Before starting this lesson switch back to Director s View To make the walls taller 1 On the Controls Palette select Control Options gt Director s View The view changes to show more depth perspective N Click the Render button to render your scene It should look like the image shown The rendered scene at this point The walls are there but they re not tall enough 3 Press the Escape key The wireframe view of your scene appears Make sure the Wall is selected then place the cursor over the top part of the Resize tool The cursor changes to aY 5 Press the Shift key then click and drag to the right until the walls pop up to meet the bottom of the pyramid and align themselves with the horizon EFEFEF Raising the walls You now have created a building with a pyramid roof arched cutouts to let light inside and walls all around Congratulations All you lack is a door It s always something isn t it Lesson 6 Adding a Doorway To add the doorway look at the scene from top view To add a door 1 Look at your scene from top view by choosing View Options menu gt From Top or press the number 2 The walls objects should still be selected The boolean roof wireframe will be a hindrance Yo
538. using the Pan tool Drag over the Pan tool in the direction you want your scene to move To pan your scene using the Spacebar Hold down the Spacebar and drag in the direction you want your scene to move To pan numerically 1 Double click the Trackball in the Control palette The Camera amp 2D Projection dialog appears 2 Enter avalue in the Horizontal field The default value is 0 3 Enter avalue in the Vertical field The default value is 0 Bryce 4 Using Fly around View To rotate the view of your scene in Fly around view You may have noticed a tiny circular icon above ht and to the right of the Views icon If you click e Move your mouse in the direction you want here you will change from your current View to to rotate The scene rotates in the direction a special motion view or Fly around View you drag To zoom in and out in Fly around view Hold down the Command Ctrl key To pause the Fly around Press the Spacebar In Fly around view your scene rotates so you can see it from a number of angles To end the Fly around and save Fly around ee position This view enables you to get a sense of context in your Bryce world If you re working close to the ground or stuck in the midst of a clump of trees or you ve lost a cube you know you created a half an hour ago you can use the F ly around view to see your entire scene all at once Press Return Enter The view switches back to C
539. ute one of three types of output to the final texture Color output which determine the colors in a texture Alpha output which determines the bright and dark areas in a texture and Bump output which determines the size and pattern of bumps in the texture The component can contribute any combination of outputs So you can have a final texture that contains Color output Alpha output and Bump output or it can have all Color output or all Bump or any combination of the three The outputs in a texture are used by the material so the type of output you have in a texture depends entirely on how you want to use the texture in the material For example if you re using the texture as a bump map for the Bump Height channel in a material you d probably want all the components to contribute only Bump output A texture can contain up to three components It can be made up of all three components or just one depending on the type of texture you want to create The more components you use the more complex your texture 238 Components are combined using Blend Modes These modes can create a wide range of effects Component 1 Component 2 C A B C A B Q MODE COMBINED The way components are combined to create the final texture is determined by the Blend M ode you select Components are combined differently depending on how many yo
540. utton The Sky Lab dialog appears 3 Click the Atmosphere tab 4 Click the Fog Density and or Thickness fields then enter a value T hese fields set the amount of fog rendered in your image The range is 0 to 100 and the default value is 0 5 Click the Base Height field then enter a value This field sets the height of fog Creating Skies rendered into your scene assuming there is a value greater than zero in the Fog field The range is 0 to 100 and the default value is 0 It translates the entire atmospheric effect up or down without changing the density or thickness Base H eight provides control over density at low altitudes such as in valleys In earlier versions of Bryce you had to move the entire scene up or down relative to the atmosphere Blending the Fog Color Since the fog remains constant throughout the scene you may get some odd looking results when you re creating a sunset or sunrise In these cases the sun is very close to the ground plane where the fog exists so the fog should react to the sunlight The Blend with Sun feature lets you create exactly this effect As the sun approaches the Fog the color and intensity of the fog changes to interact with the color of the sun In this example the F og is linked to the sun so you can see the changes in the fog color and intensity as the sun gets closer to the horizon 132 To link Fog color to the Sun controls 1 If it s not already visible
