diff --git a/MaxonCinema4D_v2/06-MainBar.md b/MaxonCinema4D_v2/06-MainBar.md
index 1b0ff64..6d83c51 100644
--- a/MaxonCinema4D_v2/06-MainBar.md
+++ b/MaxonCinema4D_v2/06-MainBar.md
@@ -39,7 +39,7 @@
 
 The main bar contains the most important and most frequently used symbols and functions of MaxonCINEMA 4D. It is divided into five areas:
 
-[Figure 1]()
+![Figure 1](images/pages/p151_1.png)
 
 *Figure 1*
 
@@ -211,11 +211,11 @@ The "drag" action can not only be used for animation. It is also ideal for norma
 
 When dragging, MaxonCINEMA 4D automatically calculates the distance between the joints and keeps it constant (Figure 2). A multi-jointed arm can therefore not fall apart when pulled (Figure 3).
 
-![Figure 2]()
+![Figure 2](images/pages/p162_1.png)
 
 *Figure 2*
 
-![Figure 3]()
+![Figure 3](images/pages/p163_1.png)
 
 *Figure 3*
 
@@ -263,15 +263,15 @@ The "X", "Y" and "Z" symbols allow you to lock specific axes. This is useful, fo
 
 A right-left movement of the mouse while holding down the left mouse button moves the object in the direction of the X-axis of the screen coordinate system. An up-down movement moves the object in the direction of the Y-axis. If you press the right mouse button and carry out a right-left movement with the mouse, the object is moved forwards or backwards.
 
-![Figure 4]()
+![Figure 4](images/pages/p166_1.png)
 
 *Figure 4*
 
-![Figure 5]()
+![Figure 5](images/pages/p166_2.png)
 
 *Figure 5*
 
-![Figure 6]()
+![Figure 6](images/pages/p166_3.png)
 
 *Figure 6*
 
@@ -294,11 +294,11 @@ When scaling, MaxonCINEMA 4D distinguishes between the fixed world coordinate sy
 
 The difference between the systems becomes particularly clear if you only activate the "X" symbol. Suppose you are scaling a box that is skewed in the world coordinate system. If you now select the world coordinate system for scaling, the cuboid grows parallel to the x-axis of the world coordinate system and is thus distorted (Figure 7). On the other hand, if you select the object coordinate system of the cuboid (Figure 8), the cuboid expands along its own X-axis.
 
-![Figure 7]()
+![Figure 7](images/pages/p168_1.png)
 
 *Figure 7*
 
-![Figure 8]()
+![Figure 8](images/pages/p168_2.png)
 
 *Figure 8*
 
@@ -345,13 +345,13 @@ Here you can determine the appearance of the objects on the screen. In addition,
 
 MaxonCINEMA 4D gives you the option of accelerating the image build-up by using the 'active objects' and 'inactive objects' fields to make the following settings globally for all objects in the scene:
 
-![Figure 9]()
+![Figure 9](images/pages/p171_1.png)
 
 *Figure 9*
 
 * If you set "Full", the objects are displayed with all their lines (Figure 10). The speed of the image build-up is normal.
 
-![Figure 10]()
+![Figure 10](images/pages/p171_2.png)
 
 *Figure 10*
 
@@ -361,7 +361,7 @@ MaxonCINEMA 4D gives you the option of accelerating the image build-up by using
 
 * With the “As Box” setting, the objects are represented by enclosing boxes. This speeds up the image build-up enormously. Instead of many hundreds of lines of an object, only 12 lines are drawn (Figure 11). This type of display is particularly suitable for animation.
 
-	![Figure 11]()
+	![Figure 11](images/pages/p172_1.png)
 
 	*Figure 11*
 
@@ -375,15 +375,15 @@ MaxonCINEMA 4D gives you the option of accelerating the image build-up by using
 
 * For each individual object, you can individually set in the "Information" window on the "Object" page in which of the just mentioned ways it should be displayed. If you want each item's settings to be honored, set it to As Set.
 
-	![Figure 12: Slightly reduced]()
+	![Figure 12: Slightly reduced](images/pages/p173_1.png)
 
 	*Figure 12: Slightly reduced*
 
-	![Figure 13: Medium reduced]()
+	![Figure 13: Medium reduced](images/pages/p173_2.png)
 
 	*Figure 13: Medium reduced*
 
-	![Figure 14: Greatly reduced]()
+	![Figure 14: Greatly reduced](images/pages/p173_3.png)
 
 	*Figure 14: Greatly reduced*
 
@@ -466,7 +466,7 @@ When using the left mouse button, the rendering is started immediately. Using th
 
 In Figure 15 you can see how the different algorithms behave over time.
 
-![Figure 15]()
+![Figure 15](images/pages/p178_1.png)
 
 *Figure 15*
 
@@ -484,7 +484,7 @@ All calculation types have the two windows "Output" and "History" in common. The
 
 The "Output" window is divided into two areas: the screen and the 24-bit output.
 
-![Figure 15b]()
+![Figure 15b](images/pages/p179_1.png)
 
 *Figure 15b*
 
@@ -492,7 +492,7 @@ The "Output" window is divided into two areas: the screen and the 24-bit output.
 
 For screen output, you set whether the image should be output on the **"screen"** at all. This is a must for the wire and surface display, but the screen output can be turned off for the scanline or ray tracing calculation. The 24-bit output must then be activated for this, because image calculation without output on the screen or hard disk makes no sense.
 
-![Figure 16]()
+![Figure 16](images/pages/p180_1.png)
 
 *Figure 16*
 
@@ -520,7 +520,7 @@ You must specify the aspect ratio for special output devices (e.g. slide recorde
 
 When you start the image calculation, the "History" window appears, which shows you how far the image calculation has progressed. It is usually obscured by the output screen. A mouse click on the output screen brings the "History" window to the front. Conversely, you can bring the output screen back to the foreground by clicking on the **"Image"** field. You can also use the keyboard shortcut 'b' (for 'image') to switch between the two screens.
 
