Removed more invisible characters
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@ -208,8 +208,8 @@ Also read the notes in the Appendix B of this Supplement.
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## 1.6 Performance overview of version 4
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Compared to previous versions of CINEMA 4D has the following features added:
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* CINEMA AD now supports this natively CyberGraphX system. No driving About more to be installed to the higher to use the color depths of CyberGraphX. Even a 16- or 24-bit workbench is from program used directly.
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* CyberGraphX is not only used for image tion, but already used in the editor. After as before but can also graphics cards without CyberGraphX can be controlled.
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* CINEMA AD now supports this natively CyberGraphX system. No driving About more to be installed to the higher to use the color depths of CyberGraphX. Even a 16- or 24-bit workbench is from program used directly.
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* CyberGraphX is not only used for image tion, but already used in the editor. After as before but can also graphics cards without CyberGraphX can be controlled.
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* direct support of 256-color image shield (e.g. on A1200). use of pa lette sharing
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* direct 68060 support (cyberpatcher is needed further, the speed is but up to 100% optimized)
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* completely new material system
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@ -281,7 +281,7 @@ This option has no effect if Colored Surface" is switched on.
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This allows you to determine the position at which objects to appear when they are created. Is the field checked, CINEMA 4D creates all objects in the Origin of the world coordinate system. Otherwise CINEMA 4D places the objects in the center of the working window. Please note that this is Object may come to rest on crooked coordinate values.
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### color system
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Here you set whether you prefer color values per RGB or HSV system (see V2 manual p.130).
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Here you set whether you prefer color values per RGB or HSV system (see V2 manual p.130).
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### launch paths
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Under "Redirection" you indicate where CINEMA 4D should store its temporary files when rendering the image. If you are low on RAM, this directory should be in a range be redirected to a hard disk.
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@ -302,7 +302,7 @@ Scenes with lots of materials become principal no longer read or write as quickl
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## 2.4 Information window
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In the information window you can now also use the You can use the tab key to jump back and forth between the different input fields.
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On the "Lay" page is the "Apply" field added. The entered values are only accepted when "Apply" is pressed. The keyboard shortcut for Apply is "t".
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On the "Lay" page is the "Apply" field added. The entered values are only accepted when "Apply" is pressed. The keyboard shortcut for Apply is "t".
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@ -354,7 +354,7 @@ CINEMA 4D now masters real material Morphing, i.e. you can insert a material dir
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## 2.10 Local texture concept
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With the current version 4, CINEMA AD introduced the so-called "local texture concept". Everyone who works with it saves enormously a lot of work when processing the data other operating systems.
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The basic idea of this concept is that all texture paths only have a simple name and not a complete path name is specified. Instead of "dh0:pictures/cinema 4d/holzleiche.tif" you just use "eiche.tf". CINEMA 4D When loading the textures, first look in the scene directory, then in the "Tex" subdirectory the scene and finally in the replacement paths after. The editor supports you extensively, by automatically stripping away pathnames from these "known" directories. So if you want to use a new texture, it's a good idea to put it in the tex folder first of the scene and only then the texture to select. The effort is worth it! If you want to pass the scene on to someone else for rendering, you just have to take the scene folder and pass it on. Otherwise begins the tedious search for in the scene textures used.
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The basic idea of this concept is that all texture paths only have a simple name and not a complete path name is specified. Instead of "dh0:pictures/cinema 4d/holzleiche.tif" you just use "eiche.tf". CINEMA 4D When loading the textures, first look in the scene directory, then in the "Tex" subdirectory the scene and finally in the replacement paths after. The editor supports you extensively, by automatically stripping away pathnames from these "known" directories. So if you want to use a new texture, it's a good idea to put it in the tex folder first of the scene and only then the texture to select. The effort is worth it! If you want to pass the scene on to someone else for rendering, you just have to take the scene folder and pass it on. Otherwise begins the tedious search for in the scene textures used.
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A small downside to this method is also said to be should not be concealed: More storage space is required on the hard disk, since some Textures are present several times in scene directories. That's why we're still offering it Working the old way.
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@ -490,12 +490,12 @@ When calculating the soft shadow, the scene is displayed in a so-called light ma
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CINEMA 4D is one of the very first programs that the soft shadow not only with spotlights, but also for point light sources. To six light maps are cubic around the light source placed around. There may be minor shadow anomalies at the corners and edges. However, this can easily be remedied by, for example, aligning the light source with its Z-axis on the scene.
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### Fresnel
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A disabled Fresnel option causes the entered for transparency and mirroring Values are used regardless of the viewing angle. Otherwise, the angle becomes Determination of transparency and mirroring used.
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A disabled Fresnel option causes the entered for transparency and mirroring Values are used regardless of the viewing angle. Otherwise, the angle becomes Determination of transparency and mirroring used.
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For example, if you look straight through a pane of glass, you will see that the Glass pane lets almost all light through and practically does not reflect. On the other hand, look at the glass pane (or a water surface), then the entire environment is reflected in it, without the underlying objects being visible. The distribution of Transparency and reflection changes between stepless in these two viewing positions.
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### voxels
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Here you can set in how many voxels the entire scene is to be subdivided. Common values are between 4 and 8 divisions.
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Here you can set in how many voxels the entire scene is to be subdivided. Common values are between 4 and 8 divisions.
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The more memory you have, the higher values you can use because of memory requirements increases approximately with the third power of the subdivisions.
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@ -629,11 +629,11 @@ On this page you set the screen resolution for the image to be calculated. The d
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On the left side you will be offered a list of all the resolutions integrated into your Amiga.
