Added all the auto translated pages for v4 manual
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- [strength](#strength)
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- [3.4 Image Mode](#34-image-mode)
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- [Chapter 4 A new material concept is introduced](#chapter-4-a-new-material-concept-is-introduced)
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- [Chapter 5 The material manager](#chapter-5-the-material-manager)
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- [1 new](#1-new)
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- [2 Add](#2-add)
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- [3 Save active material as](#3-save-active-material-as)
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- [4 Save all materials as](#4-save-all-materials-as)
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- [5 edit](#5-edit)
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- [color page](#color-page)
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- [Luminance Page](#luminance-page)
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- [transparency page](#transparency-page)
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- [reflection page](#reflection-page)
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- [Environment page](#environment-page)
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- [fog page](#fog-page)
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- [relief page](#relief-page)
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- [genlocking page](#genlocking-page)
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- [highlight page](#highlight-page)
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- [Glossy Color Page](#glossy-color-page)
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- [6 Assign](#6-assign)
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- [7 Rename](#7-rename)
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- [8 Duplicate](#8-duplicate)
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- [9 Delete](#9-delete)
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- [10 Calculate](#10-calculate)
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- [11 Calculate all materials](#11-calculate-all-materials)
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- [12 Delete unused materials](#12-delete-unused-materials)
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- [13 Delete duplicate materials](#13-delete-duplicate-materials)
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- [14 texture paths](#14-texture-paths)
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- [15 Information](#15-information)
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# Chapter 1 introduction
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## 1.1 Foreword
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@ -640,4 +665,280 @@ The new entry "Material Manager" (keyboard shortcut AMIGA-M) can be found in the
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The material previews are only displayed in the material manager if the editor works with at least 256 colors.
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The Material Manager is an optional — albeit useful — tool. All things can still be done without a material manager.
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The Material Manager is an optional — albeit useful — tool. All things can still be done without a material manager.
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# Chapter 5 The material manager
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In this manager, all the materials in a document are displayed in alphabetical order with their names and a preview image. If a material name is too long, it is shortened with a period.
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A material image is represented as a hemisphere on a striped background. Depending on the setting of the material parameters, you get a very good impression of how a material will later appear on the object.
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When you activate an object, its materials used are drawn indented with a border. You can see immediately which materials are assigned to the object.
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If a texture is active, only the material of that texture is drawn indented.
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You can activate a material with the mouse or the keyboard. Activation is indicated by a red material name. All menu functions always refer to the activated material.
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It is activated by a single click on the material or by using the cursor keys.
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You can edit the active material by double-clicking.
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The Material Manager functions can be accessed either from the "Material" menu or from the Material Manager pop-up menu that appears when you right-click.
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## 1 new
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Creates a new material with default values. The new material corresponds to the default material of CINEMA 4D.
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## 2 Add
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Loads saved materials. For example, you can also load materials from another scene.
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However, you have to be careful with textures: CINEMA 4D expects that all textures are in the local scene directory, in a scene subdirectory "Tex" or in one of the ten alternative path directories. This is probably not the case when loading the materials from another scene. In this case, copy the textures into the directory of the scene you just edited.
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## 3 Save active material as
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Saves the active material to disk.
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## 4 Save all materials as
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Saves all materials in the active document to a file on disk. For example, you can create material libraries.
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## 5 edit
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This feature allows you to fully edit and change a single material. The CINEMA 4D material system offers you unlimited possibilities. At the same time - despite the huge number of parameters - it is extremely easy to use.
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On each dialog page is the preview image, which consists of a sphere illuminated by a light source. There you can immediately see interactively how your parameters affect you.
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All parameters are divided into ten groups (dialog pages). These ten groups can be activated or deactivated as a whole with the tick under the preview image. The operation of the ten groups is very similar, which is why the same control elements are also in the same place. "Shadow" is not a separate group, it indicates whether the material can receive shadows. For example, in a scene you can only set "shadow" for the floor, which means that no shadows have to be calculated for all other objects. This saves considerable computing time.