-![Figure 17]()
+![Figure 17](images/pages/p182_1.png)
 
 *Figure 17*
 
@@ -544,13 +544,13 @@ Here all the lines of the objects are drawn, similar to the 3D view (Figure 18).
 
 Wireframe is best suited for a quick overview of the scene, especially for animations, as the calculation is extremely fast.
 
-![Figure 18]()
+![Figure 18](images/pages/p184_1.png)
 
 *Figure 18*
 
 The ground is shown only as a horizon line. The sky is only drawn if there are more than two colors by setting the screen background to the color that is closest to it. Unlike in the 3D view, spheres are represented by meshes.
 
-![Figure 19]()
+![Figure 19](images/pages/p184_2.png)
 
 *Figure 19*
 
@@ -594,7 +594,7 @@ Starts the calculation of the image taking into account the set values.
 
 This type of representation is practically no different from the surface representation. The only difference is that the scene is only drawn in black and white (Figure 20).
 
-![Figure 20]()
+![Figure 20](images/pages/p186_1.png)
 
 *Figure 20*
 
@@ -604,7 +604,7 @@ The SW surface display is ideal for checking animation sequences. You can play a
 
 The plane view is more realistic than the wireframe because it only displays the visible planes and therefore does not show hidden lines (Figure 21). In addition, the visible areas are shaded in a display with more than two colors. However, only one color is used per surface, which results in a somewhat multifaceted image and no highlights are visible.
 
-![Figure 21]()
+![Figure 21](images/pages/p187_1.png)
 
 *Figure 21*
 
@@ -618,7 +618,7 @@ This type of calculation is particularly suitable for a rough overview of the sp
 
 MaxonCINEMA 4D has an automatic light control. If you haven't defined a light source yet, MaxonCINEMA 4D calculates the scene with a default light source that is in the same place as the "Perspective" camera. This allows you to immediately view and assess objects in good lighting during the design phase. However, as soon as you create one or more normal light sources, the automatic light control is inactive unless you have deactivated it anyway in the editor settings.
 
-![Figure 22]()
+![Figure 22](images/pages/p188_1.png)
 
 *Figure 22*
 
@@ -666,7 +666,7 @@ Starts the calculation of the image taking into account the set values.
 
 You can achieve an enormous increase in quality compared to the area display with the Scansline algorithm. It doesn't sort entire surfaces like the surface display, but all points of a surface, so that penetrations and intersections are solved correctly (Figure 23).
 
-![Figure 23]()
+![Figure 23](images/pages/p190_1.png)
 
 *Figure 23*
 
@@ -690,7 +690,7 @@ The scanline algorithm can display colors, highlights, all texture types and ref
 
 Despite certain limitations, the scanline algorithm is ideal for generating photorealistic images and is ideal for animations in particular, since the calculation time is extremely important there.
 
-![Figure 24]()
+![Figure 24](images/pages/p191_1.png)
 
 *Figure 24*
 
@@ -788,7 +788,7 @@ Starts the calculation of the image taking into account the set values.
 
 This image calculation method gives you the best image quality available (Figure 25). All properties such as shadows, transparency, refraction, textures, relief, smoothing and fog are calculated and displayed.
 
-![Figure 25]()
+![Figure 25](images/pages/p196_1.png)
 
 *Figure 25*
 
@@ -802,7 +802,7 @@ Because the ray tracer is very complex, it was designed as an independent progra
 
 The ray tracing algorithm is suitable for all applications in which you need special effects such as fog or shadows. However, the calculation is very complex and can therefore take a long time.
 
-![Figure 26]()
+![Figure 26](images/pages/p197_1.png)
 
 *Figure 26*
 
@@ -820,17 +820,17 @@ Since additional rays have to be calculated for the shadow calculation, the imag
 
 If you use materials that are transparent or have a transparency texture - possibly with refraction - then this transparency will only be displayed if you have also activated the "Transparency" option. Since the raytracer also has to calculate transparent rays, the calculation time for the image increases. Objects that are not completely closed, such as a hemisphere or a single triangle, can lead to anomalies in the image. This comes from 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, for example a glass ball (Figure 27).
 
-![Figure 27]()
+![Figure 27](images/pages/p198_1.png)
 
 *Figure 27*
 
-![Figure 28]()
+![Figure 28](images/pages/p199_1.png)
 
 *Figure 28*
 
 For example, if you use an open hemisphere, the ray will enter the hemisphere, but it may never hit a second surface (Figure 28). The ray tracer then assumes that the ray is still inside the hemisphere even though it is long outside. So don't worry about unexpected refraction effects when using open objects, and resize the objects to be closed. For example, you can give an open hemisphere a second wall (Figure 29).
 
-![Figure 29]()
+![Figure 29](images/pages/p199_2.png)
 
 *Figure 29*
 
@@ -852,7 +852,7 @@ You can also limit the calculation time for the image by using Calculation Depth
 
 A calculation depth of 1 means that the calculation is aborted after hitting a beam sent into the scene. Reflections and transparency are therefore not visible.
 
-![Figure 30]()
+![Figure 30](images/pages/p201_1.png)
 
 *Figure 30*
 
@@ -870,7 +870,7 @@ Here you can set how many voxels the entire scene should be divided into. Common
 
 The more memory you have, the higher values ​​you can use, since memory requirements increase roughly as the cube of the subdivisions.
 
-![Figure 31]()
+![Figure 31](images/pages/p202_1.png)
 
 *Figure 31*
 
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