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Page 2 MATERIALS DESCRIBED HEREIN. Autodesk, Inc. reserves the right to revise and improve its products as it sees fit. This publication describes the state of this product at the time of its publication, and may not reflect the product at all times in the future.
Page 3: Table Of Contents
Installing Lightscape for the First Time ........
Page 4 Importing a LightWave Scene ..........Exporting from 3D Studio MAX or 3D Studio VIZ to Lightscape....
Page 5 Table of Contents Using the Luminaires Table ..........129 Adding Luminaires .
Page 6 About Rendering in Lightscape ........
Page 7 Merging Lightscape Files Using LSMERGE........273...
Page 8 Using LVu ............. . . 320 References Glossary Index Lightscape...
Page 9: Introduction
Introduction An introduction to Lightscape and lighting technology. Lightscape™ is an advanced visualization system for generating accurate lighting simulations of three-dimensional models. Summary • Lighting In this chapter, you learn about: • Interactivity • Lightscape™ • Progressive refinement. • Computer graphics rendering Realism •...
Page 10: Computer Graphics Rendering
The next task is to determine The progressive refinement radiosity algorithms where the light arriving at the surface originates. A implemented in Lightscape give you precise control simple rendering algorithm considers only the light over the quality of visualization required to perform coming directly from the light sources themselves in any given design or production task.
Page 11 Lightscape uses two global illumination algorithms: Diffuse reflection Specular reflection ray tracing and radiosity. Before explaining how...
Page 12 You know from experience, however, that this area would not really be completely dark because of the light it would receive from the surrounding walls and floor. Lightscape...
Page 13 It then stores The progressive refinement radiosity algorithm the final radiosity values for each element of the used in Lightscape works in the following way: mesh. The surfaces are meshed into a set of relatively large elements.
Page 14 Toward the end, the amount of energy remaining to be distributed is so small that there is no perceptible difference in the resulting images from one iteration to the next. Therefore, while it may take many itera- tions for a solution to reach full convergence, Lightscape...
Page 15: Photometry
By merging both techniques, Lightscape offers the measure light, taking into account the psychophys- best of both. In Lightscape, it is possible to combine ical aspects of the human eye/brain system. a ray-tracing postprocess with a specific view of a...
Page 16: About Lightscape Documentation
The documentation for your Lightscape software includes: Used to indicate that you are to choose an item from a menu or • Lightscape 3.2 User’s Guide printed manual and on- submenu. For example, line file File | Parameters | Load tells you to choose Load from the Parame- •...
Page 17 About Lightscape Documentation Getting More Help If you need more information, contact Discreet™ Customer Support at one of the following telephone numbers. You can also send queries by e-mail. Discreet Customer Support North America: (877) DISCREET Elsewhere: (514) 954-7550 Fax:...
Page 19: Installation
Installation How to install Lightscape and its components. This chapter describes how to install your Lightscape system. Summary Minimum Recommended In this chapter, you learn about: Requirements: Requirements: Windows NT 4.0 Windows NT 4.0 with • System requirements Service Pack 4 (with Service Pack 4), •...
Page 20: Installing Lightscape For The First Time
If you Time choose not to uninstall, the existing version is Version 3.2 of Lightscape is designed to work with overwritten. the following: Windows 95 (with Service Pack 1), Windows NT 4.0 (with Service Pack 4), and If you do not want to overwrite previous versions of Windows 98.
Page 21: Workflow
Workflow How to use Lightscape. This chapter provides an overview of the process of creating a Lightscape solution. Each step of this process is explained in detail in the chapters that follow. Summary In the Solution stage, Lightscape alters the model structure to optimize it for radiosity processing.
Page 22: Preparing The Model
Adding Light The first step in creating a lighting simulation is to You can add artificial light and/or daylight to your import a geometric model into Lightscape. You can model. import models from a wide variety of CAD and modeling applications as well as from block and All artificial lighting in your model comes from luminaire libraries.
Page 23: Processing The Radiosity Solution
Processing the Radiosity How radiosity works is described in detail in Chapter 1, “Introduction.” Solution During the Solution stage, Lightscape uses radiosity Refining the Solution to accurately calculate how light propagates in the model. In the Solution stage, you cannot change the model...
Page 24 Walk-through Animations This is important when using Lightscape to create You can create camera paths for generating walk- environments for interactive games or web sites. For through animations of your radiosity solutions. You more information, see Chapter 13, “Mesh to...
Page 25: The Interface
The Interface An introduction to the Lightscape tools and interface conventions. The Lightscape user interface provides access to a suite of interactive tools, which you use to prepare models for radiosity processing. Summary Starting Lightscape In this chapter, you learn about: To start Lightscape, double-click the Lightscape application icon.
Page 26 You use the Graphic window to display and edit the geometry of the current model. In the Graphic The Lightscape menu bar occupies the upper window, you select objects by clicking them with the portion of the Graphic window. Directly below the left mouse button.
Page 27 You can right-click the Layers table to display the view of the model at any one time. However, during Layers context menu, which contains functions animation editing, Lightscape breaks the Graphic appropriate to the layer selection set. window into four concurrent views to aid in the For information on using layers, see “Working with...
Page 28 Note: If more than one material is selected, the To toggle these options on and off: preview is gray. Right-click in the preview and select the appropriate To toggle the preview on or off: option. Right-click the Materials table and choose Preview from the context menu. Lightscape...
Page 29 The Blocks table contains a list of all the blocks avail- multicolored image behind the preview sphere. able in the model. A block in Lightscape is a grouping of objects (surfaces or other blocks) assigned a Background common name and an insertion point.
Page 30 Note: The following view controls are available in the preview: Orbit, Rotate, Zoom, Pan, Dolly, and The luminaire preview displays the currently Scroll. selected luminaire. For more information, see “Customizing Block and Luminaire Previews” on page 22. Lightscape...
Page 31 Overview of the Interface To change the view using the toolbar: To use the same shading as the model: Right-click in the preview, select View Control, Right-click in the preview, select Shading, and and enable From Toolbars. enable From Toolbars. Click the appropriate button on the View Con- trol toolbar, then drag the cursor in the preview to control the view.
Page 32: Interface Conventions
Using the Mouse Lightscape is designed for use with a two-button Context Menus mouse. The left button is the action button. The In the Graphic window or one of the tables, you click...
Page 33: Using Toolbars
Using Toolbars Moving Toolbars By default, toolbars are docked at the top of the In Lightscape, the toolbars provide quick access to Graphic window. A docked toolbar is attached to many options that are located in the menus. Click any edge of the Graphic window. A floating toolbar the toolbar buttons to execute the related operations.
Page 34 Area Any Select All Luminaire Pick Top Perspective Bottom Right Back Vertex Block Select Deselect Surface Use Selection For more information, see “Viewing the Model” on Area Any Filter page 29. For more information, see “Selecting Objects” on page 38. Lightscape...
Page 35: Using File Controls
Using File Controls The Tables Toolbar The Transformation Toolbar Use the buttons on the Tables toolbar to display or Use the buttons on the Transformation toolbar to hide the corresponding tables. Clicking a button control the placement of geometry in the model. toggles the table display on or off.
Page 36 Help Index Save Select Save to save the current Lightscape model. If the model has not been saved previously, this function defaults to Save As and Lightscape Save Print Help prompts you for a filename and location. If your You can use any of the following methods to access model was previously saved, the Save function over- the file controls.
Page 37: Viewing The Model
View | Projection | Back Shift+9 item on which you want information. The Lightscape perspective camera model uses a Viewing the Model viewer position, a focus point, and a picture plane to create the perspective views. Both the View Setup...
Page 38 This is similar to a zoom lens on a photographic camera. The size of the view frame on the picture plane is adjusted automatically. Lightscape...
Page 39 To obtain this effect in horizontal or vertical axis. The viewer position and Lightscape, first set a specific perspective view with the focus point are moved together in the direction the camera position and focus point at the same...
Page 40 Note: When using View Setup, you can also use ping plane. Objects in the model that are beyond the the following view buttons to adjust your view: Zoom, Zoom Window, Scroll, and Tilt. far clipping plane are not displayed. Lightscape...
Page 41 This is important if you intend to composite the Use this option to rotate the model around an axis rendering you do in Lightscape with a background perpendicular to the screen. Set the View Tilt option image file. For example, you may want to show a by adjusting the slider from -180°...
Page 42 Once you have set the view, save it by choosing View | Save As. When you are establishing views for your final renderings, you may want to set your viewport to be The Save As dialog appears. Lightscape...
Page 43: Controlling The Display
Controlling the Display Navigate to the appropriate directory, enter the For more information on display options, see “Using name of the file in the filename box, and click Save. the Display Options” on page 36. The view file is saved with a .vw extension and it is Display Menu added to the list of views.
Page 44 You can select display options Colored Wireframe from the Display toolbar or by choosing the appro- Use this option to display all surface edges of the priate option from the Display menu. Often, model in their associated material color. Lightscape...
Page 45 Controlling the Display disabling a display option increases the display surfaces are displayed opaque, regardless of the speed but decreases image quality. material transparency. Culling Antialiasing Textures Antialiasing Use Antialiasing to display smoothed lines in Wireframe mode. When this option is disabled, lines Trace may be jagged.
Page 46: Selecting Objects
Edit | Selection | Area All Ver- Shift+0 tices Using Auto-Orbit Edit | Selection | Deselect Area Shift+V Choose this option to cause the model to continu- ously rotate around the focus point of the current view. Toggle Auto-Orbit on and off by selecting it Lightscape...
Page 47 Selecting Objects Select Menu: Button: Hot Key: Use Select to click objects to select them. When Edit | Selection | Deselect Area Shift+C the Accumulate Pick mode is enabled, click a selected object to deselect it. Edit | Selection | Select All Query Select Edit | Selection | Deselect All Use Query Select...
Page 48 Choose the Query Select button from the Selec- Accumulate Pick tion toolbar, or choose Edit | Selection | Query. To query the top block in a block hierarchy, en- able Pick Top Block. Pick Top Block Lightscape...
Page 49 Selecting Objects Click your cursor in the Graphic window to se- The Selection Filter dialog appears and the selected lect an object to query. materials are listed on the Surfaces panel. Information about the queried object is displayed on the status bar and the associated layers and materials are highlighted in the Layers and Materials tables.
Page 50 Choose Edit | Selection | Filter. the Select Any Vertex tool The Selection Filter dialog appears. To select all luminaires that have all of their ver- tices within an area and that meet the specified crite- ria, use the Select All Vertices tool Lightscape...
Page 51: Transforming Objects