541. ve your pointer over an edge of the Zoom Area marquee The pointer changes to a hand tool 2 Drag the marquee to an area in the Terrain Canvas 163 To resize the Zoom area 1 Move the pointer over a corner of the Zoom Area marquee 2 Drag away from the center of the marquee to enlarge the Zoom Area or towards the center to shrink the area To scale the zoom area to fill the Terrain Canvas e Click the Crop text button below the Zoom Area title at the bottom of the Terrain Canvas frame The contents of your Zoom Area are scaled to fill the entire Terrain Canvas area The Zoom Area contents replace the existing contents of the Terrain Canvas This feature can be useful for creating new ter rains from larger high resolution terrains To fit the contents of the Terrain Canvas into the Zoom Area Click the Fit text button below the Zoom Area title at the bottom of the Terrain Canvas frame The entire contents of your Terrain Canvas are scaled down to fit into the Zoom Area marquee The rest of the Terrain Canvas will be filled with black Setting Terrain Resolution The terrain s resolution determines the amount of detail in your terrain The higher the resolu tion the more detail appears in your terrain s surface H owever higher resolution values also increase the rendering time for your scene and require more memory Bryce 4 The default resolution is 128 The highest reso lutions should be rese
542. verage changes the quantity of clouds but not the frequency You can think of it as adjusting the volume on a radio without changing the station Cloud Coverage Cloud Color The Cloud Coverage control in the Sky amp Fog palette lets you interactively set the quantity of clouds in the sky 140 Cloud Coverage 10 For example you can see how the clouds change in these Skies as the cloud coverage value changes Cloud Coverage 90 To set cloud coverage 1 If it s not already visible display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Drag left or right inside the Cloud Coverage control thumbnail Drag left to decrease coverage and right to increase it To set cloud coverage numerically 1 If it s not already visible display the Sky amp Fog palette by clicking the Sky amp Fog button at the top of the Bryce window 2 Click the Sky Lab button The Sky Lab dialog appears 3 Click the Cloud Cover tab 4 Drag the slider or enter a value in the Cloud Cover field Cloud Cover The Cloud Cover setting controls the amount of cloudsin your scene T he range is 0 to 100 and the default valueis 20 41 To set cloud color l Display the Sky amp Fog palette by clicking the Sky amp Fog button 2 Click the color swatch beneath the Cloud Coverage thumbnail and choose a color from the color picker Cloud Altitude The altitude of your cloud
543. ways using the Position tool to move objects along a specific axis using the 3D Transformation dialog to enter specific offset positions by dragging the object to a different location or by using the arrow keys to nudge objects Using the Reposition Tool The Reposition tool has six different states As you move the pointer over the tool each state becomes active Reposition Y up Reposition X left Reposition Z back Reposition Z I Reposition Y Reposition X right Therotate tool has six states As you move your cursor over the tool each state becomes active 294 To position an object along a specific axis l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Move the cursor over the Reposition tool 3 When the state you want to use is active drag in the direction you want to move the object To choose a spatial option for repositioning l Make sure the Edit palette is visible If it s not click the Edit button at the top of the Bryce window 2 Click the triangle icon next to the Reposition tool and choose an option from the menu Comers Space Serepesifion H Trae formations Object Space moves your selection relative to itself see O bject Space on page 281 World Space moves your selection in absolute world coordinates see World Space on page 280 Camera Space moves your selection relative to the camera s
544. when used with gels for creating a slide projector The lighting in this scene was created using a Parallel Light A5 Bryce 4 2 Click one of the create light tools Creates Radial lights Creates Spotlights Creates S quare Spotlights Creates Parallel lights oe fae Pa f l Creates Cylindrical Ctrl Parallel lights ca Note that Cylindrical Parallel lights are the only lights that require a modifier Ctrl key Editing Light Attributes You can edit the attributes of any light using the Edit Lights dialog This dialog lets you control the color intensity and sharpness of a light source Light msity Light Rre Edit Lights i Pict Geli Textu e Gels xv Soffness Light ColofDptions Use the Edit Lights dialog to adjust the brightness color and hardness of a light The Camera and Lights To access the Edit Lights dialog 1 Select alight The Object Controls appear next to the light s bounding box 2 Click the E button To adjust light intensity Inthe Edit Lights dialog drag the Light Intensity control Drag right to increase light intensity and left to decrease intensity To set a light s color Inthe Edit Lights dialog click the Light Color control and choose a color from the picker To disable shadow casting for a light source e Inthe Edit Lights dialog click the triangle icon at the bottom right corner of the preview area and choose Disa