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However, if you want to calculate an entire image without shadows, set this globally in the image settings. The Shadow option is not intended for this purpose.
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You can set a "color" on many pages. The sliders behave the way you configured them in the preferences: You can choose between the HSV and the RGB color system.
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| Group | Meaning |
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| ------------ | ---------------------------------------------------- |
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| colour | surface color |
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| to shine | Luminous colour |
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| transparency | transparency |
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| reflection | mirror ability |
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| Surroundings | Ambient reflection (extremely fast when calculating) |
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| fog | fog effect |
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| relief | surface roughness |
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| genlocking | "Non-existence" of the material at certain points |
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| shine | highlight |
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| gloss color | color of the highlight |
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Below the three color sliders is another one that allows you to control the brightness of the color. Although this controller is redundant in the HSV system, it is absolutely necessary in the RGB system.
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To the right of the slider you can see the overall color. There is also a field there with which you can open the color dialog of the respective operating system.
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If a group has a "Texture" field, you can set a two-dimensional image as the texture there. CINEMA AD reads JPEG, IFF, TIFF (unpacked), BMP and TGA formats.
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Below that is a texture brightness slider; to the right you can see a preview image of the texture.
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If a group has both "Color" and "Texture" fields, then the color is either multiplied (Environment side only) or added to (all other sides) the texture(color).
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With "Interpol." you can set how the points of a texture are interpolated. With "None" the pixels of a texture are used directly. This method is extremely fast, but is unsuitable for small-area textures and leads to very restless, gritty images.
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"Square" is the default default interpolation. Here not only a pixel is considered, but also its neighbors. This results in smooth transitions between the texture pixels. The 'square' interpolation is still calculated very quickly though.
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"Circle" interpolation is very similar to "square" interpolation. The texture pixels have a rounded area of influence, so that a more natural image results when the texture is greatly enlarged.
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You can achieve even better effects with the interpolations “Antil” to “Anti3”. At the same time, these interpolation modes create an anti-aliasing effect, so that high-quality texture images are calculated which — important for animations — are hardly ever restless and flicker. The softness of the sampling increases from Antil to Anti3 — but so does the computing time. Anti3 needs a multiple of the computing time of Antil, but also smoothes all edges of an image.
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Let's hold on:
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* “Square” is required most often
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* "No" interpolation is only interesting if you want to save computing time.
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* For small-area textures that cover a larger part of the screen, the "Circle" interpolation is particularly suitable
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* "Antil" is suitable for animations and bump mapping -— if the computing time allows it
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* "Anti2" and "Anti3" are particularly useful for smaller textures whose coarse-grained pixel structure is to be smoothed.
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### color page
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Here you can determine the color of the material. The color component of the "texture" is added to the "color". Therefore, adjust the brightness of both parts so that together they are not higher than 100%, otherwise the material appears unnaturally bright.
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### Luminance Page
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you can specify the lighting-independent base color of the material and an optional texture map. The proportions of "color" and "texture" are added.
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Luminous materials are particularly suitable for simulating neon lettering or for objects that appear to glow themselves.
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### transparency page
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Here you can determine the transparency of the material. The shares of "color" and "texture" are added. Therefore, adjust the brightness of both parts so that together they are never higher than 100%.
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The transparency acts like a light filter. Black lets no light through, pure white lets all light through.
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You can directly compare a transparency texture to a slide. Red areas of the slide allow only red light to pass through, while white areas allow all light to shine through. In black areas, no light penetrates through the slide.
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Light sources use transparent materials as light maps. Applying a transparent texture to a light source filters the light in color. For example, you can use this effect to create the shadows of a blind.