Transforming Objects To disable selection filters: Menu: Button: Hot Key: Click the Use Selection Filter button on the Edit | Constrain To Axis | Aim toolbar, or choose Edit | Selection | Filter and disable Use Selection Filter. Note: If the Transformation toolbar is not visible, choose Tools | Toolbars.
Page 52 To set the number of incremental degrees an ob- ject can rotate along an axis, enter the appropriate In the Graphic window, click and drag the object value in the Rotate (Deg) X, Y, or Z box. to the required position. Lightscape...
Page 53: Setting Document Properties
Setting Document Properties Enable Use Drag Increments to use the Drag In- Setting Display Properties crements settings during interactive transforma- Use the Display properties to control how the model tions, or click the Use Drag Increments is displayed on your monitor. button on the toolbar.
Page 54 Use this option to set the color of the mesh in Time Outlined display mode. For more information on Use this option to specify the time units to use for an display modes, see “Controlling the Display” on animation setup. You can choose seconds, minutes, page 35. or hours. Lightscape...
Page 55 Setting Document Properties To set the colors properties: Select: Choose File | Properties. Create a uniformly dense fog that be- The Document Properties dialog appears. comes opaque at some distance, de- pending on the density setting. This is Click the Colors tab. what fog usually looks like in reality.
Page 56 The Interface Setting Paths Properties Select an option in the path list tree. The path lists are the list of directories Lightscape Select: searches to find a file. Use the Paths properties to set Document Set the paths that are specific to the...
Page 57 Setting Document Properties To reorder an item in a path list, select it and use second surface, with a corresponding increase in the up and down arrow buttons. display speed. To remove a path from a path list, select it and The default setting is 1 (display every surface).
Page 58: Setting System Options
Select: The system options are the general parameters and 64 x 64 Display textures at 64 x 64 pixels defaults stored with your Lightscape application. per inch. You can modify preview, drag and drop, and envi- 32 x 32 Display textures at 32 x 32 pixels ronment options.
Page 59 The Options dialog appears. drag and drop method. IES Drop Destination Use this option to specify the directory to which Lightscape saves IES files when you drag and drop them into the Photometric Web Editor. For more information, see Chapter 8, “Artificial Lighting.”...
Page 60 Open. Click OK. Setting Environment Options Use the Environment options to customize your Lightscape application environment. Cross Hair Size Use the Cross Hair Size slider to adjust the size of the crosshairs that appear when orienting luminaires, for example.
Page 61: Importing Geometry
How to import geometry from modeling applications. The first step in creating a lighting simulation is to import a geometric model into Lightscape. You can import models from a wide variety of CAD and modeling applications. Summary • Group objects into blocks and layers In this chapter, you learn about: •...
Page 62 On a piece of paper, draw the axes of the import- Confirm that the measured distance makes sense ed system next to the axes of the Lightscape coordi- given the scale of your model. If it does not, then you...
Page 63 In the Coordinate Transformation list of the im- dio VIZ, see “Grouping Objects in Blocks” on page port or export dialog, select the axes that correspond to the X, Y, and Z axes in Lightscape. In this example, you select Y, Z, X. Overwriting or Merging In Lightscape, you can open only one file at a time.
Page 64: Importing Dxf Files
Importing Geometry block in Lightscape or save it first to a block library Using Third-Party Applications that could then be loaded back into your model, if A number of third-party CAD software manufac- necessary. turers provide support for Lightscape export from their applications.
Page 65 Click OK. Note: If you modify your original model in AutoCAD and merge the altered layers to the model in Lightscape, the imported surfaces do not Overwriting or Merging overwrite the existing ones. As a result, the modi- When you import a DXF file, you can either over-...
Page 66 If you are not sure of the size of the entire model, you should check the size of a smaller area after you Translating Geometry: Smoothing import the model into Lightscape. For more infor- Groups mation, see “Measuring Distance” on page 54.
Page 67 Importing DXF Files Setting the Angle Between Normals system divides arcs, circles, and arc segments in 2D Use the Angle Between Normals to establish a polylines. threshold at which adjacent facets in a smoothing group should be rendered with sharp or smoothed edges.
Page 68 Importing Geometry As Is By default, when you import a DXF file, Lightscape Select this option to create no additional blocks. assigns materials to surfaces based on the color numbers in the DXF file. If an item does not have a...
Page 69 Note: Material maps are saved in .mm files. name stored in the libraries. If the block is in two When you import the DXF file, Lightscape material libraries, the system uses the first occurence. definitions replace all the color indices in the DXF file.
Page 70: Importing Dwg Files
To use orientation blocks: In AutoCAD, create a block and give it one of the To import a DWG file: following names: In Lightscape, choose File | Import | DWG. The Import DWG dialog appears. Choose: FOC_IN Set surface normals to point toward the insertion point of the block.
Page 71 500 as the scale factor. Overwrite Select Overwrite to create a new Lightscape model with the same name as the DWG file. Make sure you save your work before importing a new file using the When you import the model, the size of your model Overwrite option.
Page 72 Importing Geometry By Entity group, Lightscape can create a smooth curved Select this option to create a block for each DWG appearance between these facets when they are entity. However, faces will be imported as surfaces displayed and rendered. For more information, see (not grouped into blocks).
Page 73: Importing 3Ds Files
3D Studio is a modeling and rendering package DWG file with a material definition in Lightscape. from Autodesk that has its own file format for saving For more information about creating material maps, scenes. Lightscape imports this format by creating a see “Mapping Materials”...
Page 74 Studio VIZ, you should use the LS2MAX plug-in. For more information, see “Exporting from 3D Studio Overwrite Replace the current model. MAX or 3D Studio VIZ to Lightscape” on page 72. Merge Add the imported geometry to the current model.
Page 75 3D Studio files to physical Select one of the following options from the Block units used by Lightscape. Creation list to organize entities into blocks: Note: Lighting results in 3D Studio and Lightscape Select: are almost certain to be different due to their None Create no blocks.
Page 76: Importing A Lightwave Scene
It linearly interpolates other information If fog is set in 3D Studio, the fog settings are (field of view and target point). Lightscape does not imported but turned off in Lightscape. For informa- currently support 3D Studio spline modifiers, such tion on setting fog in Lightscape, see “Setting Fog...
Page 77 Choose File | Import | LightWave. The Import LightWave Scene dialog appears. Overwrite Select Overwrite to create a new Lightscape model with the same name as the LightWave file. You should save your work before importing a new file using the Overwrite option.
Page 78 Select this option to create a block for each Light- Wave object. An instance of each object is placed in the Lightscape model for each instance in the Light- Wave scene. When you import the model, the size of your model appears and you are prompted to confirm that it makes sense.
Page 79 LightWave spotlight illuminates at one-half inten- sity. This matches the illumination of a Lightscape spotlight at the beam angle. If you want Lightscape to illuminate a scene the same way as LightWave, disable this option since the Maximum Light Intensity Scale...
Page 80: Exporting From 3D Studio Max Or 3D Studio Viz To Lightscape
Note: When you import the model into Light- Lightscape calculates a date, time, and north direc- scape, you can also adjust these settings using the tion that positions the sun to shine in the same Daylight Setup dialog.
Page 81 Exporting from 3D Studio MAX or 3D Studio VIZ to Lightscape Select one of the following from the Save As Type To export only selected objects: list: In 3D Studio MAX or 3D Studio VIZ, select the objects to export.
Page 82 Use this setting if you The name of each block is taken from the name of plan to import the Lightscape solution back into 3D the first node that uses the object. Instances become Studio MAX or 3D Studio VIZ, so that the importer block instances in Lightscape.
Page 83 Exporting from 3D Studio MAX or 3D Studio VIZ to Lightscape Material Light Intensity at Distance Select this option to create a layer for each material. Enable this option to convert lights by matching the Surfaces are assigned to layers based on their intensity at a specified distance.
Page 84 3D Studio VIZ model to generate multiple Light- scape Preparation files. Lightscape does not support bump maps and retains only diffuse settings of textures. The name of each file is created from the Preparation filename followed by the frame number.
Page 85 Exporting from 3D Studio MAX or 3D Studio VIZ to Lightscape separated by minus sign (-). These values are always Note: When you import the model into Light- scape, you can also adjust these settings using the in frames and do not depend on the current time Daylight Setup dialog.
Page 86 Use the Windows panel to identify windows and openings in your model. Use the material on a North surface to indicate whether a surface is a window or Enter the direction of north in degrees clockwise from the positive Y axis. If your selected light places Lightscape...
Page 87 Exporting from 3D Studio MAX or 3D Studio VIZ to Lightscape opening. In Lightscape, daylight enters the model Exporting Views through these types of surfaces. The active view is always exported; however, you can use the Views panel to export additional views.
Page 88 The frame number is appended to the end of the filename for each camera. If any of the view files to be exported will overwrite another file, a single message is displayed, and you can choose to abort or continue the export. Lightscape...
Page 89: Refining Geometry
About Refining Geometry • A surface is any regular planar triangle or convex In general, Lightscape is not a modeling tool, but it quadrilateral. You assign materials and other at- does provide you with a number of specific tributes to surfaces.
Page 90: Working With Layers
The Layers table contains a list of all the layers defined in the current model and indicates their Solution Model Structure state. During the Solution stage, Lightscape alters the structure to optimize it for radiosity processing. To display the Layers table: Blocks are exploded into individual surfaces and you Click the Layers table button on the Tables toolbar.
Page 91 Working with Layers The Layers table appears. Turning Layers On or Off Turn layers on or off to selectively display and process different portions of your model. To turn layers on or off: In the Layers table, select the layer. Right-click the Layers table and choose one of the following: Select:...
Page 92 Deleting Layers Navigate to the appropriate directory, select a Layer State file and click Open. Layer states are Delete the layers you no longer need. Any surfaces or stored in .lay files. block instances on the layer are also deleted. Lightscape...
Page 93: Working With Blocks
Use the interactive view controls to change see Chapter 8, “Artificial Lighting.” the view of the block. For more information, see Blocks exist only in Lightscape Preparation “Customizing Block and Luminaire Previews” on files. They are exploded into surfaces in Solution page 22.
Page 94 If your modeling application does not support or Block” on page 132. export the block structure, you can either create Create Single Create an instance of the selected blocks or you can import blocks and luminaires Instance block definition positioned at the from a library. origin. Lightscape...
Page 95 Working with Blocks Create new block definitions by grouping surfaces To duplicate a block: into blocks. In the Blocks table, right-click the block that you want to copy and select Duplicate from the menu Note: You can also create a new block definition that appears.