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On the right side you are presented with another list of possible color numbers. Among other things, we have avoided nonsensical values for reasons of clarity, e.g. does ray tracing participate? colors make no sense..
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On the right side you are presented with another list of possible color numbers. Among other things, we have avoided nonsensical values for reasons of clarity, e.g. does ray tracing participate? colors make no sense..
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Two special screen modes deserve special attention as they are not implemented in the Amiga preferences.
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"Editor Screen" renders your scene in a window on the screen where the CINEMA 4D Editor is running. All information regarding resolution and number of colors are taken from the values for this screen. Therefore there are no entries in the color list.
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"Editor Screen" renders your scene in a window on the screen where the CINEMA 4D Editor is running. All information regarding resolution and number of colors are taken from the values for this screen. Therefore there are no entries in the color list.
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A prerequisite for image calculation on the editor screen is that it has a color depth of at least 8 bits (=256 colors). You can of course set to a Cybergraphics screen with 24-bit color depth and enjoy true colors on your editor screen.
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@ -743,7 +743,7 @@ With "Interpol." you can set how the points of a texture are interpolated. With
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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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"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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@ -803,18 +803,18 @@ For example, if you use an open hemisphere, the ray will enter the hemisphere; h
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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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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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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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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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@ -847,15 +847,15 @@ Fog objects should always be closed solids. Objects that are not closed can lead
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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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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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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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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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@ -865,7 +865,7 @@ Here you can see a flat surface from the side. Since the same normal vector is u
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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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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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@ -24,9 +24,9 @@ If you have started MaxonCINEMA 4D and go through the menu functions with the ri
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On the other hand, there are menu items with three dots after the name, such as "Open..." or "Add...". The subscripts mean that the function is not executed immediately after it is called. First a window appears in which you have to enter additional information about the function before it can be executed by clicking on the "OK" field.
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In addition, there are functions that you can either run immediately with preset values or where you have the option of changing the parameters. In order to avoid menu items appearing twice - once with subscripts and once without - additional trailing dots (*) have been introduced in MaxonCINEMA 4D. If you call a function with such a trailing dot, such as "ring *", the function is executed immediately, in this case a ring appears, for example. If you try the same thing again while holding down the Shift key, a window will appear in which you can specify the function.
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In addition, there are functions that you can either run immediately with preset values or where you have the option of changing the parameters. In order to avoid menu items appearing twice - once with subscripts and once without - additional trailing dots (*) have been introduced in MaxonCINEMA 4D. If you call a function with such a trailing dot, such as "ring *", the function is executed immediately, in this case a ring appears, for example. If you try the same thing again while holding down the Shift key, a window will appear in which you can specify the function.
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A great advantage of MaxonCINEMA 4D is that values once set in a window can be remembered.
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A great advantage of MaxonCINEMA 4D is that values once set in a window can be remembered.
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There are keyboard shortcuts for almost every function. There is a combination of letters after each menu item. For example, pressing the combination <right Amiga> + <O> means that the "Open" function is invoked. This saves you having to switch from the keyboard to the mouse, making it possible to work smoothly.
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@ -34,7 +34,7 @@ The same applies to the fields of input windows, almost all of which can be acti
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The letters "O" and "A" are always reserved for the "OK" and "Cancel" fields in windows. You can also cancel at any time with the <Esc> key.
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If you confirm with "OK", all values are immediately checked for validity. For example, if you have entered an angle of 92.3° that is too large, although only 90° is permitted, MaxonCINEMA 4D will draw your attention to this and at the same time tell you in which range the correct value must lie.
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If you confirm with "OK", all values are immediately checked for validity. For example, if you have entered an angle of 92.3° that is too large, although only 90° is permitted, MaxonCINEMA 4D will draw your attention to this and at the same time tell you in which range the correct value must lie.
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To enter data quickly in windows with many number fields, you only need to press the Tab key and the number fields will be activated one after the other. If you also hold down the Shift key, you can jump backwards. You can also do the same with the arrow keys (up and down).
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@ -121,7 +121,7 @@ You can change the view at any time while working or move the visible workspace
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You can now use your desktop quite well. But there are still a number of helpful functions that support you in your work.
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First of all, there is the magnifying glass. You can use it to specifically enlarge a specific area of the work surface.
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First of all, there is the magnifying glass. You can use it to specifically enlarge a specific area of the work surface.
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* Go to 3D view.
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@ -135,7 +135,7 @@ You can change the view at any time while working or move the visible workspace
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* Click the magnifying glass icon again, but this time select the Active Object option.
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This prompts MaxonCINEMA 4D to select the magnification and section in such a way that the active object - in our case the ring - fills the format. If, on the other hand, you select the "Entire Scene" option, MaxonCINEMA 4D changes the values so that all objects in the document are displayed in full format.
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This prompts MaxonCINEMA 4D to select the magnification and section in such a way that the active object - in our case the ring - fills the format. If, on the other hand, you select the "Entire Scene" option, MaxonCINEMA 4D changes the values so that all objects in the document are displayed in full format.
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A very useful function is the display of a grid of lines on the screen. You can use this grid as a guide and position objects more easily. Like many other important tools, the grid is housed in the so-called "Information" window. This has several switchable pages, e.g. for the position of an object or the position of the camera.
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@ -149,9 +149,9 @@ You can change the view at any time while working or move the visible workspace
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Here you can set whether you want to see a line grid at all (this is the visible grid on the screen) and what spacing the grid should have. The other grid types "move grid", "scale grid" and "rotate grid" (these are invisible grids) only come into their own when objects are moved, scaled or rotated.