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You can also specify the refractive index "n" of a material for realistic simulation of glass or water. Of course, this only makes sense if the material is also transparent. Otherwise the index has no meaning. Here are some refractive indices:
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| stuff | refractive index |
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| ------------ | ---------------- |
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| vacuum | 1,000 |
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| air | 1,000 |
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| water | 1,333 |
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| quartz glass | 1,458 |
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| benzene | 1,501 |
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| crown glass | 1,510 |
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| Amber | 1,550 |
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| flint glass | 1,613 |
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| diamond | 2,419 |
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Objects that are not completely closed, such as a hemisphere or a single triangle, can lead to anomalies in the image. This is due to the way the ray tracer calculates transparency and refraction. Once a ray encounters a surface with transparency and refraction, the ray will be attenuated and deflected as it passes through the surface. The beam is now in the object and continues to run until it hits another surface of the object — this time on the exit side. There it is deflected again — just as one would expect from a refracting object, such as a glass ball.
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For example, if you use an open hemisphere, the ray will enter the hemisphere; however, it may happen that it never encounters a second surface. The ray tracer then assumes that the ray is still inside the hemisphere when in fact it is long outside. So don't worry about unexpected refraction effects when using open objects, and make the objects so that they are closed. For example, you can give an open hemisphere a second wall or a lid.
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When Fresnel is off, the values entered on the Transparency and Reflection pages are used regardless of the viewing angle.
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Otherwise, the angle between the light beam and the surface is used to determine transparency and reflection. For example, if you look at a pane of glass, you will find that when viewed straight on, the pane of glass transmits almost all light and has practically no reflection. On the other hand, if you look at the glass pane or, for example, a lake from a flat angle, then the entire environment is reflected in it without the objects underneath being visible. The distribution of transparency and reflection changes continuously between these two viewing positions.
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For example, if you specified the RGB values 80% red, 80% green and 80% blue for transparency with a refractive index of 1.5, the material is 80% transparent and 0% specular when viewed perpendicularly, and 0% transparent when viewed very flat and 80% specular. If you have also entered values greater than zero for the reflection, these are always added to the angle-dependent values.
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### reflection page
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Here you can determine the reflectivity of the material. The proportions of "color" and "texture" are added.
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The values specified here determine how strongly the three color components red, green and blue are reflected for the entire surface. This allows you to create very complex-looking surfaces. For example, if you use a checkered pattern of alternating black and white squares as a mirror texture, you will achieve that the surface alternates between no mirroring and 100% mirroring. This gives a tiling effect with alternating dull and specular tiles.
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### Environment page
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Here you can set the ambient reflection of the material. Unlike on the other pages, the proportions of “color” and “texture” are multiplied.
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Ambient reflections are particularly suitable for the production of metals. Metals show smooth transitions from black to white on their surface. You can simulate this with an environment texture.
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Often a scene is too empty to be able to produce natural reflections (what scene has a realistically shaped background and a lifelike horizon?). The environment texture allows you to correct this very easily.
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The surrounding texture lies spherically around the object, parallel to the world axes. No ray tracing is required for environmental reflections, which means that the calculation is extremely fast.
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The surrounding mirroring takes place in addition to the normal mirroring!
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### fog page
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With these parameters you can simulate realistic nebulae or gas clouds. Objects made with such materials are translucent, but depending on their thickness, they somewhat attenuate the light that shines through them.
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When a ray of light penetrates the fog, it is attenuated. You can set this attenuation with "Distance". The larger this value, the thinner the fog. "Distance" indicates at what distance a light beam is completely attenuated.
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In addition to weakening the light, the inherent color of the nebula is added. The further you look into the nebula, the fainter objects are visible, but the nebula color becomes more and more visible. The fog color is completely mixed in at the distance specified under "Distance".
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For example, if you specify a “Distance” of 500, a light beam that originally had 100% intensity only has an intensity of 50% after a distance of 250 units, and it is extinguished after a further 250 units. The shorter the distance, the thicker the fog appears. In addition, after 250 units half the fog color is added to it, after 500 units the full fog color.
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You can use fog objects, for example, to simulate smoke and haze in mountain valleys or for clouds.
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Fog objects should always be closed solids. Objects that are not closed can lead to physically incorrect images, since a ray of light that has entered the object no longer hits its surface a second time. The ray tracer then assumes that the light beam is still in the fog.
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### relief page
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When using a relief, you must always specify a texture, since height information is calculated from the gray values of an image.