Page 96 Enter a name for the new block definition. same name. Lightscape creates a new block definition based on In some cases, it may be useful to overwrite the the selected instance and makes the selected block.
Page 97: Modifying Block Definitions
“unprepared” block from your CAD system with a Right-click the Blocks table and choose Save. “prepared” block stored in a Lightscape library. In The Save As dialog appears. fact, the block used in your CAD system can be a...
Page 98 The block’s insertion point and the Transformation dialog appears. Pick Move the insertion point to the point you select in the Graphic window. Enable Snap to Nearest Vertex to move the insertion point to the ver- tex nearest the point you select. Lightscape...
Page 99: Working With Block Instances
Working with Block Instances Once the insertion point is properly positioned, In the Relative Scale Factor X, Y, and Z boxes, en- click OK. ter a multiplier value, and click Apply. Right-click the Graphic window and choose Re- For example, enter a value of 2 in the X box to double turn to Full Model.
Page 100 In the Spacing X, Y, and Z boxes, enter the dis- To create a single copy of a block instance: tance between each instance along the correspond- In the Graphic window, select the block you ing axis. want to copy. Lightscape...
Page 101 Working with Block Instances Click OK to add the array of block instances to • Absolute: enable Absolute, then enter coordinates your model. in the X, Y, and Z boxes to specify the position of the block in your model. For example, entering 2 in the X box moves the block to a spot 2 units to the right of the scene origin.
Page 102 Select one of the following rotation modes: see “Transforming Objects” on page 43. • Absolute: use Absolute to rotate the selected block at an absolute angle about an axis of rotation speci- fied by X, Y, and Z. For example, enter 90 in the X Lightscape...
Page 103: Working With Surfaces
Working with Surfaces Scaling Block Instances Although Lightscape is not designed as a compre- hensive modeling system, you can make minor Adjust the scaling of the block to change its size and/ adjustments to your model using the surface or proportions.
Page 104 • Orient selected surfaces toward or away from a fo- cus point. • Make a surface double-sided To help you see the surfaces that are hidden by the backfacing surfaces, you can use the Near Clip Plane slider in the Surface Orientation dialog. Lightscape...
Page 105 In the Surface Orientation dialog, click Reverse. tation work required once the model is imported The selected surfaces are reversed. into Lightscape. For more information, see “Using Orientation Blocks” on page 61. To reverse additional surfaces, select them in the...
Page 106 • Click Towards to orient the selected surfaces to- Smoothing Surfaces ward the focus point In Lightscape a curved surface is approximated by a set of polygonal facets. To create smooth shading • Click Away From to orient the selected surfaces between the adjacent polygons, use the Smoothing away from the focus point.
Page 107 Working with Surfaces boundary between the two polygons appears as a between adjacent edges of the surfaces. The profile sharp edge. or silhouette of the curved surface still shows the faceted edge of the polygons. You can limit this effect Angle between normals of the polygons is 45°...
Page 108 The Create Surface dialog appears. You move surfaces during the Preparation stage. You cannot alter surface position during the Solution stage. To move a surface: Select the surface. Right-click and choose Transformation. In the Transformation dialog, click the Move tab. Lightscape...
Page 109 Working with Surfaces Enable Relative, and enter the relative distance to move in the X, Y, and Z boxes. Note: You can also move surfaces using interactive Transformation tools. For more information, see “Transforming Objects” on page 43. Measuring Distance You can measure the distance between any two selected points in your model.
Page 111: Using Materials
Highlights and reflections are rendered About Material Properties during ray tracing. Because Lightscape is based on physically accurate simulation techniques, it is important to provide accurate physically based material specifications to obtain accurate results.
Page 112 To obtain a proper radiosity solution, it is very Consider a piece of stained glass. The light from a important that the reflectance of a material represent stained glass window depends both on how trans- parent the glass is and on what color it is. The same Lightscape...
Page 113: Using The Materials Table
Using the Materials Table is true for apparently clear glass because glass always Refractive Index has impurities in it. The impurities cause the glass to The refractive index determines the behavior of light absorb some light as it passes through the glass. at the interface between two surfaces (usually a material and air).
Page 114 See “Materials Table Context Menu” on model. To change these units, choose File | Proper- page 108. ties, and click Units. Lightscape...
Page 115 Using the Materials Table To change the diameter of the sample sphere: The Reflection option shows specular reflection and highlights by placing an image in front of the Right-click the material preview. preview sphere that can be reflected in its surface. Choose Diameter and select the number of units from the list.
Page 116 Reload the texture image files and update the surfaces in your model. This is useful if you replace or modify a tex- ture image file outside of Lightscape, while your Light- scape project is open. Create Create a new material. Lightscape...
Page 117: Workflow
Workflow You can rename a material to give it a name that is The main steps to using materials in Lightscape are: more meaningful to you, or to prevent it from being Determine which materials you want to use in overwritten when you load another material with your scene.
Page 118: Adding Materials To A Scene
Library from the library. Lightscape provides a library of basic materials that To save a material to a library: you can use or modify. When you have defined a Right-click the material you want to save in the material, you can store it in a material library for Materials table, then choose Save.
Page 119: Editing Material Properties
Editing Material Properties Enter the name of a new material library in the To create a new material: File Name box, or select an existing material library Right-click the Materials table, then choose Cre- from the name list. ate. A blinking cursor appears at the end of the new Note: Materials are saved in .atr files.
Page 120 Material Properties” on page 103. • Transparency Define the material’s color or texture. See “Using a Texture Map” on page 114, and “Setting a Materi- • Shininess al’s Color” on page 118. • Refractive Index. Lightscape...
Page 121 Editing Material Properties If needed, adjust the Reflectance and Color type of material being defined. Reflectance, by Bleed Scales to control the amount and color of dif- default, is set either by the brightness of a texture fuse light reflected from the material into your mod- map (if one is used) or by the Value of the color (if a texture map is not used).
Page 122 A texture map is a picture of the material that is stored in an image file in any of the following Making a Material Self-Illuminating file formats: Surfaces do not emit light. In Lightscape, all light in a simulation must come from luminaires or daylight. File Extension: Format: Certain components of real luminaires frequently .bmp...
Page 123 The location of texture files you use has to be speci- fied in a path list. Path lists are the lists of directories Lightscape searches to find a file. For more informa- tion on setting up path lists, see “Setting Paths Material preview Properties”...
Page 124 If the texture image has a specific size, for exam- Filtering Method ple, a ceiling tile or a piece of a brick wall, enable Lightscape uses two different types of filtering with Fixed Size, and then enter the width and height in textures to compensate for discrepancies between the appropriate boxes.
Page 125 Once the size is set, you can use the texture align- texture map,Lightscape uses the alpha channel to ment tools to position, rotate, and tile the image show through the existing color, or to render under- when you apply it to a surface.
Page 126 For more information on HSV settings, see “Color” On the Color panel, click Texture Average. on page 104. To set a material’s color: On the Physics panel of the Material Properties dialog, select a template from the list. Click the Color tab. Lightscape...
Page 127 Editing Material Properties On the property sliders, the valid range for the sliders to select the Red, Green, and Blue color val- ues. selected template is highlighted in green. Using Procedural Textures Color preview window Valid range indicator Use procedural textures to increase realism by adding variation to the appearance of materials that Note: The range indicator appears only if no do not use a texture map.
Page 128 Note: Unlike bump maps in 3D Studio MAX, bump ue (the higher the negative value, the deeper the maps in Lightscape are not based on an image gouges), and set Baseline to a value less than 1. map. You control the frequency and amplitude of the bumps by adjusting the Bump Mapping parameters.
Page 129: Assigning Materials To Surfaces
Assigning Materials to Surfaces Intensity Mapping To assign a material to one surface: Use Intensity Mapping to create smooth variations Select the material in the Materials table. in intensity over a surface. These variations can Click and drag the material onto the surface. make a surface look dirty or slightly wavy.
Page 130: Aligning Textures
(the point from which it is generated), a top pole, and a seam direction to orient the reflections. Object UV Use Object UV projection if you set texture coordi- nates at the vertices in the original modeling system. Lightscape...
Page 131 Aligning Textures Object UV projection uses the texture coordinates at Use: the vertices. Clip Clip the texture outside of the tile size. Use this mode to place decals on surfaces. Because OpenGL does not support texture clipping, you must ray trace the surface to see clipping.
Page 132 These points also mark the corners of the texture image. You can move the points to scale or rotate the texture. Select a mapping mode from the mapping modes list. Horizontal mapping modes list Vertical mapping modes list Lightscape...
Page 133 Aligning Textures If the texture size is not fixed, you can move the Using Cylindrical Projection projection points to resize the texture. Use cylindrical projection to wrap a texture onto a cylinder. For example, you can apply a marble texture to a column. Note: If you orbit, zoom or pan the model, make sure you reselect the Pick Points option before picking another corner point.
Page 134 The indicate the center axis of the set of surfaces on shininess of the surface determines how much of an Lightscape...
Page 135 Aligning Textures effect the reflection map has on the surface. Reflec- To copy the alignment of one surface to another: tion maps do not appear while ray tracing, because In the Texture Alignment dialog, disable Pick the ray tracer computes its own reflections. Points, and then enable Query Alignment.
Page 137: Artificial Lighting
Artificial Lighting How to create and modify luminaires. A luminaire is the equivalent of a lamp and its fixture. All artificial lighting in your model comes from luminaires. Summary About Luminaires In this chapter, you learn about: Luminaires represent both the physical appearance and the photometric properties of a lighting fixture.
Page 138 Luminaire Properties dialog, which contains tools for definition. editing the photometric characteristics of the selected Photometrics Display the Luminaire Properties luminaire. See “Setting Photometric Properties” on dialog for the selected luminaire page 132. definition. Lightscape...
Page 139: Adding Luminaires
Select the luminaires you want to load from the li- Importing from Luminaire Libraries brary or click Select All to select all luminaires. Lightscape includes an extensive library of luminaires Click OK to load luminaire definitions into the for use in your scenes.
Page 140: Setting Photometric Properties
• When defining a new luminaire from a block, right- in Lightscape or you can import the blocks and lumi- click a block in the Blocks table, then choose Define as naires from the block or luminaire library that comes Luminaire with Lightscape.
Page 141 In all cases, the Luminaire Properties dialog appears. Note: Source types are exclusive to luminaire defi- nitions. They cannot be specified for single If you are working in a Lightscape Preparation stage, instances of luminaires. You save source types only the luminaire is placed in Isolate mode.