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The ticks in front of the respective grid types indicate whether they are active. The numeric values behind the names indicate the grid width.
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The ticks in front of the respective grid types indicate whether they are active. The numeric values behind the names indicate the grid width.
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In principle, you can not only view all displayed values and parameters, you can also change them. Simply click on the corresponding value and change it with the keyboard.
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In principle, you can not only view all displayed values and parameters, you can also change them. Simply click on the corresponding value and change it with the keyboard.
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*  Go to XY view.
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The surface now has a finer grid. Incidentally, the grid disappears from a certain reduction in the size of the workspace, since it would otherwise be too close together.
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* Now set the values 5 for the displacement grid and 100 for the line grid so that you can work through the following sections well.
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* Now set the values 5 for the displacement grid and 100 for the line grid so that you can work through the following sections well.
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## 3. Working with objects
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In the "Objects/Basic objects" menu you will find them sorted alphabetically, e.g. the objects "Triangle", "Square", "Cube", "Pyramid", "Tetrahedron" and "Plane".
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You can create a basic object by selecting the corresponding menu item. The object then appears in the middle of the visible workspace with preset values for size and subdivisions. If you want to change these values, hold down the shift key when you call up the menu item.
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You can create a basic object by selecting the corresponding menu item. The object then appears in the middle of the visible workspace with preset values for size and subdivisions. If you want to change these values, hold down the shift key when you call up the menu item.
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But you can also use the object bar. This can be opened just like the "Information" window in the "Window" menu.
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*  Call the "Area Graph" function from the pop-up menu of the "Calculate Image" icon.
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This time, a screen does not appear immediately, but initially only the "History" window, since MaxonCINEMA 4D first calculates and sorts the depth values of the individual areas. Depending on the speed of your computer, a new screen will appear shortly after, on which the image of the ring will be built.
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This time, a screen does not appear immediately, but initially only the "History" window, since MaxonCINEMA 4D first calculates and sorts the depth values of the individual areas. Depending on the speed of your computer, a new screen will appear shortly after, on which the image of the ring will be built.
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In contrast to wireframe representation, invisible surfaces are now covered by the visible ones. In addition, the surfaces are colored in different light shades of white. This is because MaxonCINEMA 4D makes several default assumptions that make your life a lot easier. On the one hand there is the standard white material. As long as you have not yet assigned a material to an object, the standard material is used. On the other hand, there is the light automatic. As long as you have not yet defined any light sources, MaxonCINEMA 4D automatically sets a light source at the camera position internally for the image calculation.
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In addition to many switchable options, you can enter the resolution in the number fields, which can be chosen as desired. It is also possible to calculate in wide format with 320*128 pixels or 800*256 pixels.
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Instead of entering the numerical values by hand, MaxonCINEMA 4D offers you preset resolutions. There are three fields for this: “Reading image”, “Middle image” and “Full image”. Full screen sets the resolution to full size. In addition, all options are activated. Fin click on “Middle picture” sets a quarter picture like we had before. Finally, "Test image" means that only a very small image is calculated. In addition, almost all options are deactivated so that the image is calculated as quickly as possible. When trying out how materials look on objects, you should always prefer this setting, because you can then see very quickly whether everything looks as desired.
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Instead of entering the numerical values by hand, MaxonCINEMA 4D offers you preset resolutions. There are three fields for this: “Reading image”, “Middle image” and “Full image”. Full screen sets the resolution to full size. In addition, all options are activated. Fin click on “Middle picture” sets a quarter picture like we had before. Finally, "Test image" means that only a very small image is calculated. In addition, almost all options are deactivated so that the image is calculated as quickly as possible. When trying out how materials look on objects, you should always prefer this setting, because you can then see very quickly whether everything looks as desired.
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* Click on the "Test image" field. Exit the "Raytracing" window by clicking on "Start calculation".
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* Click on "New" to create a new material.
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To the right of the list you can edit the new material. There is a button for all properties of the material such as color or transparency. Depending on which button is currently activated, the values of the sliders and fields to the right of the buttons refer to this set property.
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To the right of the list you can edit the new material. There is a button for all properties of the material such as color or transparency. Depending on which button is currently activated, the values of the sliders and fields to the right of the buttons refer to this set property.
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* First change the name from "New" to "Yellow"
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You can also specify the playback speed (frame rate) for which the animation should be calculated. If you want to output the animation (with suitable equipment) to narrow film, you should use a playback speed of 18 frames per second. 24 frames per second are suitable for cinema films, while 25 frames (Europe, PAL standard) or 30 frames (America, NTSC standard) are intended for television.
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However, you can also use any values such as 10 frames per second. Such low values are particularly suitable for generating a quick preview with low image quality, since correspondingly fewer images have to be calculated.
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However, you can also use any values such as 10 frames per second. Such low values are particularly suitable for generating a quick preview with low image quality, since correspondingly fewer images have to be calculated.
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Consider: if a single picture in high quality needs 'only' 1 hour, with a playback rate of 25 frames per second, you have to let your computer calculate for a whopping 60 days uninterruptedly for 1 minute of film!
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Immediately the cube begins to move from bottom left to top right again, but this time it shrinks to half its size on the stretch from left to right.
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* Now create another sequence on the "Size" track by setting the start and end points with the left mouse button as before. The starting point should be 6 seconds and the ending point should be 10 seconds. For the first key, leave all values as they are. But change the size values in the second window for the second key so that they are about three times as large.