545. when you re editing alight s material in the Materials Lab you re changing how the light source will appear in the scene Any texture components you apply to the light s material will appear as gels For Surface Visible lights the light s material is a Surface material For aVolume Visible light the material is aVolume Material Refer to Surface Material Channels on page 196 for more on editing Surface materials and Volume Material Channels on page 206 for more on editing Volume materials Applying Gels Gels are filters which are placed directly in front of lights to change the colors cast by the light or to cast specific kinds of shadows In Bryce you can use any picture or procedural texture as a gel Once you ve assigned a gel to a light source you ll be able to see the pattern of the gel on any object it shines on For example if you apply a picture to a Square Spotlight you The Camera and Lights can create a slide projector or you can throw a wild texture across your entire scene by assigning aTexture gel to a Radial Light Thislighting effect was created using a gel When you apply a gel to a visible light the texture s pattern is visible throughout the visible light To use a picture as a gel l Inthe Edit light dialog click on the Pict Gels text button at the bottom of the dialog The Pictures dialog appears 2 Choose a picture from the preset library or click the Load bu
546. xity of the noise and the Textures Filter which determines the shape or pattern of the noise APPLY NOISE FILTER oe ee ee a e l COMPONENT OUTPUT COLOR A component consists of noise and color T he Noise is modified by the Phase and the Filter Each component can then produce Color Alpha or Bump output Components and Output A component s output type determines what type of information it s going to contribute to the final texture The Output type also determines the component s structure A component that does not have a Color output won t contain any color information The same is true for the two other types of output If there s no Alpha or Bump output there s no Alpha or Bump information in the component Component Output The main purpose of creating a component is to use it as part of a material which will then be applied to an object How and what a texture contributes to a material is determined by the type of output it produces A texture can produce three different types of output Color Alpha and Bump When you apply a texture to a material you can see the output types in the Texture Component Window in the Materials Lab 240 Color output Alpha output Bump output The three boxes in the Texture Component W indow in the Materials Lab represent the three output types available for a texture If a texture does not produce a particul
547. xt to the Render controls and choose Mask Render from the menu 2 Choose File menu gt Export and choose either BMP PICT Using Painter The following compositing procedure uses Painter as a post production application The steps for Adobe Photoshop would be almost the same To composite using Painter 1 Render the scene normally using Perspective Render mode 2 Save the image in a convenient location 3 Render the scene again this time using Mask Render mode 4 Save the mask image to the same location 5 Open the Perspective Render image in Painter or another image editing application 6 Choose Select menu gt L oad Selection 7 In the dialog select the Mask Render image Click OK Painter selects the objects in your scene 8 Choose Edit menu gt Copy 9 Open the background image the image you want to paste your Bryce scene into 10 Choose Edit menu gt Paste The selection is pasted into the image as a floater Il Position the floater where you want it 420 Refer to the documentation that came with your image editing application for moreinformation on working with masks Adding Depth Bryce s Distance Render produces an image that can be used as a distance mask in most image editing applications The Distance Ren der image contains grayscale representations of all the images in your scene Objects closer to the camera appear black while those furthest away appear white The objects in
548. y for incidental or consequential damages so the above limitation or exclusion may not apply to you In no event will Company liability for damages to you or any other person ever exceed the amount of the license fee paid by you to use the Program regardless of the form of the claim US Government Restricted Rights The Program and Documentation are provided with restricted rights Use duplication or disclosure by the US Government is subject to restrictions as set forth in subdivision b 3 ii of the Rights in Technical Data and Computer S oftware Clause at 252 227 7013 Contractor M anufacturer is MetaCreations Corp 6303 Carpinteria Avenue Carpinteria CA 93013 442 General This Agreement is governed by the laws of the state of California except federal law governs copyrights and register trademark s If any provision of this Agreement is deemed invalid by any court having jurisdiction that particular provision will be deemed deleted and will not affect the validity of any other provision of this Agreement Should you have any questions concerning this Agreement you may contact MetaCrreations Corp at this address MetaCreations Corp 6303 Carpinteria Avenue Carpinteria CA 93013 805 566 6200 phone 805 566 6385 fax 1999 MetaCreations Corp All rights reserved MetaCreations and Bryce are registered trademarks and the MetaC reations logo is a trademark of MetaCreations Corporation All other product names mentio