Page 142 Using Relative or Absolute Positioning occluding or they will create shadows in the light beam. You can position LIDs in Absolute or Relative mode. You can position LIDs only in the Lightscape • Use Absolute mode to enter the model coordinates Preparation stage.
Page 143 Setting Photometric Properties To position a LID in Absolute mode: You can also set the X, Y, and Z coordinates in Relative mode by clicking the Set XYZ button, which displays In the Luminaire Properties dialog, select Abso- the Set XYZ dialog. lute from the Values list.
Page 144 Rotate the LID around the axis in which the LID is directed. Note: As discussed in Appendix A, “Light and Color,” Lightscape supports only RGB values when You can also set the angle of rotation in Relative mode calculating the radiosity solution. As a result, subtle...
Page 145 Setting Photometric Properties Luminous flux is measured in lumens (lm). Defining Intensity Distribution Intensity distribution defines how the light is Illuminance at a Distance dispersed from the luminaire. The available intensity Illuminance at a distance is the illuminance caused by distribution types depend on the selected source the light shining on a surface at a certain distance and type.
Page 146 Spot distribution is valid only for Point source types. Orthographic view of a Point source type set to Spot For more information on photometric webs, see distribution. The Beam Angle is Chapter 9, “Photometrics.” 30 and the Field Angle is 45. Lightscape...
Page 147: Placing Luminaires In A Model
Browse and navigate to the IES file you want to open, origin (0, 0, 0) on the current layer. then click Open. Lightscape searches the Luminaire Distribution paths To replace surfaces with a luminaire: to find the specified IES file.
Page 148 The name of the selected luminaire is highlighted and Editing a Luminaire Instance a blinking cursor appears at the end of the highlighted In a Lightscape Solution file, you can make modifica- text. tions to a single luminaire instance without affecting...
Page 149 Editing Luminaires Type a new name and press Enter. To copy a single instance of a luminaire: Select the luminaire you want to copy. The new name appears in the Luminaires table. Changing the name has no effect on the luminaire Right-click the Graphic window, then choose Du- properties for that luminaire instance.
Page 150 • Absolute: enable Absolute, then enter coordinates in vertex nearest the point you picked. The Absolute Co- the X, Y, and Z boxes to specify the position of the lu- minaire in your model. For example, entering 2 in the Lightscape...
Page 151 Editing Luminaires ordinates boxes update to display the position you X box to rotate the luminaire to an angle of 90 degrees picked. along the X axis. Click Apply to move the luminaire without clos- • Relative: use Relative to rotate the selected luminaire ing the dialog, or click OK to move the luminaire and relative to its current angle about an axis.
Page 152 Choose Edit | Transformation, or right-click in the Graphic window, then choose Transformation. Luminaires are scaled relative to their insertion point. The Transformation dialog appears. You can scale luminaires only in the Lightscape Preparation stage. To scale a luminaire: Select the luminaire you want to scale.
Page 153 Editing Luminaires This aim feature aligns the negative Z axis of the lumi- Click the Insertion Point tab. naire insertion point to the point selected. This will only function properly if the LID aim is also aligned with the negative Z axis of the luminaire insertion point.
Page 154 Graphic window, the message is cut off. To see the full message, simply resize the Graphic window. Note: You can set the luminaire icon size to any value between 0.05 and 100.00. Click OK. The luminaire icons are resized. Lightscape...
Page 155: Setting Luminaire Surface Properties
You can modify the geometry of a luminaire in the Note: You can set luminaire processing parameters same way you modify block geometry. This operation in both Lightscape Preparation and Solution stages. could be useful if you want to change the shape of a light fixture.
Page 156 Although this adds time to the ray tracing procedure, it also improves the quality of shadows and lighting effects in the final image. Enable the options that you want to apply to the selected luminaire instance. Click OK. Lightscape...
Page 157: Photometrics
• Creating and editing photometric webs To describe the directional distribution of the light • The IES standard file format emitted by a source, Lightscape approximates the source by a point light placed at its photometric • Using LID conversion utilities.
Page 158 Goniometric diagram Lightscape extends the goniometric diagram to three dimensions, so that the dependencies of the Isotropic distribution luminous intensity on both the vertical and hori- zontal angles can be examined simultaneously.
Page 159: Creating And Editing Photometric Webs
Creating and Editing Photometric Webs either positive or negative, so less light is cast later- Creating and Editing ally from the light source. Photometric Webs Use the Photometric Web editor to customize photometric webs that you can associate with the luminaires in your model.
Page 160 Note: You can also use the LID conversion utilities the specified horizontal angle. to convert your LID to other file formats. For infor- mation, see “Using LID Conversion Utilities” on page 155. Lightscape...
Page 161: Customized Photometric Web Example
Web editor. Click Load in the Photometric Web editor. The Open dialog appears. In the Open dialog, locate the following IES file: lightscape\lib\lights\lvs\ default.ies Click Open. The photometric web is reset to the default settings. Note: The sample libraries must be installed on your system in order to reset the Photometric Web editor.
Page 162 For information about assigning a photometric web to a luminaire, see “Defining Intensity Distribution” on page 137. Adjust the viewpoint to a top view, and then drag the outermost points about halfway toward the axis while maintaining the web’s circular shape. Lightscape...
Page 163: Ies Standard File Format
CIBSE file format. At the command line, type the following (or The LID2CIBSE utility syntax is shown in the your path to the Lightscape application files), and following example: then press Enter:...
Page 164 Input photometric file. At the command line, type the following (or output_file Output CIBSE file. your path to the Lightscape application files), and then press Enter: Converting LID to IES CD\PROGRAM FILES\LIGHTSCAPE\BIN The LID2IES utility reads in a LID from a photo- Using the following syntax, type a command at metric file and writes it out in the IES file format.
Page 165 Using LID Conversion Utilities Converting LID to LTLI At the command line, type the following (or your path to the Lightscape application files), and The LID2LTLI utility reads in a LID from a photo- then press Enter: metric file and writes it out in the LTLI file format.
Page 167: Daylight
Daylight How to add sun and skylight to your model. Lightscape provides various techniques for specifying the characteristics of natural daylighting. Daylight is provided by two sources: the sun and the sky. Summary calculated based on geographical location, time, and sky condition settings.
Page 168: Using Daylight In Exterior Models
Choose Light | Daylight. accuracy and efficiency. The Daylight Setup dialog appears. To simulate the effect of daylight on an exterior scene, the entire sky dome is used when calculating the illumination contribution from the sky. Lightscape...
Page 169: Interior Model Considerations
Interior Model Considerations Click the Processing tab. A higher value results in longer processing time and more accurate shadows. For more information, see Chapter 11, “Radiosity Processing.” Interior Model Considerations Computing the sky illumination onto the center of an interior model requires looking for sky contribu- tions from all directions around this center.
Page 170: Illuminating Your Model With Daylight
Defining Surfaces as Windows When you create a window through which natural lighting passes, Lightscape automatically calculates the illumination from the sky, and applies the results to the window. The window is then treated as a diffuse light source that illuminates the room.
Page 171 Illuminating Your Model with Daylight To set sun and sky color: Setting Sky Conditions Use the Sky Condition settings to approximate the Choose Light | Daylight. amount of the sky covered by clouds. You can choose The Daylight Setup dialog appears. either Clear, Partly Cloudy, or Cloudy.
Page 172 You can specify the orientation of your model in Top view of model illustrating the northerly direction based on space by indicating which direction is North. This the position of the North dial setting affects how daylight enters your model. You (shown at right). Lightscape...
Page 173 Illuminating Your Model with Daylight Select a city that approximates the location of Enter a Month, Day, and Time in the corre- your model from the Location list. sponding fields. After you select a city, Latitude and Longitude values You can specify a Time value based on a 24-hour are automatically added in the appropriate boxes.
Page 174: Enabling Daylight In Radiosity Processing
If you intend to ray trace the sun and sky, you can both sunlight and skylights: save time by turning off the Store Direct Illumina- tion option. If this option is disabled, Lightscape will • Cast Shadows not have to run iterations to subtract the direct •...
Page 175 Enabling Daylight in Radiosity Processing In the Process group box, enable Daylight (sunlight + sky light). Adjust the Sky Light Accuracy slider to control the definition of shadows attributed to skylight.The Sky Light Accuracy slider controls the amount of sampling used for the sky dome. If you are modeling an interior scene where day- light only enters through windows or openings, then you should enable Daylight Through Windows and...
Page 177: Radiosity Processing
• Setting the processing parameters with the surfaces in the model. • Setting the surface processing parameters Lightscape stores the illumination values computed during the simulation with the surfaces in the three- • Initiating models dimensional environment. You can generate images •...
Page 178 “Lighting Analysis.” Components of a Radiosity Mesh The lighting simulation software used in Lightscape is based on a technology called radiosity. Radiosity computes the illumination of a surface from both the light shining from a source directly toward the...
Page 179: Processing Workflow
Instead of displaying only the completed light after each iteration, the system can add a rough approxi- Lightscape computes the simulation in successive mation of the yet uncomputed lighting, so that the iterations. At each iteration, the system selects the...
Page 180: Setting The Processing Parameters
For more information, see Appendix B, “Batch Processing Utilities.” Setting the Processing Parameters Though Lightscape freezes the geometry of the scene at initiation, you can modify materials and The processing parameters affect the accuracy, light source properties at any point during the simu- speed, and memory usage of a radiosity simulation lation.
Page 181 Setting Receiver Parameters Maximum Mesh Spacing Lightscape estimates the illumination contrast on a Use the parameters in the Receiver group box to mesh element by the illumination values at its control the meshing of light-receiving surfaces.
Page 182 (primary and secondary). The Use the source parameters to control how accurately system undoes the lighting effects by propagating Lightscape computes the contribution from a light negative light from the source to the receiving source to each of the receiving mesh vertices.
Page 183 Direct Source Subdivision Accuracy sources (surfaces). parameter. The value of this parameter determines the likelihood that Lightscape will subdivide the source. When you set the parameter to 0, the system never subdivides these sources. As you increase its value towards 1, the subdivision is triggered more easily and for more distant targets.
Page 184 Lightscape tries to estimate the attenuation (fall-off) of light due to possible occlusions by casting rays from the target toward the source. It computes the attenuation factor as the fraction of rays cast that...
Page 185 Daylight Through Windows and Openings should be included in the computation. When Only Daylight is enabled, Lightscape includes sunlight When Daylight is enabled, you can enable Daylight and skylight as light sources for the model. If the Through Windows and Openings Only. If this...