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* Now create another sequence on the "Size" track by setting the start and end points with the left mouse button as before. The starting point should be 6 seconds and the ending point should be 10 seconds. For the first key, leave all values as they are. But change the size values in the second window for the second key so that they are about three times as large.
|
||||
|
||||
* Recalculate the animation and see the result in the "Play" window. This time the cube moves as usual, but it initially shrinks to half its size (due to the first sequence you created), stays that small for a while, and then grows to three times its size very quickly at the end of the animation.
|
||||
|
||||
|
|
|
|||
|
|
@ -96,11 +96,11 @@ Clicking on the close icon on the main toolbar corresponds to selecting the menu
|
|||
|
||||
Just as you can evoke different reactions in the menu for all functions with the ending “•”, some symbols also have different meanings. For example, if you left-click on the "image calculation" symbol, the entire scene is immediately calculated and displayed in the selected quality level. The same action with the right mouse button first brings an input window onto the screen in which you can enter differentiated information about the function before it is started.
|
||||
|
||||
Some symbols have a small black triangle in the bottom right corner. It means that there are other functions hidden behind the symbol. If you click on it, a drop-down menu opens with further options. To cancel the selection, you must move the mouse outside the image area of the pop-up menu and then release the left or right mouse button.
|
||||
Some symbols have a small black triangle in the bottom right corner. It means that there are other functions hidden behind the symbol. If you click on it, a drop-down menu opens with further options. To cancel the selection, you must move the mouse outside the image area of the pop-up menu and then release the left or right mouse button.
|
||||
|
||||
In addition to the toolbars, you can also open a so-called “Information” window. It displays important data about the currently activated objects or functions. Since there is not enough space in a complex editor like MaxonCINEMA 4D to display all the data at the same time, the data is divided into several thematic groups. You can use the "Info" field in the "Information" window to determine which of the groups is currently being displayed.
|
||||
|
||||
MaxonCINEMA 4D's ability to work non-modally is unique. For example, if you move an object in the document window, you can simultaneously observe the change in coordinates in the "Information" window. But the special thing about it is that it also works the other way around. You can change values directly in the "Information" window that have an immediate effect on the document.
|
||||
MaxonCINEMA 4D's ability to work non-modally is unique. For example, if you move an object in the document window, you can simultaneously observe the change in coordinates in the "Information" window. But the special thing about it is that it also works the other way around. You can change values directly in the "Information" window that have an immediate effect on the document.
|
||||
|
||||
But that's not all: You can even enter entire formulas and functions. For example, if you want to scale an object to 2.5 times its size, just type "*2.5" and you'll get the result you want.
|
||||
|
||||
|
|
@ -110,17 +110,17 @@ When you have found an arrangement of windows and toolbars that suits your taste
|
|||
|
||||
## 4. Input window
|
||||
|
||||
For many functions, an input window appears in which several values must be entered. It's annoying to constantly have to take your hands off the keyboard just to activate the next input field with the mouse. In MaxonCINEMA 4D it is therefore possible to jump from input field to input field by pressing the tab key. You can also jump backwards by holding down the Shift key at the same time. You can also use the up and down arrow keys instead of the tab key.
|
||||
For many functions, an input window appears in which several values must be entered. It's annoying to constantly have to take your hands off the keyboard just to activate the next input field with the mouse. In MaxonCINEMA 4D it is therefore possible to jump from input field to input field by pressing the tab key. You can also jump backwards by holding down the Shift key at the same time. You can also use the up and down arrow keys instead of the tab key.
|
||||
|
||||
Almost all fields have one letter of the field name underlined. If you press this letter on the keyboard, the corresponding field will be activated. However, this only works if an input field with a cursor is not currently active somewhere in the window. You can deactivate an input field by pressing the <Retum> key.
|
||||
|
||||
You can leave each input window with <Esc>.
|
||||
|
||||
Depending on the context, values for degrees or units such as "cm" or "km" are required in the input fields for numerical values. You can add these units to the numerical values or omit them entirely, in which case the default basic unit will always be used. Entries such as “12cm”, “O.12 m”, “12E-6km”, “120mm” or even “120” are identical if the basic unit was set to “mm” in the default settings (see also Chapter 8 “Units and functions').
|
||||
Depending on the context, values for degrees or units such as "cm" or "km" are required in the input fields for numerical values. You can add these units to the numerical values or omit them entirely, in which case the default basic unit will always be used. Entries such as “12cm”, “O.12 m”, “12E-6km”, “120mm” or even “120” are identical if the basic unit was set to “mm” in the default settings (see also Chapter 8 “Units and functions').
|
||||
|
||||
If you make an incorrect entry - be it that you entered the wrong unit in a numeric field or that the entered values are outside the permissible range - you will be automatically informed when you leave the window that the entry was wrong and in which range the correct value is This makes it impossible for any erroneous values or settings to come about.
|
||||
If you make an incorrect entry - be it that you entered the wrong unit in a numeric field or that the entered values are outside the permissible range - you will be automatically informed when you leave the window that the entry was wrong and in which range the correct value is This makes it impossible for any erroneous values or settings to come about.
|
||||
|
||||
Studies have shown that the values of an input window are usually only slightly modified from function call to function call (e.g. the name of an object). Therefore, MaxonCINEMA 4D has the ability to save values of an input window once they have been entered. When you reopen the input window, you will then see the previously entered values instead of the default values.
|
||||
Studies have shown that the values of an input window are usually only slightly modified from function call to function call (e.g. the name of an object). Therefore, MaxonCINEMA 4D has the ability to save values of an input window once they have been entered. When you reopen the input window, you will then see the previously entered values instead of the default values.