549. y settings control the repetition of patterns in a component Frequency X 10 Y 80 Z 10 In this example the noise frequency was changed in only theY axis To change the frequency of noise l Display the Deep Texture Editor 2 Display the Noise Editor 3 Drag over the X field in the Frequency area to set the noise frequency in the X axis Drag left to decrease the value or right to increase it 4 Drag over theY field in the Frequency area to set the noise frequency in theY axis 5 Drag over the Z field in the Frequency area to set the noise frequency in the Z axis Bryce 4 You can also drag over thescroll arrows to speed up the increments Noise Orientation Noise Orientation controls the direction of the noise Noise has a grain or a fixed up and down when you adjust the orientation you change how the noise is laid out within the texture When you apply a texture the direction of the noise within the texture remains constant regardless of the orientation of the object Since noise can exist in three dimensions you adjust the direction of the noise in the X Y or Z axis The number of dimensions in the noise determines how many axes you can use to adjust the orientation For 1D noise you can only use the X axis With 2D noise you can use both the X and Y axes For 3D noise you can use all the axes You can edit the noise orientation using the Direction numerical fields T he fields let you enter prec
550. you can simply set a separate size for rendering Think of Document Resolution as input and Render Resolution as output The default resolution is 480 x 360 and the default aspect ratio is 4 3 23 To set up a new document using presets 1 Choose File menu gt New Document The Document Setup dialog appears 2 Click one of the preset aspect ratios displayed along the right side of the dialog These presets are aspect ratios for many useful document types The pixel values that are placed in the Document Resolution fields are either absolute as in Legal or Letter or based on your available screen resolution as in Maximum Recommended or Square Opening an Existing File Bryce can open any file created in any previous version of Bryce Mac or PC To open an existing file 1 Choose File menu gt O pen 2 Use the dialog controls to locate and open your file Merging scenes You can merge two Bryce scenes using the Merge command W hen you use this command the scene you open is merged with the currently open scene Objects from the scene you re opening are placed in your current scene at the same absolute coordinates that they previously occupied To merge two scenes Choose File menu gt Merge A dialog appears prompting you to save the current scene 2 Click Save The Open dialog appears Bryce 4 3 Use the dialog controls to locate the file you want to merge and click Open The file you selected
551. you move the mouse pointer over the arms of the Reposition tool a small tag appears telling over which axis you are positioned Place the cursor over the upper X left arm of the tool then click the tool and drag to the left The terrain will move along the X axis towards the rear of your scene Place the cursor over the upper Z right arm of the tool then click and drag to the right Repeat this process as needed until the terrain is in the position shown below Pa ree Positioning a terrain The terrain looks very small now so we need to resize it To resize the terrain 1 With the terrain still selected click the center of the Resize tool then drag to the right to increase the size of the terrain Notice that as you resize the terrain it appears to disappear below the ground plane This occurs because the terrain is resized evenly about it s center Click the Land Selection button located at the bottom of the vertical row of buttons to the right of the terrain The terrain repositions on the groundplane and the arrow button disappears Resize the terrain until it looks something like the image below H i The terrain so far To add a second terrain 1 Click Create then click the Terrain Object to add a second terrain Then reposition it until it is positioned and sized as shown below 2 Note that this terrain Terrain 2 is further back than the first one A second terrain
552. ze the object using another one of Bryce s edit controls the To resize the sphere 1 Click the triangle next to the Resize tool then select 3D Transformations from the list A dialog box appears 3D Transformations q onst o o ji o 8 Rotae 0 o o E Size 125 100 129 8 z x Y 3D Transformations dialog N The bottom row of options are for changing the object s size Size is expressed as a percentage of the current size To enlarge the sphere horizontally without affecting the height you will enter new values for the X width and Z depth axes and leave the height Y axis unchanged In the numerical boxes for size for the X and Z axes enter 125 for 125 Click the OK icon to exit the dialog box The sphere expands slightly on the horizontal axis while remaining unchanged in height Next adjust the position of the sphere so that it cuts out portions of the pyramid leaving the four corners intact as a roof support To more easily see what you are doing change your view of the scene to front On the Controls Palette choose View Controls menu gt Select From Front The scene changes so that you are viewing the objects from a straight horizontal view 65 ow tire aa Braa Coreere kee Pris Pig fy Di Control Tihi Lilie hirii h hi TheView options From Front In the next step you will move the sphere down Place the cursor over the top of the Repositi

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