Page 186 Note: The Length parameter is also used during Choose Process | Parameters. the computation of light transfer between sources The Process Parameters dialog appears. and receivers. The value appropriate for initiating the model usually works for this task as well. Click the Wizard button. Lightscape...
Page 187: Setting The Surface Processing Parameters
Setting the Surface Processing Parameters The wizard dialog appears. complete radiosity solution, you must reset the solution and start again. Choose a level of quality on the Quality page, then click Next. Enable: Occluding Block light and cast a shadow with the surface.
Page 188 Enabling the Use Reflecting to control whether a surface should Display Raw Textures parameter tells Lightscape not reflect incident light back into the environment. to relight the texture. You can also use this parameter Surfaces are reflecting by default.
Page 189: Initiating The Model
Initiating the Model This parameter scales the minimum and maximum Note: For large models, the initiation process may be completed more quickly by making sure that no mesh spacing for the selected surfaces. If the global one layer contains a large number of input minimum value is 12 inches, setting this parameter surfaces.
Page 190: Processing The Radiosity Solution
This situation can lead to a discontinuity in the radiosity solution, so Lightscape adds a vertex to To process a radiosity solution: the edge at the point of intersection.
Page 191 Processing the Radiosity Solution To stop processing, choose Process | Stop or Viewing the Current Source click Stop During radiosity processing, you can view the source whose lighting contribution is currently To reset the radiosity solution, choose Process | Reset or click Reset being calculated.
Page 192: Changing Materials And Luminaires
Meshing Examples Preparation stage. You can either redefine the prop- Lightscape represents variations of illumination erties of a material or create a new material and across a surface by first breaking the surface into a assign it to specific surfaces.
Page 193 Mesh Spacing Examples This section provides four examples generated in Lightscape showing the effects of the various meshing parameters on the quality and efficiency of the mesh. The wall in these examples is 5 meters wide by 3 meters high and a single spot source is pointed toward its center.
Page 194 Example 3, but the mesh display shows that the whole surface is unnecessarily subdivided to the Minimum Sample Spacing. Although the display results are the same, this example generated a considerably larger number of mesh elements, most of which were unnecessary—wasting processing time and memory. Lightscape...
Page 195: Reducing Meshing Artifacts
This section describes ways of minimizing their effect. Lightscape has tools to reduce some artifacts. You can avoid others by taking additional steps during the modeling process. Some artifacts may be...
Page 196 For spotlights, it is easier to get a good radiosity result with a sparse mesh if the edges are soft—a floodlight, for example. The following examples were generated from the same mesh parameters and have the same intensity values. However, the light in Lightscape...
Page 197 Reducing Meshing Artifacts subdivision, the minimum mesh spacing was again Being as explicit as possible about edges during the too large. modeling process leads to a better solution in Light- scape. This does not mean you need to worry about every point of intersection.
Page 198 Consequently, the system cannot trigger adaptive subdivision and completely misses the In general, it is difficult to avoid this artifact because it is impractical to make the initial mesh small enough to guarantee obtaining a sample point inside every shadow region. Lightscape...
Page 199: Testing For Artifacts
The best solution in this situation would be either to Note: You can also do this during the Preparation stage in Lightscape using the Create Surface force a mesh element to occur under the table leg by option on the Tools menu. For more information, being explicit during the modeling stage (as see “Creating Surfaces”...
Page 200: Modeling Guidelines
Light interrupt the process and examine the solution for To simulate the lighting in a model, Lightscape artifacts. If any are visible, you can decide on the best computes the light reflected from each surface in the way to handle them and then take the appropriate model.
Page 201 Model surfaces in the most efficient way possible. For example, when creating a revolved surface, set the tessellation complexity of the object to a coarse value, and use smoothing within Lightscape to get the curved effect. Complex geometry processes faster when...
Page 203: Lighting Analysis
Lighting Analysis How to use the lighting analysis tools to evaluate your design. Lighting analysis provides valuable design information if you use real-world lighting and materials in your scene. Use lighting analysis to evaluate the photometric performance of your scene. Summary Displaying Light Distribution In this chapter, you learn about:...
Page 204 Use the Quantity list to select an energy visualization low compared to the maximum il- quantity. lumination in the scene. Select: Luminance Visualize the distribution of light reflected off of the surfaces. Illuminance Visualize the distribution of light incident on the surfaces. Lightscape...
Page 205 Displaying Light Distribution Cutoff Values Note: When most values are contained in a small subset of the target quantity range, the display Use the cutoff values to set graphing thresholds. Use shows most of the environment in a single color. the following thresholds to bracket a region of Use minimum and maximum thresholds to narrow interest for bringing out more differentiation in a...
Page 206: Analyzing Lighting Statistics
The average value is a simple way of characterizing the performance of a lighting system when the shape of the distribution of light over the surface is fairly simple. Selected point on the surface in your model Lightscape...
Page 207: Controlling Analysis Grids
Controlling Analysis Grids Maximum and Minimum Enable the Percentage option in the Illuminance Rating section, and then type a value between 0 and Displays the maximum and minimum values of the 100 in the Percentage box. target quantity over the selected surface. Percentage option Use these values in conjunction with the average value to describe the uniformity of the distribution...
Page 208: Using Workplanes
Because workplanes act as light sensors and do not reflect incident light, Lightscape displays no lumi- nance values for these surfaces during lighting analysis. Adding Workplanes to a Layer Typically, you place workplanes on layers that are reserved for workplanes only.
Page 209 Using Workplanes For more information on enabling, disabling, and Disable the Reflecting and Occluding options. adding surfaces to layers, see “Working with Layers” Note: This ensures that the surface does not affect on page 82. For information on creating surfaces, see the propagation of light through the environment.
Page 211: Mesh To Texture
By converting your radiosity meshes to texture maps, the Mesh to Texture tool reduces the memory requirements of your model. This feature is useful for creating interactive 3D applications requiring the realism of Lightscape’s rendering. Summary surface. This process significantly reduces the...
Page 212: Using Mesh To Texture
“Relight existing textures” con- version method, decide whether to use existing Lightscape also provides a batch processing utility, texture filenames, then click Next. lsm2t, that you can use to perform the Mesh to Texture conversion.
Page 213 Using Mesh to Texture • Single Texture. Note: If the same texture image is applied to more than one surface, Lightscape creates a series of files using the texture map’s original filename for each successive file, combined with an incremental three-digit number.
Page 214 If you did not select surfaces in the previous step, enter values in the corresponding boxes. These three you must select at least one surface in this step to points determine an orientation and a size for the continue. cylindrical mapping. Lightscape...
Page 215 When the Select this option to save textures over the original option is disabled, the texture is projected outward image files used to create the materials in Lightscape. from the center. Because this option will overwrite your existing...
Page 216 If the same texture image is applied to more than one Format Type Use the Format Type list to select the file format of surface, Lightscape creates a series of files using the the image. The default is the native Windows image texture map’s original filename for each successive format (.bmp).
Page 217 Using Mesh to Texture and you specify 8 pixels per inch, the resulting OpenGL Compatible Enable this option to make the final ray traced image texture image is 40 x 72 pixels. more closely resemble the OpenGL rendered image If you select Use Surface Size, you can select the displayed in the Graphic window.
Page 218: Mesh To Texture Examples
The options on this page tell Lightscape how to apply the new textures and what to do with the geometry in the two selection sets previously created.
Page 219 Mesh to Texture Examples To create multiple texture maps for the wall To relight an existing texture map: surfaces: Choose Tools | Mesh To Texture. Choose Tools | Mesh To Texture. Select the Relight existing textures option on the Select the Create single texture per surface op- Method for Conversion page.
Page 220 On the Replace/Delete page, choose the Delete the projected geometry from the model option and click Finish. A single texture is created to represent the pictures and the lighting on the wall. The radiosity mesh and picture geometry are deleted from the model. Lightscape...
Page 221: Rendering
Rendering is the process of taking the three-dimensional radiosity solution and converting it to an image. Summary The second way to create an image in Lightscape is to use ray tracing. This technique produces a better In this chapter, you learn about: quality image of a radiosity solution that includes •...
Page 222: Creating Images
Note: When you resize the window, the aspect ratio (proportion) may change and the view may Lightscape produces images that can be output in a be altered. Resize the Graphic window before variety of standard file formats. The following file...
Page 223 Creating Images Antialiasing Algorithms in Lightscape Lightscape uses different antialiasing algorithms depending on whether or not ray tracing is used. If ray tracing is not used, OpenGL image generation uses either a software or (if available) a hardware accumulation buffer. It jitters the original images a number of times by a slight subpixel amount and then averages these images to produce a single high-quality image.
Page 224 (not visible) to cast shadows. The objects will not appear in the image, but their shadows will appear. OpenGL Compatible Because OpenGL and the Lightscape ray tracer use different reflection models, images created from the same Solution model do not look the same rendered with OpenGL as when rendered with the ray tracer.
Page 225: Rendering Multiple Views
To increase the number of antialiasing samples, Rendering Multiple Views select the appropriate level from the Antialiasing Lightscape has three options for controlling the view Samples list. and the number of images it creates: Current View, List of Views, and Animation File.
Page 226 Rendering Animations An animation file represents a sequence of views that Select Animation File from the Source list. you create with the Lightscape Animation tool. Select the Animation File option to generate a single image for each animation frame. To create the image filename, Lightscape combines...
Page 227: Ray Tracing An Area
Step box. option becomes available Note: You can adjust the number of steps between consecutive frames to test the animation path and Note: Lightscape ray traces only the luminaires rendering options. that have their Ray Trace Direct Illumination prop- erty enabled.
Page 228: Rendering Large Jobs
You typically use batch shell scripts and batch utilities for large rendering jobs, but it is possible to run initial tests at a lower resolution in Lightscape before beginning a batch rendering process. For more information, see Appendix B, “Batch Processing Utilities.”...
Page 229: Animation
• Varying camera speed them using a movie-playing utility. • Saving animation files You generate a walk-through animation in Lightscape • Playing back animations • Using animation files. • Defining a 3D camera path by setting a sequence of keyframes and, optionally, defining a camera look-at path.
Page 230: Defining The Camera Path
The room as seen from the point of view of the • Creating and editing a camera path final keyframe • Selecting, moving, and deleting keyframes • Changing the slope of a camera path. Lightscape...