|
||||
|
||||
## 5. Warnings
|
||||
|
||||
|
|
@ -174,7 +174,7 @@ Even if you have switched on the line grid, it is often not easy to position obj
|
|||
|
||||
For example, if you enabled a panning grid of 10 units, the object will jump from its current position by 0.0 units, 10.0 units, 20.0 units, and so on. So an object at position 5.6 would jump to positions 4.4, 5.6, 15.6, and so on.
|
||||
|
||||
You can also achieve a compromise between free panning and exact positioning by setting very small values, such as 1 unit, for the panning grid. The coordinate values always remain integers. However, you can still move the object relatively freely.
|
||||
You can also achieve a compromise between free panning and exact positioning by setting very small values, such as 1 unit, for the panning grid. The coordinate values always remain integers. However, you can still move the object relatively freely.
|
||||
|
||||
If you create and edit very regularly shaped objects, you will appreciate the displacement grid. An architect can thus very quickly enter the floor plan of a house, since most walls are arranged at right angles and their size is a multiple of a certain basic length (e.g. brick 30cm). The walls can then be precisely adjusted to each other with a sliding grid of 30 cm.
|
||||
|
||||
|
|
@ -194,7 +194,7 @@ Finally, there is a fourth grid, the rotation grid, whose value is entered in de
|
|||
|
||||
## 8. Units and Functions
|
||||
|
||||
MaxonCINEMA 4D allows the use of metric units and measurement systems. In the preferences, you can define a base unit in which the numerical values are always displayed.
|
||||
MaxonCINEMA 4D allows the use of metric units and measurement systems. In the preferences, you can define a base unit in which the numerical values are always displayed.
|
||||
|
||||
However, numbers can be entered in other units at any time by putting the appropriate unit after the number. For example, the specifications 2 mm and 0.2 cm are equivalent.
|
||||
|
||||
|
|
@ -217,7 +217,7 @@ Various units are available for animation. First, there is unit “B”.
|
|||
|
||||
For example, you can type "510 B" and MaxonCINEMA 4D will interpret this value as frame 510.
|
||||
|
||||
On the other hand, there is the extended notation. It has the form "min:sec:frames". For example, "3:20:14" means you mean the time "3 minutes, 20 seconds, and 14 frames". The last value does not specify hundredths, but frames, since you may have defined a rate of 25 frames per second, for example. In this case, "images" can only have values between 0 and 24.
|
||||
On the other hand, there is the extended notation. It has the form "min:sec:frames". For example, "3:20:14" means you mean the time "3 minutes, 20 seconds, and 14 frames". The last value does not specify hundredths, but frames, since you may have defined a rate of 25 frames per second, for example. In this case, "images" can only have values between 0 and 24.
|
||||
|
||||
In the extended notation, the minutes can be omitted (e.g. "15:14"). The first value then indicates the seconds, the second the images.
|
||||
|
||||
|
|
@ -434,7 +434,7 @@ Cubic interpolation is achieved by approximating the curve piecewise using cubic
|
|||
|
||||
Akima interpolation is achieved by approximating the curve piecewise by cubic polynomials between vertices. In contrast to cubic interpolation, only continuity in the first derivation at the support points is required for the polynomials in order to achieve a smooth transition between the individual polynomials. Although this prevents the curve from overshooting, the curve does not always look as smooth due to the discontinuity in the curvature.
|
||||
|
||||
The B-spline interpolation is achieved by calculating a weighting function for each reference point, which reflects the influence of the point on the curve. In order to get a specific point on the interpolated curve, the coordinates of the support points are multiplied by the respective values of the weighting function, summed up and then give its position.
|
||||
The B-spline interpolation is achieved by calculating a weighting function for each reference point, which reflects the influence of the point on the curve. In order to get a specific point on the interpolated curve, the coordinates of the support points are multiplied by the respective values of the weighting function, summed up and then give its position.
|
||||
|
||||
## 14. Light model
|
||||
|
||||
|
|
@ -448,9 +448,9 @@ The indirect ambient light (e.g. indoors) is described by a constant value. A va
|
|||
|
||||
The color parameter exists for this. It indicates what percentage of the incident light is not absorbed by a material. A value of 100% red, 0% green and 0% blue means that the material appears red because all the green and blue components of the light are swallowed.
|
||||
|
||||
The same applies to the transparency parameter. It indicates what percentage of the incident light is allowed to pass through the surface. For example, if you want to create a material that only transmits green light, you must choose the values 0% red, 100% green, and 0% blue.
|
||||
The same applies to the transparency parameter. It indicates what percentage of the incident light is allowed to pass through the surface. For example, if you want to create a material that only transmits green light, you must choose the values 0% red, 100% green, and 0% blue.
|
||||
|
||||
Unlike color and transparency, which describe how light coming from light sources is treated, specular reflects how much the material reflects light rays emanating from other objects. An ideal mirror has the values 100% red, 100% green and 100% blue.
|
||||
Unlike color and transparency, which describe how light coming from light sources is treated, specular reflects how much the material reflects light rays emanating from other objects. An ideal mirror has the values 100% red, 100% green and 100% blue.
|
||||
|
||||
Another important parameter for the appearance of the material is gloss. If you look at objects yourself, you will find that smooth surfaces such as glass or plastic in particular have a shiny white spot in some places, which is smaller the smoother the surface is. In MaxonCINEMA 4D you can determine the color and size of the highlight for a material. As a rule, the color white will correspond to the behavior of most surfaces. For metals such as bronze, brass or gold, you should choose a shade of yellow.