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You can set the strength of the relief with the slider. This value indicates how far the normal vectors deviate from their original direction when calculating the relief. The higher the value, the rougher the surface. However, be careful with values that are too high, otherwise the material no longer looks realistic due to the large jumps in lighting. A value of 20% should be sufficient in most cases. If you move the slider to the left, you can also set negative values. Negative values swap raising and lowering.
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Here you can see a flat surface from the side. Since the same normal vector is used for the lighting for the entire surface, the surface has a uniform brightness. On the other hand, if you use a bump texture, CINEMA 4D interprets the brightness values of the image as height values of the surface, as you can see in the figure below.
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These height values are converted into a profile whose slope affects the slope of the normal vectors. Although the surface is actually smooth, an apparently three-dimensional surface with a relief-like structure is calculated due to the inclination of the normal vectors, the brightness of which is shown in the figure below.
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### genlocking page
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With the parameters on this page, you can selectively punch out a color range of a texture. At these points, the material is non-existent and underlying materials are revealed. This works similar to an electronic genlock device for video post-processing.
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With the "color" you specify the color value that is to be punched out. The "Area" regulates how much a color may deviate from the set value in order to still be punched out.
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If genlocking occurs at one point on the surface, the underlying material becomes visible. However, if the object has no underlying material, the object is not visible or does not exist at this point.
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For example, if you want to use a scanned image of a tree in a scene, first activate the color option and enter the image of the tree as the color texture.
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If you now calculate the image, you can see the tree on the square, but the area around the tree is not yet transparent, but e.g. blue if the scanned image had a blue sky background.
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Now also activate the Genlock option and switch to the Genlock page. Set the tree texture there as well. Now simply click with the mouse on the area that you want to punch out - in our case on the blue area around the tree.
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CINEMA 4D immediately sets the color sliders to this color value and punches out the sphere in the image accordingly. You should now only be able to see the tree with no surrounding background.
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### highlight page
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Here you can set the 'width' and 'height' of the highlight. If you want a more matte finish, set a wide and low highlight, while for a polished and glossy finish, set a narrow and high highlight.
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In addition, you have the option of choosing between two lighting models for the surface:
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With Plastic, the color of the highlight is independent of the material color, i.e. it usually appears white. This mode is particularly suitable for materials such as plastic, glass or wood.
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With "Metal", the color of the highlight is calculated in a complicated way from the color of the material. You can use it to simulate matt metal surfaces such as silver, brass or gold very well.
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### Glossy Color Page
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Here you can set the color of the highlight. The proportions of "color" and "texture" are added.
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The overall color specified here is multiplied by the normal color of the highlight. For example, if you have a white plastic highlight, you can directly determine its color here.
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## 6 Assign
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If the active object doesn't already have a texture, a new one is created and the active material is set. Otherwise, the active material is entered for the active texture.
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## 7 Rename
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With this function you can change the name of the active material. Materials are always sorted alphabetically.
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## 8 Duplicate
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This function duplicates the active material.
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## 9 Delete
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This function deletes the active material.
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## 10 Calculate
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This function calculates the preview image of the active material.
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## 11 Calculate all materials
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This function calculates the preview images of all materials.
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## 12 Delete unused materials
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This function deletes all materials that are not assigned to any object.
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## 13 Delete duplicate materials
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This function deletes all materials that already exist in an identical form.
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## 14 texture paths
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This function is available so that you do not have to correct incorrect texture paths for each material individually.
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After the call, a window appears in which you enter the new texture path. This texture path is set for all textures. For example, "dhO:Images/Backgrounds/Drawer/Pics/KingTut" becomes "Tex:KingTut" if you specified "Tex:" as the new path.
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This feature is particularly useful when converting an existing scene to local texture paths. When asked for the new path, simply leave the input field empty. Thus, all path information is removed from the scene.
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## 15 Information
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This function is available so that you can determine whether a material is being used by another object or how many other objects have been assigned this material. It tells you the number of objects, including the ground and sky, that make use of the selected material.
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