Page 231 Defining the Camera Path When you place the cursor in the perspective window After you set the initial keyframe, you can edit the and Director view is active, all of the view control path to move keyframes (in height or position) and options (such as Orbit and Rotate) are available.
Page 232 The color of a keyframe indicates its state of selection. dialog. Click the Path tab. Left: Mouse pointer over unselected keyframe Middle: Selected keyframe Right: Mouse pointer over selected keyframe Red keyframes are selected and white keyframes are unselected. Lightscape...
Page 233 Defining the Camera Path Click the appropriate keyframe selection button. The keyframes are selected. Click: Previous Select the keyframe before the cur- rently selected keyframe. Next Select the keyframe after the cur- rently selected keyframe. Select all keyframes in the path. The following example shows all keyframes selected in the camera path.
Page 234 Creating a Discontinous Camera Path rection discontinuities in the camera path. You can create a discontinuous camera path by Note: If the selected keyframe handles are already breaking a keyframe’s handle. broken, enable Join Handles to rejoin the handles. Lightscape...
Page 235: Setting Camera Orientation
Setting Camera Orientation Moving Keyframes You can also explicitly position the selected keyframes by entering X, Y, and Z coordinates for You can move selected keyframes in any orthographic each in the appropriate Keyframe Position boxes. view. If more than one keyframe is selected, dragging any one of them drags the entire group.
Page 236 Along Path is the default view setting. Keyframe option Using the Rotate or Tilt button , adjust Along Path camera orientation the view as required. As you rotate the perspective view, the green arrow moves to reflect the new direction. Lightscape...
Page 237 In fact, the focus point acts as a keyframe for the camera’s Look At path. As with the camera path, Lightscape, by default, uses straight-line segments between the Look At path’s keyframes. You can edit the path in the same way as a...
Page 238 Focus point Smoothing Out Camera Motion Look At path Lightscape tries to smoothly interpolate the camera orientation based on the camera orientation you provide at each keyframe. If the camera orientation is Selected keyframes (in red) and their corresponding focus...
Page 239: Varying The Camera Speed
Varying the Camera Speed Zoom in or out as necessary. The Motion Editor is made up of three views: To more accurately set the field of view or to adjust the • The graph at the bottom of the Graphic window dis- position of the near and far clipping planes, use the plays the camera motion speed or focus point motion View Setup tool while a keyframe is selected.
Page 240 Other Specify a custom frame rate. Note: Because of the large number of frames, the vertical lines of the graph only appear when you zoom in close enough so that grid lines do not overlap on the display. Lightscape...
Page 241 Varying the Camera Speed If you select Other, type a frame rate value in the Setting Up the Camera Speed Curve number box. Use this procedure to create a customized speed curve for your camera. You can also use this procedure to edit the focus point motion of a stationary camera.
Page 242 When you first create an animation, the camera Select Edit from the Mode list. moves from one keyframe to the next at a constant In Edit mode, you can change the speed curve by: speed. • Moving control points • Changing the slope Lightscape...
Page 243 Varying the Camera Speed You can change the speed at which your camera To change the slope of the speed curve for a selected control point: moves through the camera path by adjusting the slope Select a control point. of the speed curve. Do one of the following: Camera speed is determined as follows: •...
Page 244: Saving Animation Files
In the Animation dialog, click the Motion tab. camera path file (a file with the extension .la). Enable Separate Splines. To save an animation file: | Save. Choose Animation The Save As dialog appears. Enter the path and filename for the animation file, then click OK. Lightscape...
Page 245: Playing Back Animations
Playing Back Animations To save an existing animation file with a new name: Enter a start time in the Playback Start Time box and an end time in the Playback End Time box. | Save As. Choose Animation The Save As dialog appears. Enter the path and filename for the animation file, then click OK.
Page 246: Using Animation Files
You can do this process either interactively in Lightscape or by using one of Using Animation Files the batch rendering programs: lsrender or lsray. For You can load a camera path and reuse it in a Light- more information, see Appendix B, “Batch...
Page 247 Rendering dialog, then enter the predetermined range of frames in the appropriate boxes. In the current version of Lightscape, there is no inter- face for loading or unloading files at specific frames. You can do this, however, using a batch file and the batch rendering programs: lsrender or lsray.
Page 249: Exporting
LightWave 3D. Exporting Panoramic Images Panoramic images offer a fast technique for interac- tive exploration of 3D worlds. In Lightscape you can easily generate panoramic images in a variety of formats from your Solution file. Enter a filename in the Filename box, or click To export a panoramic image: Browse and use the Save As dialog that appears.
Page 250 Cylindrical To stop exporting the image: Choose a cylindrical projection to look left and right Press Esc while Lightscape is creating the panoramic in the image but not up or down. This option creates image. an image that is half the size of a spherical projection.
Page 251 Exporting Panoramic Images Choosing an Image Format Changing the Current View If you choose to create a generic panoramic image, You can set the Perspective view of the model to be you can choose an image format. The default image used when creating the panoramic image.
Page 252 Ray Trace Direct Illumination. OpenGL Compatible Note: Lightscape ray traces only the luminaires Because OpenGL and the Lightscape ray tracer use that have their Ray Trace Direct Illumination prop- different reflection models, images created from the erty enabled.
Page 253: Exporting Vrml Files
An inline node can be a 2D or 3D Exporting VRML Files graphic, texture, audio, or video file. You can export your Lightscape Solution file to a For example, if you use external textures in your VRML version 1.0c file.
Page 254 LOD cutoffs, the values must be Lightscape creates the coarsest LOD from the orig- increasing real numbers, with multiple entries sepa- inal surface, and each subsequent LOD takes the rated by commas.
Page 255 Exporting VRML Files For example, a setting of .5,1,3 will generate four If you specify a branching factor of 2, the X, Y, and Z LODs for your model. The finest LOD is displayed planes are each divided into two sections. This when the viewing distance is less than .5.
Page 256: Importing Solution Files Into Modeling Packages
For example, if one unit in the VRML file repre- sents one foot in the real world, choose Feet from the You can use the ls2lw plug-in to import Lightscape File Units list. The default value is meters. Solution files into LightWave 3D.
Page 257: Light And Color
Lightscape. Overview materials makes it easier to create realistic looking images. The Lightscape radiosity and ray tracing Light is part of the physical world; color is our methods give the best results if the inputs to the perception of the light that reaches the eye. Radiosity simulation are physically accurate.
Page 258 Aluminum, highly is significantly greater than 0 and significantly less polished than 1. The following illustration shows the reflec- Silver, highly polished tance curves of two different materials. The spectral curves for materials are often difficult to obtain and Lightscape...
Page 259: Color: The Perceived World
1. Most environments tions for environments where the exact spectral contain very little highly polished silver. information is known. Setting Reflectance in Lightscape Color: The Perceived World Proper choice of reflectance is very important for creating realistic images.
Page 260 This is problematic because Lightscape spends The problem with all color spaces defined by combi- much of its processing time multiplying colors. In...
Page 261: Constraints Of Output Devices
Color shifts occur if computations are done with Monitor Gamma color rather than spectra (as they are in Lightscape), The light from the monitor comes from electron but in general they are not all bad. The color shift is guns exciting the phosphors on the screen.
Page 262 Even if a model is computed and displayed correctly, it may still be seen as if you are looking into the room from the outside—or, more likely, as if the color of the model is wrong. Lightscape...
Page 263: Batch Processing Utilities
Use the lsrad utility to process a radiosity solution. ls2vrml Although it is possible to process a radiosity solution in Lightscape, lsrad is more efficient because the • Merging Lightscape files using lsmerge model is not displayed after each iteration. The lsrad •...
Page 264 At the command line, type the following then press Enter: CD “\Program_Files\Lightscape\bin” Note: If the path to the Lightscape application files differs from above, enter it instead. Using the following syntax, type a command at the command line, then press Enter: lsrad [options] filename The radiosity solution is processed.
Page 265 Processing Radiosity Solutions Using LSRAD Option: Extension: Description: Iteration-based checkpoint. Output a Solution file every n iterations. This is useful when running extended processes—overnight, for example—to ensure that the results are saved periodically to disk in case of power failure or other problems.
Page 266: Ray Tracing Solution Files Using Lsray
Ray Tracing Solution Files Using LSRAY Use the lsray utility to ray trace Solution files. Lightscape uses a ray tracing postprocess to add global illumination effects such as specular reflections and transparency, as discussed in Chapter 14, “Rendering.” Ray tracing can also be used to improve the shadows and lighting effects cast by specific light sources.
Page 267 The ray tracing utility creates an image file from the specified Lightscape Solution file. Note: You can also use a batch file to create a sequence of commands. For instance, you could create ray- traced image files from multiple Lightscape Solution files. For more information, see “Creating Batch Files” on page 282.
Page 268 Use OpenGL reflection model. For more information, see Appendix D, “Reflec- tion Models.” Print a help message. Output interlaced images for animation. -af option must be used. For more in- formation about interlacing, see Chapter 14, “Rendering.” Lightscape...
Page 269 Ray Tracing Solution Files Using LSRAY Option: Extension: Description: filename Load specified Layer State file. Do not perform backface culling. Do not load textures. -odd For interlacing, output first frame with odd scanlines. Sets -il option; -af option must be used. Default: output first frame with even scanlines. Number of reflection bounces to trace.
Page 270 This second option provides access to the antialiasing scheme without requiring you to specify all the individual parameters. The following table describes how the factor <l> is mapped to <t>, <n>, and <r>. Antialiasing Factor <l> Contrast Threshold <t> Sampling <n> Radius <r> .0.94 0.15 1.15 1.15 1.33 Lightscape...
Page 271: Rendering Files Using Lsrender
[options] lvs_file image_file Although it is possible to generate images in Lightscape, it is more convenient to use this batch utility. In addition, more advanced options are available in lsrender. The lsrender program takes as input any Preparation file or Solution file and generates an appropriate image file.
Page 272 If the -w option is not used, Lightscape will use the software version of OpenGL to render the images off screen. If the -w option is used, then a window will be drawn while lsrender is processing and a hardware OpenGL accel- erator (if installed) will be used to increase processing speed.
Page 273 Rendering Files Using LSRENDER LSRENDER Options The following table describes the options available for this utility: Option: Extension: Description: 1–10 Antialiasing factor. Higher factors result in higher image quality, but take more computation time. Default is 1. See Chapter 14, “Rendering,” for more information.
Page 274 Image height. If only width or height are provided, the other dimension is derived from the aspect ratio of the view. Default is 256. Display the results interactively in the Graphic window. This option can only be used when the resolution of the image fits within the resolution of the monitor. Lightscape...