|
||||
|
||||
|
|
@ -464,7 +464,7 @@ To simulate water and glass, you can also specify the Refraction (refractive ind
|
|||
>
|
||||
> If the description of the material parameters is too complicated for you, don't despair. You can access the extensive library of materials supplied at any time. The setting of individual parameters is actually only intended for professionals.
|
||||
|
||||
If the Fresrel option is switched off, the values entered for transparency and reflection are used regardless of the viewing angle. Otherwise, the angle is used to determine transparency and reflection. If you look at a pane of glass, for example, you will find that the pane of glass lets almost all light through and practically does not reflect when viewed perpendicularly. On the other hand, if you look at the glass pane (or e.g. a lake) from a shallow 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. For example, if you entered the values 80% red, 80% green and 80% blue for transparency, the material is 80% transparent and 0% reflective when viewed perpendicularly, and 0% transparent and 80% reflective when viewed very flat. If you have also entered values greater than zero for mirroring, these are always added to the angle-dependent values.
|
||||
If the Fresrel option is switched off, the values entered for transparency and reflection are used regardless of the viewing angle. Otherwise, the angle is used to determine transparency and reflection. If you look at a pane of glass, for example, you will find that the pane of glass lets almost all light through and practically does not reflect when viewed perpendicularly. On the other hand, if you look at the glass pane (or e.g. a lake) from a shallow 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. For example, if you entered the values 80% red, 80% green and 80% blue for transparency, the material is 80% transparent and 0% reflective when viewed perpendicularly, and 0% transparent and 80% reflective when viewed very flat. If you have also entered values greater than zero for mirroring, these are always added to the angle-dependent values.
|
||||
|
||||
The parameters of color, transparency and reflection depend in a complicated way on the angles that the light sources and the camera make to the surface. A surface that is irradiated with light perpendicularly naturally appears brighter than one that is only touched by the light at a flat angle. However, a precise explanation of these relationships would go beyond the scope of this manual. Reference is therefore made to the literature, in particular [1] (Appendix 3).
|
||||
|
||||
|
|
@ -488,7 +488,7 @@ In MaxonCINEMA 4D, colors are always characterized by specifying three values.
|
|||
|
||||
You have two different color models at your disposal, which you can switch between at any time.
|
||||
|
||||
The most well-known color model is the RGB model. Most graphics programs work with it because it is based on the technical conditions of the hardware for image or color output. The output device is usually the computer monitor. Its screen consists of a fine grid of dots, each made up of a red, green and blue dot. These points can be controlled by the electronics of the monitor with an electron beam. If not only a single color dot is controlled, but e.g. the red and the green dot at the same time, then the color values add up to yellow.
|
||||
The most well-known color model is the RGB model. Most graphics programs work with it because it is based on the technical conditions of the hardware for image or color output. The output device is usually the computer monitor. Its screen consists of a fine grid of dots, each made up of a red, green and blue dot. These points can be controlled by the electronics of the monitor with an electron beam. If not only a single color dot is controlled, but e.g. the red and the green dot at the same time, then the color values add up to yellow.
|
||||
|
||||
The colorants for the dots on the monitor are selected in such a way that, when added together in equal parts of intensity, they result in a white that comes closest to the human perception of a pure white hue.
|
||||
|
||||
|
|
@ -601,7 +601,7 @@ During the development of MaxonCINEMA 4D, particular attention was paid to the c
|
|||
|
||||
> **Note**
|
||||
>
|
||||
> To determine the aspect ratio for your monitor, you only need to measure the width and height of the visible monitor image. You then enter the two \values when selecting the corresponding screen mode.
|
||||
> To determine the aspect ratio for your monitor, you only need to measure the width and height of the visible monitor image. You then enter the two \values when selecting the corresponding screen mode.
|
||||
|
||||
Once this value is set correctly, there will be no more distortions in MaxonCINEMA 4D.
|
||||
|
||||
|
|
|
|||
|
|
@ -80,7 +80,7 @@ The Rotator action only makes sense if you have just set a perspective view. Two
|
|||
|
||||
> **Note**
|
||||
>
|
||||
> The current values for the position, direction and focal length of the camera or the center of the visible document section can be found in the "Information" window on the "View" page. You can also change all values directly there.
|
||||
> The current values for the position, direction and focal length of the camera or the center of the visible document section can be found in the "Information" window on the "View" page. You can also change all values directly there.
|
||||
|
||||
When rotating the perspective view, specific mouse movements are associated with specific axes of rotation. A right-left movement while holding down the left mouse button causes a rotation around the Y-axis of the camera coordinate system. It is rotated by moving the mouse right-left. The up-down movement while holding down the left mouse button rotates the camera around the X-axis of the camera coordinate system. Finally, the right-left movement while holding down the right mouse button rotates the camera around its Z-axis. What is unusual about this function is that the axis system settings "world", "object" and "screen" have a slightly different meaning than is actually assumed. It is always rotated around the camera axes and never around world axes. If "Object" or "Screen" is set, the camera is only rotated around its own axes. If, on the other hand, "World" is set, the camera also changes its position when rotating. This is done in such a way that the center of the screen remains centered. This is very useful for driving around an object.
|
||||
|
||||
|
|
@ -103,7 +103,7 @@ Framing allows you to select multiple points at once. Here, too, the points are
|
|||
|
||||
In order to execute the set action (moving, scaling or rotating), you have to press the mouse over an area free of points. Because points do not have an axis system, a new axis system is created each time you start moving, scaling, or rotating them. The new axis system is parallel to the object system and in the center of the point cloud.
|
||||
|
||||
The current values for the center point and dimension of the point cloud can be found in the "Information" window on the "View" page. You can also change all values directly there.