Page 275: Converting Radiosity Meshes To Textures Using Lsm2T
Converting Radiosity Meshes to Textures Using LSM2T Option: Extension: Description: xpos ypos Same as above, but place the Graphic window in the specified location on the monitor. Default: window is placed in the center of the screen. lvs_file Solution or Preparation file for image generation. image_file Image file to save the results.
Page 276 At the command line, type the following, then press Enter: CD “\PROGRAM FILES\LIGHTSCAPE\BIN” Note: If the path to the Lightscape application files differs from above, enter it instead. Using the following syntax, type a command at the command line, then press Enter: lsm2t [options] solution_file texture_base_name Texture files are created to represent the lighting.
Page 277 Converting Radiosity Meshes to Textures Using LSM2T Option: Extension: Description: -autosize Automatically size new textures. New texture bit depth. Choose 24-bit or 48-bit color. Default is 24. r g b Background color (range from 0 to 1). -bri Brightness level (range from 0 to 200). -contr Contrast level (range from 0 to 100).
Page 278 The “Convert each surface to a texture per surface” conversion method is used. -x 128 The output images are 128 pixels wide. -y 128 The output images are 128 pixels high. -o output.ls The output Solution file is output.ls. Room.ls The input Solution file is room.ls. Lightscape...
Page 279: Converting Solution Files To Vrml Files Using Ls2Vrml
Converting Solution Files to VRML Files Using LS2VRML You can use the ls2vrml utility to convert a Lightscape Solution file (.ls) to a VRML version 1.0c file. The ls2vrml utility syntax is shown in the following example:...
Page 280 A browser would then be able to quickly download and display the coarse features of the room (for example, the walls), while continuing to download the details (for example, the table and books). For more information, see “Exporting VRML Files” on page 245. Lightscape...
Page 281: Merging Lightscape Files Using Lsmerge
The lsmerge utility merges different Lightscape files into a single Preparation file or Solution file. The input to lsmerge, in addition to options, consists of a list of Lightscape files. Different Lightscape files can be present in the list (see the list of supported file types), but the first file in the list must be either a Preparation or a Solution file.
Page 282: Converting Dxf Files To Preparation Files Using Dxf2Lp
Use this utility to convert a DXF file created in AutoCAD, and other modeling packages that output the DXF file format, to a Lightscape Preparation file. For more information, see “Importing DXF Files” on page 56. The dxf2lp utility syntax is shown in the following example:...
Page 283 Using the following syntax, type a command at the command line, then press Enter: dxf2lp [options] input_file The conversion utility reads in a DXF file and converts it to a Lightscape Preparation file. DXF2LP Options The following table describes the options available for this utility:...
Page 284: Converting 3Ds Files To Preparation Files Using 3Ds2Lp
Converting 3DS Files to Preparation Files Using 3DS2LP 3D Studio is a modeling and rendering package from Autodesk. Use this utility to convert a 3DS file to a Light- scape Preparation file. For more information, see “Importing .3DS files” on page 65. The 3ds2lp utility syntax is...
Page 285: Raytracing Solution Files Using Lsrayf
Raytracing Solution Files Using LSRAYF Option: Extension: Description: mesh One block per mesh. name Alternate name for single block. Default: the input filename without its suffix and directory path. name Alternate name for single layer. Default: the input filename without its suffix and directory path.
Page 286 At the command line, type the following, then press Enter: CD “PROGRAM FILES\LIGHTSCAPE\BIN” Note: If the path to the Lightscape application files differs from above, enter it instead. Using the following syntax, type a command at the command line, then press Enter: lsrayf [options] solution_file image_file Note: You can also use a batch file to create a sequence of commands.
Page 287 Raytracing Solution Files Using LSRAYF Option Extension Description Outputs the image file in the binary format. The default data format is output in the text format described above. filename Load specified Parameters file. Last frame of the animation desired. -af option must be used. Default: last frame specified in the animation file.
Page 288 -aa 3 -vf view.vw -sh -rb 2 -x 640 -y 512 room.ls image Where: Indicates: -aa 3 Level 3 antialiasing. -vf view.vw The file called view.vw is used for viewing the model. Shadows and illumination from direct lighting are recomputed. Lightscape...
Page 289: Deleting Unused Layers And Materials Using Lspurge
At the command line, type the following, then press Enter: CD “\PROGRAM FILES\LIGHTSCAPE\BIN” Note: If the path to the Lightscape application files differs from above, enter it instead. Using the following syntax, type a command at the command line, then press Enter: lspurge [options] file The utility reads in a Preparation or Solution file and deletes unused layers or materials.
Page 290: About Batch Files
There are a number of such utilities that are included with Lightscape. Using these utilities in batch files, you can set up a series of procedures that automatically run over an extended period of time. You do not need to be present while batch files run, so you can do other things while the system processes your files.
Page 291 A DOS shell appears. At the command prompt (C:\WINDOWS>), type the following, then press Enter: CD “\PROGRAM FILES\LIGHTSCAPE\BIN” Note: You must run the batch file within the directory in which the utilities are located. If your utilities are installed in a different directory than the one indicated above, type the path to the appropriate directory, then press Enter.
Page 292 -o segment2.ls model1.ls model2.ls lsrender -aa 6 -af path.la -blend -sf 156 -ef 386 -x 640 -y 486 segment2.ls frames.jpg lsmerge -o segment3.ls segment2.ls model3.ls lsrender -aa 6 -af path.la -blend -sf 387 -ef 455 -x 640 -y 486 segment3.ls frames.jpg Lightscape...
Page 293 Creating Batch Files lsmerge -o segment4.ls model2.ls model3.ls lsrender -aa 6 -af path.la -blend -sf 456 -ef 693 -x 640 -y 486 segment4.ls frames.jpg lsrender -aa 6 -af path.la -blend -sf 694 -x 640 -y 486 model3.ls frames.jpg...
Page 295: Lsnet
How to use the batch processing utility included with Lightscape. This appendix describes the LSnet utility that you can use to distribute processing across a network and increase your productivity in Lightscape. Summary You can perform radiosity processing of different...
Page 296: Using Lsnet
Ctrl+Ins network. Job | Edit Ctrl+E Installing LSnet Job | Delete You install LSnet from the Lightscape CD. For Job | Reset Alt+Bksp detailed installation instructions, refer to the LSnet Tools | Node Specs folder on your CD. Tools | Scheduler...
Page 297 Using LSnet Save Initialize Use this option to save an LSnet project (.prj) file. Use this option to initialize the rendering network. Options Shut Down Use this option to display the LSnet Options panel. Use this option to shut down the rendering network before exiting LSnet.
Page 298 You can choose either lsrad, lsray, or rendering performance. lsrender. CPU Timeout Use this option to specify how much time (in seconds) LSnet will search for nodes on your network. The default is 30, but you can set any value between 10 and 2048. Lightscape...
Page 299 Using LSnet Input File LSRAD Options Use this option to specify the file to render (either .lp Lsrad is used to process radiosity solutions. You can or .ls). You can enter the path and filename in the set the following options if you are rendering an lsrad box, or click Browse, navigate to the appropriate file job.
Page 300 You can choose to save a checkpoint after a specified number of iterations or minutes. LSRAY and LSRENDER Options Use lsray to ray trace Solution files. Use lsrender to use OpenGL to process Preparation or Solution files. You Lightscape...
Page 301 Using LSnet can set the following options if you are rendering an Antialiasing Level Use antialiasing to smooth out jagged edges. You can lsray or lsrender job. select an option from the Antialiasing List, or select Advanced to set specific options. Advanced Enable this option to set the antialiasing Contrast Threshold, Sampling Level, and Radius options.
Page 302 The valid range is from 1 to the last frame Background Color in the animation (maximum of 9999). Use this option to set the background color of your model. You can choose the color (using HSV or RGB values) in the color picker. Lightscape...
Page 303 Use this option to force the ray tracer to generate Soft Shadows From Sun images that closely match the OpenGL display By default, Lightscape renders shadow boundaries rendering. caused by the sun as sharp edges. Enable this option to blur the edges to provide a more realistic and This option is available only when you are using lsray.
Page 304 Mode of Operation Use this to view the operation the node is currently tion for the applicable image formats. processing. This can be either Unassigned, Rad, Ray, Resolution or Render. Use this option to specify the output frame resolution. Lightscape...
Page 305 Using LSnet Node Number Day to Day Enter a node number in this box to view information Use this option to schedule job processing on a daily about that node, or use the slider to scroll through the basis. available nodes. Current Time If the time displayed is incorrect, you can use this Node Name...
Page 306 You can choose either Low, Medium, or High. JobQ Options You can use the JobQ feature to submit jobs to LSnet from any machine on your network. Use the JobQ Sender program to load a Preparation or Solution file Lightscape...
Page 307 LSnet Options panel. Load Job Use this option to load a Lightscape Preparation or Solution file to create a job for processing. Edit Job Use this option to display the Job Setup panel, which you use to set the options for each job.
Page 309: Reflection Models
Reflection Models This appendix describes the reflection models you can use to create images with Lightscape. To help you understand these models, it also explains how light interacts with surfaces. Introduction Light and Materials The physical behavior of light interacting with In Lightscape, you use a material’s color and reflec-...
Page 310 • In transmitted light, all the photons pass completely that material and the air. At the interface, some light through to the other side of the material. Lightscape continues into the interior of the material and some only models the specular component of transmitted reflects off the interface.
Page 311 Very rough (matte the specular direction. paint) Lightscape uses the shininess of the material, the angle of the incident light hitting it, and the index of refraction to determine the proportions of specular...
Page 312 Any diffuse aspects are lost. rial, most of the light is reflected off the interface. As a result, in Lightscape you can accurately model As light passes through the material, some wave- the transmission of light through a stained glass lengths are absorbed more than others.
Page 313: Reflection Model For Radiosity
Reflection Model for Radiosity All surfaces are displayed as diffuse and anything seen through a transparent surface is attenuated by the Lightscape uses this reflection model only for radi- color of the surface. osity processing, not for displaying an image. This...
Page 314 This reflection model is based on some of the most The following table summarizes the capabilities of all physically accurate reflection models in the field of reflection models as they are used in Lightscape. computer graphics. A physically valid model is crucial to achieving good results with a physically based reflection model.
Page 315 Ray Tracing Reflection Models OpenGL Radiosity Radiosity and Ray Radiosity and Ray Radiosity and Ray tracing—OpenGL tracing without ray tracing with OpenGL compatible tracing direct direct illumination illumination Direct Illumination most accurate Indirect Diffuse Illumination Specular Transmission (Transparency) most accurate most accurate most accurate Refraction of...
Page 317: Ies Standard File Format
IES Standard File Format This appendix describes the IES LM-63-1991 standard file format used for creating photometric data files. Only the information relevant to Lightscape is described. The luminous intensity distribution (LID) of a lumi- inserting a carriage return/line-feed character naire is measured at the nodes of a photometric web sequence.