|
||||
The current values for the center point and dimension of the point cloud can be found in the "Information" window on the "View" page. You can also change all values directly there.
|
||||
|
||||
> **Note**
|
||||
>
|
||||
|
|
@ -111,7 +111,7 @@ The current values for the center point and dimension of the point cloud c
|
|||
|
||||
To set new points, hold down the `<Alt>` key. If it is a polygon that is being edited and the new point lies on the line connecting two existing vertices, the new point is inserted between them. Otherwise it is appended to the end.
|
||||
|
||||
Individual points can - if the action is switched to "move" - be grabbed and moved directly with the mouse. This is particularly interesting when the magnetism function is switched on.
|
||||
Individual points can - if the action is switched to "move" - be grabbed and moved directly with the mouse. This is particularly interesting when the magnetism function is switched on.
|
||||
|
||||
If you have created a new point with `<Alt>` and notice that the result is not what you want, then you can cancel the action with `<Esc>` if you are still holding down the mouse button.
|
||||
|
||||
|
|
@ -167,14 +167,14 @@ By activating this icon you can edit an object as a whole. For example, you can
|
|||
|
||||
To select the object you want, just click on its origin. The following distinction applies: a click with the left mouse button activates the object with all its sub-objects. A click with the right mouse button, on the other hand, causes only the individual object itself (without its sub-objects) to be activated.
|
||||
|
||||
The current position of the active object in space is displayed in the "Information" window on the "View" page. There you can also change all values directly.
|
||||
The current position of the active object in space is displayed in the "Information" window on the "View" page. There you can also change all values directly.
|
||||
|
||||
## 4. Edit axes
|
||||
|
||||
|
||||
The object axes play an important role for certain program functions such as "polygon objects" or hierarchy animation. To do this, the object axes must be able to be placed freely within the object without the points of the object also being changed. With this switch you tell MaxonCINEMA 4D that the actions move, scale and rotate should only change the axes of the active object.
|
||||
|
||||
The current position of the axes of the active object is displayed in the "Information" window on the "View" page. You can also change all values directly there.
|
||||
The current position of the axes of the active object is displayed in the "Information" window on the "View" page. You can also change all values directly there.
|
||||
|
||||
## 5. Edit texture
|
||||
|
||||
|
|
@ -187,7 +187,7 @@ The object's texture axes are represented along with an envelope (a surface, cyl
|
|||
|
||||
With the "Move" action you can place the texture on the shell. A right-left movement of the mouse moves the texture along its X-axis, an up-down movement along its Y-axis. The "Scale" action works according to the same principle - except that here it is not moved, but enlarged or reduced. Any inputs to the 'Rotate' action will have no effect since the texture cannot be rotated.
|
||||
|
||||
The current placement and dimension of the texture on the shell is shown in the "Information" window on the "Layer" page. You can also change all values directly there. The three angle fields remain empty because the texture cannot be rotated. The Z coordinate fields are also not addressed.
|
||||
The current placement and dimension of the texture on the shell is shown in the "Information" window on the "Layer" page. You can also change all values directly there. The three angle fields remain empty because the texture cannot be rotated. The Z coordinate fields are also not addressed.
|
||||
|
||||
The X and Y specifications of the placement or dimensions of the texture are always given in percent, since the actual size is irrelevant. A dimension of 100% for both coordinates means that the texture completely covers the cylinder, sphere, or surface.
|
||||
|
||||
|
|
@ -277,7 +277,7 @@ A right-left movement of the mouse while holding down the left mouse button move
|
|||
|
||||
Mouse inputs have a slightly different meaning when editing textures. A right-left movement of the mouse shifts the texture in the direction of its X-axis and correspondingly the up-down movement of the mouse shifts the texture in the direction of its Y-axis.
|
||||
|
||||
As an alternative to moving with the mouse, you can also enter the displacement data manually by directly entering the values for the position in the "Information" window on the "Location" page. All values of the "Information" window are given in world coordinates.
|
||||
As an alternative to moving with the mouse, you can also enter the displacement data manually by directly entering the values for the position in the "Information" window on the "Location" page. All values of the "Information" window are given in world coordinates.
|
||||
|
||||
## 10. Scale
|
||||
|
||||
|
|
@ -310,7 +310,7 @@ It is scaled by moving the mouse right-left. It doesn't matter which of the two
|
|||
|
||||
Mouse inputs have a slightly different meaning when editing textures. A right-left movement of the mouse scales the texture in the direction of its X-axis and the up-down movement of the mouse scales the texture in the direction of its Y-axis.
|
||||
|
||||
You can also enter the data for the scaling manually by entering the values for the axis lengths directly in the "Information" window on the "Position" page.
|
||||
You can also enter the data for the scaling manually by entering the values for the axis lengths directly in the "Information" window on the "Position" page.
|
||||
|
||||
## 11. X, Y, Z
|
||||
|
||||
|
|
@ -412,7 +412,7 @@ When you click on this icon, a drop-down menu with several options appears.
|
|||
|
||||
### 14.1 Magnifying glass
|
||||
|
||||
With the magnifying glass, you can enlarge an area of the desktop by enclosing this area with the mouse.
|
||||
With the magnifying glass, you can enlarge an area of the desktop by enclosing this area with the mouse.
|
||||
|
||||
Immediately after selecting this function, the mouse pointer changes from an arrow to a crosshair. Now frame the desired area within the active document window. The framing works the same way as on the workbench - only it doesn't matter whether you use the left or the right mouse button for framing. You can cancel the framing with the other mouse button.