Page 318 TILT=NONE sions because you can associate a given luminous in- tensity distribution with any of the luminaire geometric entities supported by Lightscape. It is nor- mally given as 0 0 0. 1.0 1.0 0.0 The set of vertical angles, listed in increasing or- der.
Page 319: File Types
DXF and Lightscape materials. You can specify a material map file when loading a DXF file. If you do, Lightscape automatically assigns Block Library File (.blk) to surfaces the Lightscape material associated with Stores a collection of Lightscape blocks.
Page 320: F File Types
This Solution file contains the geometric information together with the photometric sample points (mesh) for each surface. View File (.vw) Stores the camera parameters for a specific view. You can load this file to reset the Graphic window to the saved view. Lightscape...
Page 321: G Common Lamp Values
Common Lamp Values This appendix describes some common lamp values you can use as a guide for defining luminaires in Lightscape. The following table lists some commonly used lamps. number of lamps by the intensity of each lamp. For The information in the table is approximate, however example, a 2 x 4 luminaire may contain (4) 4 tubes.
Page 322 Narrow Beam Spot 4700 Narrow Beam Spot 5200 Narrow Beam Spot 10500 Medium Beam Spot 1700 Medium Beam Spot 1860 Medium Beam Spot 4000 R—40 Line Voltage Candelas Narrow Beam Spot 5400 Wide Beam Spot 1040 Wide Beam Spot 1950 Lightscape...
Page 323 Common Lamp Values Lamps: Classification: Watts: Type: Intensity: Beam: Field: Fluorescent Tube—4H Lumens 32–40 Area 2000–3000...
Page 325: Viewing Utilities
This appendix describes the utilities that you can use to view image files and rendered files in Lightscape. Viewing Utilities To start LSViewer, double-click the LSViewer icon. By default, this icon is located in the Lightscape program There are two viewing utilities packaged with your folder. Lightscape application—LSViewer and LVu. Both utilities are distributed freely and do not require the Lightscape application to run.
Page 326 Scale the textures to 256 x 256 pixels. check mark appears next to the selected option. Wireframe Loading Files Use this option to display only the edges of surfaces as You can load any Lightscape Solution (.ls) file into the white lines. LSViewer application for viewing. Lightscape...
Page 327 Using LSViewer Colored Wire Auto Orbit Use this option to display the only the surface edges of Use this option to cause the model to continuously the model in their appropriate material color. rotate around the focus point of the current view. Solid Auto Flip Use this option to display surfaces of the model in...
Page 328: Using Lvu
Use LVu to view image files, such as texture bitmap view), drag the mouse upward in the window. files and Lightscape renderings. You can view all of the selected images simultaneously in thumbnail view To zoom out on the scene (increase the field of or enlarge an individual image to fit the window.
Page 329 Using LVu The LVu utility supports the following image file Navigate to the appropriate directory, select an image (or multiple images), and then click Open. formats: A thumbnail of the selected image is displayed in the File Extension: Format: LVu window. .bmp Windows native file format.
Page 330 Use the following options to change the image display in the LVu window. To change image display: Select an option from the Images menu to toggle it on or off. A check mark appears next to options that are enabled. Lightscape...
Page 331 This option is only available when You can copy images or image filenames to the clip- viewing a maximized image. board so that you can paste them into the Lightscape application. Importing Images into Lightscape To copy an image to the clipboard: You can run both the LVu and Lightscape applications Click the required image to select it.
Page 332 To import using drag and drop: Select an image in LVu. Drag the selected image from the LVu window to a surface in the Lightscape Graphic window. The border of the surface to which you are applying the image is highlighted.
Page 333 References This appendix provides you with a list of resources that provide more information about the technology used in Lightscape. Ashdown, Ian. Radiosity—A Programmer’s Perspec- IESNA (Illuminating Engineering Society of North tive. New York: John Wiley & Sons, Inc., 1994.
Page 334: I References
References Rea, Mark S., ed. Lighting Handbook, Reference and Application, 8th ed. New York: IESNA, 1993. Sillion, François X. and Claude Puech. Radiosity & Global Illumination. San Francisco: Morgan Kauf- mann Publishers, Inc., 1994. Lightscape...
Page 335: Glossary
Glossary 3DS file format AS units The file format standard used by Autodesk’s 3D Stu- American System of Photometric Units. dio application. beam angle The angle of the spotlight aim axis at which the lumi- accumulation buffer An offscreen buffer where several images are nous intensity drops to 50% of its maximum.
Page 336 (visible) front buffer. If only A representation for color. All colors are defined with Single Buffer is used, Lightscape renders each poly- respect to some particular color space—typically gon directly to the screen, resulting in a “flicker”...
Page 337 An artificial source of light. Normally used to denote initiation The Lightscape operation that converts the initial a light bulb. description of a model into data structures suitable level of detail for the radiosity processing.
Page 338 A filtering operation used by texture mapping tech- penumbra niques to determine the color of an area that covers The transition region at the boundary of a shadow less than one pixel in image texture space. Lightscape...
Page 339 Glossary where light shining from a source partly reaches the the same side. receiving surface and is partly occluded by some reflection model other obstacle in the environment. A description of how light interacts with a surface. photometric web refractive index A regular grid of luminous intensity samples that Ratio of the speed of light in a vacuum to the speed of describes the luminous intensity distribution of a...
Page 340 A luminous intensity distribution that is axially sym- The property of a material that determines how metric, that has maximum luminous intensity along much light is transmitted through the surface. Lightscape...
Page 341 Glossary value One of three parameters in the HSV (Hue, Satura- tion, Value) color space. It describes how dark or light the color is. view dependence In a view-dependent global illumination algorithm, moving the camera requires recomputing most of the image rendering.
Page 342 Glossary Lightscape...
Page 343: Index
Index Numerics Ambient option Angle Between Normals option 3D Studio MAX animation exporting files to Lightscape camera orientation, setting 3D Studio VIZ camera path, creating exporting files to Lightscape creating 3DS files, importing creating new paths 3DS2LP displaying exporting from 3D Studio MAX or 3D Studio...
Page 344 (importing DXF files) copying Cartesian coordinates creating arrays Cast Shadows option deleting Cast Shadows option (Luminaire Processing) moving check marks rotating Checkpoints dialog 170, 173 scaling coarse mesh Lightscape...
Page 345 Index color DXF2LP and transparency LID to CIBSE combining with texture LID to IES components of LID to LTLI spectra radiosity meshes to textures using LSM2T sun and sky Solution files to VRML using LS2VRML wireframe, changing coordinate systems Color Bleed Scale option Cartesian color bleeding converting during import...
Page 346 (luminaires) setting a focus point 3, 302 diffuse reflection DXF2LP Direct Control panel dynamic range mapping direct illumination Dynamic View mode 177, 182 Direct Only option Direct Source Minimum Size option Lightscape...
Page 347 Focus Point motion spline (animation) Export Panoramic Image dialog Export VRML dialog frame rate control exporting Frame Width option 3D Studio MAX files to Lightscape frames 3D Studio VIZ files to Lightscape definition animations from 3D Studio MAX or 3D Studio on speed graph...
Page 348 VRML files insertion point, moving blocks IBM PanoramIX export option luminaires for panoramic images installation procedure 152, 155, 309 IES files Intensity (abs) option IES photometric distribution Intensity (rel) option illuminance intensity distribution defined diffuse lighting analysis Lightscape...
Page 349 Index isotropic saving states photometric web turning on/off spot uses for Intensity Magnitude option using for design alternatives 19, 82 intensity mapping Layers table Interactive Speed option layouts interactive view hot keys testing multiple designs with layers interior models leaks interlacing animation frames light 188, 190...
Page 350 Lock Mesh option illuminance insertion point, moving for VRML files intensity distribution 181, 311 LP files intensity magnitude 181, 312 LS files linear light LS2VRML luminous intensity, adjusting LSM2T making materials self-illuminating Lightscape...
Page 351 Maximum Mesh Spacing option 54, 101 luminous flux Measure Distance dialog defined mercator projection luminous intensity merging adjusting files for importing defined Lightscape files using LSMERGE 134, 149 luminous intensity distribution mesh theory adaptive artifacts 170, 173 coarse converting to textures elements...
Page 352 Pad Texture Edges option New button Pan view button New Directory Name option panoramic images New Textures Base Name option exporting No Mesh option rendering non-occluding surfaces Panoramic Rendering Options dialog normals Parameter files (.df) surface 223, 227 Path panel Lightscape...
Page 353 Index Paths panel Procedural Texture panel phosphors procedural textures, using photometric Process group box 166, 178 quantities Process Parameters dialog photometric data Process Parameters wizard representing processing photometric web distribution daylight Photometric Web editor radiosity photometric webs Processing panel creating processing parameters saving daylight, setting...
Page 354 Ray Trace Area options OpenGL compatible Ray Trace Direct Illumination (Luminaire radiosity Processing) ray tracing 166, 209 Ray Trace Direct Illumination option reflection of light for panoramic images 21, 106 Reflection option ray tracing reflection projection an area defined and lighting models Lightscape...
Page 355 Index using refractive index sample sphere diameter, changing 105, 112 setting saturation refreshing the display definition Relight existing textures Save All option 38, 118 Reload Textures option Save button removing saving blocks animation files renaming files blocks layer states layers materials in libraries luminaire definitions photometric webs...
Page 356 58, 98 surfaces Spherical projection option smoothing angle, setting for panoramic images Smoothing dialog spot distribution Lightscape...
Page 357 Index 25, 28 Standard toolbar processing parameters starting projecting Lightscape reversing orientation statistics selecting analyzing lighting setting a focus point 98, 99 Stop option smoothing Store Direct Illumination (Luminaire varying intensity Processing) viewing selected Store Direct Illumination option workplanes 173, 181...
Page 358 View Extents 25, 28 Standard workplanes Tables utilities 27, 43 Transformation 3DS2LP using DXF2LP 26, 30 View Control for viewing Lightscape files 51, 52 Tools menu LID conversion tooltips LID2CIBSE Towards button LID2IES Transformation LID2LTLI 27, 43 toolbar LS2VRML transformation...
Page 359 Index View Setup dialog changing color View Tilt option Wireframe color option view-dependent algorithm Wizard button see ray tracing wizards Viewer Position dialog Mesh to Texture Viewer Position option Process Parameters view-independant algorithm workflow see radiosity Preparation stage viewing radiosity processing changing projection Solution stage images/textures...
Page 360 Index Lightscape...
Page 361 Acknowledgements We are pleased to acknowledge the following manufacturers which have licensed digital representations of their products for the Lightscape libraries: Luminaires Bega, 1005 Mark Ave., Carpenteria, CA 93013 (www.bega-us.com) Erco Leuchten GmbH, brockhauser Weg 80-82, D-58507 Ludenscheid, Germany (www.erco.com) Kurt Versen Company, 10 Charles St., P.O.

Autodesk LIGHTSCAPE Manual

1 Introduction

2 Installation

3 Workflow

4 The Interface

5 Importing Geometry

6 Refining Geometry

7 Using Materials

8 Artificial Lighting

9 Photometrics

10 Daylight

11 Radiosity Processing

12 Lighting Analysis

13 Mesh to Texture

14 Rendering

15 Animation

16 Exporting

Light and Color

Batch Processing Utilities

Lsnet

Reflection Models

IES Standard File Format

File Types

G Common Lamp Values

Viewing Utilities

Quick Links

Need help?

Questions and answers

Related Manuals for Autodesk LIGHTSCAPE

Summary of Contents for Autodesk LIGHTSCAPE

Table of Contents