|
||||
|
||||
|
|
@ -678,7 +678,7 @@ In addition, the scanline algorithm calculates the brightness for each individua
|
|||
|
||||
Another advantage compared to the surface display is the possibility of smoothing objects so that they no longer appear faceted but round.
|
||||
|
||||
For the calculation of the image, a high computational effort must be expended. So that the calculation does not take so long, a buffer is created for the depth values of the individual points in an image line. The image is calculated from top to bottom, line by line — sort of scanned and output, hence the name "scanline". After a row is calculated, it is displayed immediately.
|
||||
For the calculation of the image, a high computational effort must be expended. So that the calculation does not take so long, a buffer is created for the depth values of the individual points in an image line. The image is calculated from top to bottom, line by line — sort of scanned and output, hence the name "scanline". After a row is calculated, it is displayed immediately.
|
||||
|
||||
> **Note**
|
||||
>
|
||||
|
|
@ -866,9 +866,9 @@ The larger the calculation depth, the further the rays are traced into the scene
|
|||
|
||||
**"Voxel level"**
|
||||
|
||||
Here you can set how many voxels the entire scene should be divided into. Common values are between 4 and 7 divisions.
|
||||
Here you can set how many voxels the entire scene should be divided into. Common values are between 4 and 7 divisions.
|
||||
|
||||
The more memory you have, the higher values you can use, since memory requirements increase roughly as the cube of the subdivisions.
|
||||
The more memory you have, the higher values you can use, since memory requirements increase roughly as the cube of the subdivisions.
|
||||
|
||||
|
||||
|
||||
|
|
|
|||
|
|
@ -669,7 +669,7 @@ Here you can selectively specify with "Start" and "End" whether the start or end
|
|||
|
||||
An interesting ability of MaxonCINEMA 4D is that the cover surfaces are not only placed flat on the start and end contours, but also that the edges are rounded (Figure 81). If you have activated the "Round" option, MaxonCINEMA 4D moves the edges of the cover surfaces in a selectable "Number" of steps so that the edges in the cross section form a quadrant with a selectable "Radius". Nothing stands in the way of creating professional 3D fonts.
|
||||
|
||||
Note, however, that the algorithm cannot perform miracles. Since the edges are always moved parallel to the starting edge, it can happen that the edges end up outside the object if you enter a radius that is too large. As the user, you must ensure that the radius values are within reasonable limits. Otherwise, MaxonCINEMA 4D cannot create the cover surfaces.
|
||||
Note, however, that the algorithm cannot perform miracles. Since the edges are always moved parallel to the starting edge, it can happen that the edges end up outside the object if you enter a radius that is too large. As the user, you must ensure that the radius values are within reasonable limits. Otherwise, MaxonCINEMA 4D cannot create the cover surfaces.
|
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|
||||
|
||||
|
||||
|
|
@ -921,7 +921,7 @@ Here you can enter the edge length for the fractal, which has a square base in t
|
|||
|
||||
**"Height"**
|
||||
|
||||
This value determines the height of the fractal. The fractal is formed in such a way that the mountains unfold in the direction of the positive Y-axis. Values below the XZ plane (the floor) are clipped.
|
||||
This value determines the height of the fractal. The fractal is formed in such a way that the mountains unfold in the direction of the positive Y-axis. Values below the XZ plane (the floor) are clipped.
|
||||
|
||||
**"degree of subdivision"**
|
||||
|
||||
|
|
@ -933,7 +933,7 @@ Don't specify too high degrees of subdivision, since each higher degree requires
|
|||
|
||||
If a completely random function were used to randomly shift the partial points, you would get a different mountain range each time you called the "Fractal" function.
|
||||
|
||||
For this reason, MaxonCINEMA 4D uses a quasi-random function that can be started with a numerical value. If the values are the same, you get the same mountain range every time. You can freely choose the numerical value between 0% and 100%.
|
||||
For this reason, MaxonCINEMA 4D uses a quasi-random function that can be started with a numerical value. If the values are the same, you get the same mountain range every time. You can freely choose the numerical value between 0% and 100%.
|
||||
|
||||
|
||||
|
||||
|
|
@ -941,13 +941,13 @@ For this reason, MaxonCINEMA 4D uses a quasi-random function that can be started
|
|||
|
||||
### 6.3 Elevation Relief
|
||||
|
||||
This function interprets the gray values of an image as height values and converts them into a three-dimensional relief. The relief is created in the XZ plane of the world coordinate system (Figure 97).
|
||||
This function interprets the gray values of an image as height values and converts them into a three-dimensional relief. The relief is created in the XZ plane of the world coordinate system (Figure 97).
|
||||
|
||||
|
||||
|
||||
*Figure 98*
|
||||
|
||||
The average of the red, green and blue values of an image pixel is interpreted as the height. Black corresponds to the minimum height, while white corresponds to the maximum height.
|
||||
The average of the red, green and blue values of an image pixel is interpreted as the height. Black corresponds to the minimum height, while white corresponds to the maximum height.
|
||||
|
||||
**"Name"**
|
||||
|
||||
|
|
@ -963,7 +963,7 @@ Here you can enter the edge length of the elevation relief, which has a rectangu
|
|||
|
||||
> **Note**
|
||||
>
|
||||
> Do not use values for the height that are too high, otherwise the image can no longer be perceived due to the exaggerated relief effect.
|
||||
> Do not use values for the height that are too high, otherwise the image can no longer be perceived due to the exaggerated relief effect.
|
||||
|
||||
**"Height"**
|
||||
|
||||
|
|
|
|||
Loading…
Reference in New Issue